A Performer's Guide to Seventeenth-century Music: Edited by Stewart Carter |
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Page 164
Not all seventeenth-century consort music is specifically indicated to be
performed on violin or by violin band. Rather, violin bands drew from a wide
variety of musical sources and adapted the music for their purposes. One way the
suitability of ...
Not all seventeenth-century consort music is specifically indicated to be
performed on violin or by violin band. Rather, violin bands drew from a wide
variety of musical sources and adapted the music for their purposes. One way the
suitability of ...
Page 174
The most common makeup of a violin consort, or "violin band," however, is a four-
or five-part ensemble of violin-family instruments. In general, the top part is
played by a "treble" violin, with the middle parts played by "alto" and "tenor"
violins ...
The most common makeup of a violin consort, or "violin band," however, is a four-
or five-part ensemble of violin-family instruments. In general, the top part is
played by a "treble" violin, with the middle parts played by "alto" and "tenor"
violins ...
Page 177
Includes sonatas, canzonas, sinfonias, and dance music in two and three parts
for violins. . Sonate, symphonie, canzoni . . . Op. 8. Venice, 1629. Includes
sonatas, canzonas, and dances d I, 2, 3, 4, 5, and 6 for solo violin, two violins,
and violin ...
Includes sonatas, canzonas, sinfonias, and dance music in two and three parts
for violins. . Sonate, symphonie, canzoni . . . Op. 8. Venice, 1629. Includes
sonatas, canzonas, and dances d I, 2, 3, 4, 5, and 6 for solo violin, two violins,
and violin ...
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