Baroque Violin & Viola, vol. II
Baroque Violin & Viola, vol. II
A Fifty-Lesson Course
Reiter, Walter S.
Oxford University Press Inc
12/2020
360
Dura
Inglês
9780197525111
1140
Descrição não disponível.
Foreword Introductory quotes Questions and Answers Part Three Approaching the Early Seventeenth Century Italian Sonata Lesson Twenty-Four. Stepping Back in Time: Division Manuals 1535-1624. Ornamentation, Module Two Divisions - Learning to Dare: Developing Basic Improvisational Skills - Sylvestro Ganassi's 'Fontegara' (Venice, 1535) - Studying Divisions from Ganassi's 'Fontegara' - Learning to Read Sixteenth and Seventeenth-century Music from Facsimiles - Note Values - Giovanni Bassano: 'Ricercate, passaggi et cadentie,' (Venice 1585) - Cadences - Aurelio Virgiliano: 'Regole Della Diminutione' (c 1600) - G. B. Spadi: 'Libro de passaggi ascendenti e descendenti' (Venice, 1624). A Florentine Interlude. Towards 'The New Music:' from Plato to Caccini Lesson Twenty-Five. The Noble Manner of Singing: Caccini's 'Le Nuove Musiche' (1602) Passaggi - Three ways to Sing a Note - The Intonatio - Con Grazia - The Esclamazione - Transferring Caccini's 'Cor mio, deh! non languire' to the Violin - The Trillo and the Gruppo - Transferring the Vocal Trillo to the Violin - The Gruppo - Transferring the Vocal Gruppo to the Violin - Rhythmic Alteration - Transferring the Vocal Cascata to the Violin - Sprezzatura - Transferring Caccini's 'Deh, dove son fuggiti' to the Violin. Lesson Twenty-Six. A Lesson from Francesco Rognoni Taeggio: Applying Vocal Technique to the Violin El Portar della Voce - The Accento - The Tremolo - The Groppo - Del principiar sotto la nota - The Esclamatione - La Selva, Part Two - Francesco Rognoni's 'Way of slurring' - Lesson Twenty-Seven. Giovanni Battista Fontana (1589 (?) - 1630) Sonata Terza The Tactus - Reading this Sonata in the Original Notation Clefs - Rests - Coloration - Tempo Relationships and Proportional Notation. Lesson Twenty-Eight. Dario Castello: Sonata Prima, for Soprano Solo Lesson Twenty-Nine. Giovanni Antonio Pandolfi Mealli: Sonata Quarta Opus 4, La Biancuccia 'Stylus Phantasticus' - Musica Ficta. Lesson Thirty: Ornamentation, Module Three, including Tables of Ornaments Derived from the Sonatas of Corelli and Babell A Roman Interlude: Transforming Visual Gestures into Sound Part Four Church Militant: The Sonatas of Schmelzer and Biber Lesson Thirty-One. Johann Heinrich Schmelzer: Sonata Quarta from 'Sonatae unarum fidium' (1664) Lesson Thirty-Two. Heinrich Ignaz Franz von Biber: the Mystery Sonatas. Sonata No 1: the Annunciation The Mystery Sonatas: an Introduction - Reference to the Texts. Lesson Thirty-Three. Heinrich Ignaz Franz von Biber: the Mystery Sonatas. Sonata No 10: The Crucifixion Scordatura - Symbolism and the Jesuits - The Rhetorical Fragments Described. Part Five Supreme Refinement of the Human Spirit Francois Couperin and the Music of France Interlude in Versailles: Approaching the Music of the French Baroque The Sun King and the Culture of Versailles - The Social Status of the Violin in France. Lesson Thirty-Four. The 'Concerts Royaux' of Francois Couperin. Ornamentation, Module Four The 'Concerts Royaux,' an Introduction - Couperin's Agremens, as found in the Septieme Concert Royal - The Tremblement - The Pince - The Port de voix - The Tierce de coule - The comma (petit silence) - Notes inegales - Slurs - Pitch - Addendum: The Double - The Aspiration - The Suspension. Lesson Thirty-Five. To Soothe the Sorrows of a King. Francois Couperin: Septieme Concert Royal (I) Movement One (no title) - Allemande, Gayement - Postscript: Dynamic and Rhythmical inegalite, a Personal View. Lesson Thirty-Six. Francois Couperin: Septieme Concert Royal (II) Sarabande Grave - Georg Muffat on Lully's Bowings. Lesson Thirty-Seven. Francois Couperin: Septieme Concert Royal (III) Fuguete - Gavote - Siciliene. Part Six Approaching the Galant Lesson Thirty-Eight. Beyond 'Beautiful': Searching for Meaning in Music. Handel: Sonata in A Major Beautiful Sights and