Handel figured bass exercises pdf

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Be the first to start one ». Readers also enjoyed. About David Ledbetter. David Ledbetter. Books by David Ledbetter. Related Articles. Only rarely one hears a realization exhibiting some element of spark and imagination. This "essay" consists of ten examples demonstrating various ways of treating a figured bass in a creative manner. The intended instrument is the harpsichord, not the organ, for the harpsichord is capable not only of furnishing chords, melodies, and polyphony, but is also--due to the noisy jacks--a percussive instrument, which quality may as well be exploited from time to time.

Sometimes only jack-noise can be heard in an orchestral situation. The most important advice is a to be imaginative and do something different than a printed realization, and b to be sensitive to the performance situation. These examples are intended for an orchestral continuo player, but some of the principles can be applied to chamber groups.

Continuo on the organ demands a different treatment. All but the last example are from Handel's Messiah, and include the printed realization available from Kalmus. I originally intended this article to be unencumbered with scholarly apparatus, but consultation with several colleagues prompted an annotated bibliography.

Arnold, Franck Thomas. The title to ch. Bach's chapter "Von gewissen Zierlichkeiten des Accompagnements" Versuch, part 2, , ch. Arnold's book is the grand-daddy on the subject. Much of it, however, is about how to realize specific figures. Ashworth, Jack. Tips p. Be sensitive to the frequent necessity of reducing the texture from four to three--or occasionally even to two--parts, depending on the volume of the solo instrument, the range in which it is playing, and the nature of the piece.

Do not feel compelled to play a chord on every bass note provided by the composer. In fact, don't even be tempted to. Avoid doubling or going above the soloist's part in the realization.

Avoid playing full chords on bass notes taking the weak part of a beat unit. Be sparing with ornamentation. Above all, remain sensitive to the needs of the soloist, and accommodate those needs insofar as you can. Good continuo players must be as supportive as they are unobtrusive. Bach, Carl Philipp Emanuel. Berlin, , William J. New York: Norton, There are many cross-references to Arnold's book in Mitchell's notes. Several valuable quotes: "Of all the instruments that are used in the playing of thorough bass the single-manual harpsichord is the most perplexing with regard to forte and piano.

To make amends for the imperfection of the instrument in this respect the number of parts must be increased or reduced" p. For recitatives, see pp. Client Account. You could not be signed in. Sign In Reset password. Sign in via your Institution Sign in via your Institution.

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