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 16
... tremolo produces the effect of the organ tremolo . To execute it well , it is necessary that the voice make several lit- tle aspirations more marked and slower than those of the flaté . " 61 Montéclair also describes a nonvibrato tone ...
... tremolo produces the effect of the organ tremolo . To execute it well , it is necessary that the voice make several lit- tle aspirations more marked and slower than those of the flaté . " 61 Montéclair also describes a nonvibrato tone ...
Page 175
... Tremolo . 11. See also Sabol - Stuart Masque . 12. This is not to be confused with the " concerto ” repertoire of the eighteenth century and later in which one or more solo instruments are " concerted " with an orchestra . 13 ...
... Tremolo . 11. See also Sabol - Stuart Masque . 12. This is not to be confused with the " concerto ” repertoire of the eighteenth century and later in which one or more solo instruments are " concerted " with an orchestra . 13 ...
Page 262
... tremolo . " 23 We will discuss later what is meant by the tremolo itself , but in writing out these tremoli rhythmically , Rognoni gives an indication , as can be seen in Example 13.22 , of the exact point at which the crescendo is to ...
... tremolo . " 23 We will discuss later what is meant by the tremolo itself , but in writing out these tremoli rhythmically , Rognoni gives an indication , as can be seen in Example 13.22 , of the exact point at which the crescendo is to ...
Contents
Bel canto Style | 30 |
ANNE HARRINGTON | 43 |
GARY TOWNE Vocal Ensembles | 54 |
Copyright | |
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Common terms and phrases
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