Beautiful Sounds - Handel and Mattheson - Der Vollkommene Capellmeister - Identifying Affects in the Handel Sonata Movement - Punctuation. Lesson Thirty-Nine. Into the Galant: Tartini, Telemann, Quantz and Zuccari. Ornamentation Module Five Tartini: Grace notes - Trills - Vibrato (Tremolo) - The Turn - The Mordent - Cadences. Telemann's Methodical Sonatas. Telemann's Ornaments: Rising and falling appoggiaturas - Trills - Passing notes - Harmonising ornaments - Turns - Rhythmic variation - Ornamented Cadences - Tiratas. Quantz - A Lesson from the Master: Quantz's Notated Adagio - Zuccari. Part Seven J.S. Bach Lesson Forty. A Brief History of Baroque Romanticism: Bach's 'Sei Solo' Lesson Forty-One. Johann Sebastian Bach, Sonata I, BWV 1001. Adagio Bach's Written-out Ornamentation - The Necessity of Illusion - A Controversial Note - Afterthought. Lesson Forty-Two. Johann Sebastian Bach, Sonata I, BWV 1001. Fuga A Note on Resonance Lesson Forty-Three. Johann Sebastian Bach, Sonata I, BWV 1001. Siciliana Hooked Bowings Lesson Forty-Four. Johann Sebastian Bach, Sonata I, BWV 1001. Presto Bach and Rhetoric - On Slow practice. Lesson Forty-Five. Intonation in Bach's 'Sei Solo.' The Training of the Ear - Intonation Analysis - Learning to hear quickly - The Training of the Left Hand - Playing Chords: the Left Hand Lesson Forty-Six. Johann Sebastian Bach, Partita III in E Major, BWV 1006. Preludio Interlude: Bach and the Influence of French Culture in the German Lands Bach and Dance Lesson Forty-Seven. Johann Sebastian Bach: Partita III in E Major, BWV 1006 Loure Tempo and Bowings in Bach's Loure - Punctuation and Articulation in Dance Movements - Punctuation and Articulation in Bach's Loure - Ornamentation in Bach's Dances. Lesson Forty-Eight. Johann Sebastian Bach. Partita III in E Major, BWV 1006. Gavotte en Rondeaux Lesson Forty-Nine. Johann Sebastian Bach. Partita III in E Major, BWV 1006. Minuets I and II Lesson Fifty. Johann Sebastian. Bach. Partita III in E Major, BWV 1006. Bouree and Giga Notes to Lessons Bibliography Index Acknowledgements
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Foreword Introductory quotes Questions and Answers Part Three Approaching the Early Seventeenth Century Italian Sonata Lesson Twenty-Four. Stepping Back in Time: Division Manuals 1535-1624. Ornamentation, Module Two Divisions - Learning to Dare: Developing Basic Improvisational Skills - Sylvestro Ganassi's 'Fontegara' (Venice, 1535) - Studying Divisions from Ganassi's 'Fontegara' - Learning to Read Sixteenth and Seventeenth-century Music from Facsimiles - Note Values - Giovanni Bassano: 'Ricercate, passaggi et cadentie,' (Venice 1585) - Cadences - Aurelio Virgiliano: 'Regole Della Diminutione' (c 1600) - G. B. Spadi: 'Libro de passaggi ascendenti e descendenti' (Venice, 1624). A Florentine Interlude. Towards 'The New Music:' from Plato to Caccini Lesson Twenty-Five. The Noble Manner of Singing: Caccini's 'Le Nuove Musiche' (1602) Passaggi - Three ways to Sing a Note - The Intonatio - Con Grazia - The Esclamazione - Transferring Caccini's 'Cor mio, deh! non languire' to the Violin - The Trillo and the Gruppo - Transferring the Vocal Trillo to the Violin - The Gruppo - Transferring the Vocal Gruppo to the Violin - Rhythmic Alteration - Transferring the Vocal Cascata to the Violin - Sprezzatura - Transferring Caccini's 'Deh, dove son fuggiti' to the Violin. Lesson Twenty-Six. A Lesson from Francesco Rognoni Taeggio: Applying Vocal Technique to the Violin El Portar della Voce - The Accento - The Tremolo - The Groppo - Del principiar sotto la nota - The Esclamatione - La Selva, Part Two - Francesco Rognoni's 'Way of slurring' - Lesson Twenty-Seven. Giovanni Battista Fontana (1589 (?) - 1630) Sonata Terza The Tactus - Reading this Sonata in the Original Notation Clefs - Rests - Coloration - Tempo Relationships and Proportional Notation. Lesson Twenty-Eight. Dario Castello: Sonata Prima, for Soprano Solo Lesson Twenty-Nine. Giovanni Antonio Pandolfi Mealli: Sonata Quarta Opus 4, La Biancuccia 'Stylus