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Download A Guide to the Harpsichord by Ann Bond PDF

By Ann Bond

This sensible advisor treats the mechanics and evolution of the tool and gives a survey of its literature. the writer discusses contact and process, together with articulation and fingering, and the problems all in favour of ancient functionality practices. She additionally presents feedback on picking out and protecting a harpsichord.

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Additional resources for A Guide to the Harpsichord

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Peter Bond. Page 23 Figure 1c.  Peter Bond. Page 24 Notice that the bass strings are made of brass or copper. In an instrument of the Italian type, the upper strings will also be brass: otherwise, they will be iron or steel. The gauge of the wire is subtly graded from bass to treble, becoming progressively more fine. ) There is a complex relationship between the gauge or weight of the wire, the tension at which it is stretched, and its actual length; this relationship is known as scaling. If all the strings were of the same gauge and tension relative to their pitch, an impossibly long instrument would result, and the scaling of any particular harpsichord shows the necessary compromises that have been made.

In the first place, to my former harpsichord pupils at Croydon High School, without whom I would not have had the idea of writing this book. As the scope of the undertaking expanded, Jane Chapman, Malcolm Greenhalgh, David Sanger, Peter Bavington, Maggie Cole, Mary Cyr, and John Raymond all contributed helpful information or sparked ideas in discussion. S. reader. John Edmonds, in Cumbria, and Claire Andreoli, in New York, did sterling work, far beyond the call of friendship, in helping me to check available editions.

The processes that led to the revival of the harpsichordover one hundred years laterare discussed in chapter 4, but here I am concerned with the fact that, by the time the instrument reappeared, people's musical attitudes had understandably changed. New styles and new enthusiasms had taken root, and musical taste had acquired different orientations. It is particularly relevant to my argument that by the end of the nineteenth century the public had come to absorb a kind of musical version of the Darwinian theorya view that can be observed in Victorian histories of music.

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