A Performer's Guide to Seventeenth-century Music: Edited by Stewart CarterStewart Carter This is a comprehensive reference guide for students and professional musicians. The book contains useful material on vocal and choral music and style; instrumentation; performance practice; ornamentation, tuning, temperament; meter and tempo; basso continuo; dance; theatrical production; and much more. |
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Page 76
... flutes in the world , " providing almost enough measurements for a reconstruction . Though a few details are lacking , it is clear that ( acoustically speaking ) this is a Renaissance - style tenor flute with a bottom note somewhere ...
... flutes in the world , " providing almost enough measurements for a reconstruction . Though a few details are lacking , it is clear that ( acoustically speaking ) this is a Renaissance - style tenor flute with a bottom note somewhere ...
Page 77
... flutes : petit jeu of recorders ( as well as g ' - flute ) at 4 - foot pitch , grand jeu of recorders ( and probably the larger flutes ) at 8 - foot pitch . Developments of the Late Seventeenth Century At some as yet undetermined point ...
... flutes : petit jeu of recorders ( as well as g ' - flute ) at 4 - foot pitch , grand jeu of recorders ( and probably the larger flutes ) at 8 - foot pitch . Developments of the Late Seventeenth Century At some as yet undetermined point ...
Page 94
... flûte traversière becomes common only in the eighteenth century , beginning apparently with Jacques Hotteterre le Romain's Principes de la flute traversiere , ou flute d'allemagne , de la flute a bec , ou flute douce , et du haut - bois ...
... flûte traversière becomes common only in the eighteenth century , beginning apparently with Jacques Hotteterre le Romain's Principes de la flute traversiere , ou flute d'allemagne , de la flute a bec , ou flute douce , et du haut - bois ...
Contents
Bel canto Style | 30 |
ANNE HARRINGTON | 43 |
GARY TOWNE Vocal Ensembles | 54 |
Copyright | |
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accompaniment appears articulation Baroque bass beat beginning called castrato changes choir cited common composers consort continuo cornett court dance described developed discussion divisions double drums early edition effect England English ensemble equal example expressive figures flute four France French German gives half hand harpsichord historical important indicate instruments Italian Italy keyboard known late later less lower lute means mentioned ments Mersenne musicians nature notation notes octave opera organ original ornamentation particularly performance period pieces pitch players playing position practice Praetorius produce proportion published range recorder refers Renaissance repertory require says seems seventeenth century signs singers singing solo sometimes sonatas soprano sound sources standard steps strings style suggests tactus technique tempo term theorbo third timpani tion tone trill trumpet tuning types usually viol violin vocal voice writing written