Phantasticus' - Musica Ficta. Lesson Thirty: Ornamentation, Module Three, including Tables of Ornaments Derived from the Sonatas of Corelli and Babell A Roman Interlude: Transforming Visual Gestures into Sound Part Four Church Militant: The Sonatas of Schmelzer and Biber Lesson Thirty-One. Johann Heinrich Schmelzer: Sonata Quarta from 'Sonatae unarum fidium' (1664) Lesson Thirty-Two. Heinrich Ignaz Franz von Biber: the Mystery Sonatas. Sonata No 1: the Annunciation The Mystery Sonatas: an Introduction - Reference to the Texts. Lesson Thirty-Three. Heinrich Ignaz Franz von Biber: the Mystery Sonatas. Sonata No 10: The Crucifixion Scordatura - Symbolism and the Jesuits - The Rhetorical Fragments Described. Part Five Supreme Refinement of the Human Spirit Francois Couperin and the Music of France Interlude in Versailles: Approaching the Music of the French Baroque The Sun King and the Culture of Versailles - The Social Status of the Violin in France. Lesson Thirty-Four. The 'Concerts Royaux' of Francois Couperin. Ornamentation, Module Four The 'Concerts Royaux,' an Introduction - Couperin's Agremens, as found in the Septieme Concert Royal - The Tremblement - The Pince - The Port de voix - The Tierce de coule - The comma (petit silence) - Notes inegales - Slurs - Pitch - Addendum: The Double - The Aspiration - The Suspension. Lesson Thirty-Five. To Soothe the Sorrows of a King. Francois Couperin: Septieme Concert Royal (I) Movement One (no title) - Allemande, Gayement - Postscript: Dynamic and Rhythmical inegalite, a Personal View. Lesson Thirty-Six. Francois Couperin: Septieme Concert Royal (II) Sarabande Grave - Georg Muffat on Lully's Bowings. Lesson Thirty-Seven. Francois Couperin: Septieme Concert Royal (III) Fuguete - Gavote - Siciliene. Part Six Approaching the Galant Lesson Thirty-Eight. Beyond 'Beautiful': Searching for Meaning in Music. Handel: Sonata in A Major Beautiful Sights and Beautiful Sounds - Handel and Mattheson - Der Vollkommene Capellmeister - Identifying Affects in the Handel Sonata Movement - Punctuation. Lesson Thirty-Nine. Into the Galant: Tartini, Telemann, Quantz and Zuccari. Ornamentation Module Five Tartini: Grace notes - Trills - Vibrato (Tremolo) - The Turn - The Mordent - Cadences. Telemann's Methodical Sonatas. Telemann's Ornaments: Rising and falling appoggiaturas - Trills - Passing notes - Harmonising ornaments - Turns - Rhythmic variation - Ornamented Cadences - Tiratas. Quantz - A Lesson from the Master: Quantz's Notated Adagio - Zuccari. Part Seven J.S. Bach Lesson Forty. A Brief History of Baroque Romanticism: Bach's 'Sei Solo' Lesson Forty-One. Johann Sebastian Bach, Sonata I, BWV 1001. Adagio Bach's Written-out Ornamentation - The Necessity of Illusion - A Controversial Note - Afterthought. Lesson Forty-Two. Johann Sebastian Bach, Sonata I, BWV 1001. Fuga A Note on Resonance Lesson Forty-Three. Johann Sebastian Bach, Sonata I, BWV 1001. Siciliana Hooked Bowings Lesson Forty-Four. Johann Sebastian Bach, Sonata I, BWV 1001. Presto Bach and Rhetoric - On Slow practice. Lesson Forty-Five. Intonation in Bach's 'Sei Solo.' The Training of the Ear - Intonation Analysis - Learning to hear quickly - The Training of the Left Hand - Playing Chords: the Left Hand Lesson Forty-Six. Johann Sebastian Bach, Partita III in E Major, BWV 1006. Preludio Interlude: Bach and the Influence of French Culture in the German Lands Bach and Dance Lesson Forty-Seven. Johann Sebastian Bach: Partita III in E Major, BWV 1006 Loure Tempo and Bowings in Bach's Loure - Punctuation and Articulation in Dance Movements - Punctuation and Articulation in Bach's Loure - Ornamentation in Bach's Dances. Lesson Forty-Eight. Johann Sebastian Bach. Partita III in E Major, BWV 1006. Gavotte en Rondeaux Lesson Forty-Nine. Johann Sebastian Bach. Partita III in E Major, BWV 1006. Minuets I and II Lesson Fifty. Johann Sebastian. Bach. Partita III in E Major, BWV 1006. Bouree and Giga Notes to Lessons Bibliography Index Acknowledgements
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