I am torn between the belder recording or the Gould recording. They are both special in there own way
I'm 50 and love Jazz, Fusion and Progressive Rock guitar instrumentals. Been playing guitar since I was 12. I discovered Scott Ross' work with all 555 of Scarlatti's compositions and they are all amazing! Chamber music and strings are my bag. Orchestral stuff from the Classical and Romantic era seem washed out sounding from a technical perespective and the themes are just too long winded for me to grasp. I'm also huge on Bluegrass and Jazz trio, quartets because I love that raw, intimate sound coupled with interesting compositions. Thanks for any and all of your suggestions (!)
I'm not well-versed in music theory, so I feel like I don't have the conceptual background or the vocabulary to explain what about the sound of the harpsichord that draws me into baroque performances. I want to emphasize that the piano is a phenomenal instrument, and I do sometimes really love it (especially when Glenn Gould is involved), but for whatever reason there's a peculiar quality to the harpsichord that moves me. I find this strange because the harpsichord is a lot less of a "pure" sound if that makes sense -- I feel like I "ought" to like the piano more, but I don't.
This is probably a very strange question, but I've been wondering why I feel the way that I do, and maybe someone here can shed some light on this.
Can anyone give me just a brief answer on what kinds of music use early fingering systems? I'm aware they exist but don't know much about them other than that they don't seem to use thumbs much or at all. I'm also wondering if they're worth learning as I am starting on the clavichord hopefully soon.
And the Commendatore was like a bloodied ghost instead of a statue.
Anyone know where to find it, or what performance that was (i.e. cast, conductor, time&place etc.)?
Volume 11 of the Online Harpsichord Method is now available.
In order to help you prepare for international harpsichord competitions, this supplementary volume contains pieces that have been used in the Jurow, Milan, Bologna, and Budapest International Competitions : works by Byrd, Frescobaldi, attr. Sweelinck, Froberger, Louis Couperin, FranΓ§ois Couperin, Domenico Scarlatti, and J.S. Bach. At the same time, we take advantage of this booklet to continue our study of Technique, Sight-reading, and Basso Continuo of which the present material is a continuation of what was given in the ten volumes of the Online Harpsichord Method. Of course, not everyone wants to participate in international competitions. Nevertheless, the repertoire presented here will enable you to measure your degree of progress, especially if you have followed the course of study in all the preceding volumes. It is also a way to deepen your musical culture, since these pieces are part of great harpsichordistsβ libraries. You can see the previews here: http://harpsichord-method.com
There are also 2 free complementary downloadable pieces: http://harpsichord-method.com/free-scores/V11%20Praeludium%20Byrd%20EN.pdf
http://harpsichord-method.com/free-scores/V11%20Sonata%20Bach%20EN.pdf
Hello! So Iβm currently trying to program a musical module in ChucK (an audio programming language), and was hoping to implement a baroque-style temperament system.
The module will be playing an excerpt from Telemannβs first recorder sonata in F, solely on harpsichord (I will be live playing the baroque alto recorder part).
Does anyone have a reference list for which temperament system I should employ, and (preferably) a list of what the frequencies would be for that system? Iβm having trouble finding specifics.
Thanks so much!
Fun Fact: According to Wikipedia, "Clicking on the first link in the main text of a Wikipedia article, and then repeating the process for subsequent articles, usually leads to the Philosophy article." If you want to try this out for yourself, here's a link!
What's your preferred instrument when it comes to (specific) keyboard works?
I like the piano for its pleasant tone and the degree of freedom in the sound texture. I like the harpsichord for the sharp structural clarity and the exciting and intense drive. Overall, the harpsichord works better for me, with some exceptions.
Until I actively searched I never heard any of the composers whose βpianoβ pieces were actually written for harpsichord on the harpsichord. Mozart favored the harpsichord and yet all Iβve ever heard are piano adaptations. Why is this?
itβs a common practice to play vocal music on keyboard by playing straight from the written vocal music treating the keys as singers instead of making arrangements. Does anyone have any advice for expression and playing this style on harpsichord as Iβm sure to bring out the best sound on harpsichord your approach must change. What techniques can be applied to this kind of stuff?
I find myself enamored with the sound and style of the harpsichord and need a composer to find more pieces. If it helps, I love D. Scarlattiβs style.
I'm a big Jazz, Prog, Fusion fan but alot of classical is kind of boring (as Jazz can be too). The intimate setting of chamber music where each instrument is divinely and readily, distinctly heard is addictive like a Trio in Jazz. I'm not picky .. it's really just all about composition that takes you on a journey. I'm a huge fan of the Baroque era especially with stringed instruments. The thing about the Romantic and Classical eras is that huge symphonies sound like 'a wash' to my ears .. Amadeus is probably my favorite movie of all time .. thanks guys.
Iβve heard itβs impossible to control its volume. How is that? Wouldnβt hitting a key harder make it pluck the string harder?
I installed some harpsichord vsts but neither of those gets close of savant's distinct harpsichord sound, so I guess he uses an expensive kontakt instrument because of the quality.
Let me know if u know about it
