By Ann Bond
This useful advisor treats the mechanics and evolution of the software and provides a survey of its literature. the writer discusses contact and process, together with articulation and fingering, and the problems focused on ancient functionality practices. She additionally offers feedback on deciding on and retaining a harpsichord.
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Additional info for A Guide to the Harpsichord
Among later Italian builders, one might mention Grimaldi, whose instruments were unusual in that the grain of the wood ran across, rather than along, the soundboard. This was combined with an unorthodox internal construction to produce an unusually bright sound. Spain and Portugal Only a few old Spanish and Portuguese harpsichords survive, but those that do tend to follow the Italian model. Scarlatti's patron Maria Barbara of Spain had eight harpsichords at the time of her death, most of them Italian in style.
Hass and Silbermann seem to have experimented with sixteen-foot (suboctave) tone, and an isolated instrument by Hass is definitely known to have had three manualspossibly following a Spanish patternwith a third manual devoted to a sixteen-foot and a two-foot register. Both these extreme features impose severe constraints on the design of an instrument. The short strings of a two-foot register are obviously unstable in tuning, and in addition the strings cannot be continued above treble c" because the string length becomes so short that there is no room to accommodate all the necessary rows of jacks along it; so the experiment was not followed up.
Notes 1. The Taskin copied by Érard was the famous instrument of 1769 now housed in the Russell Collection, Edinburgh University. 2. Feldberg, the English offshoot of Neupert, turned to building historical copies soon after 1960. 3. See A Handbook of Historical Stringing Practice for Keyboard Instruments, compiled and edited by Malcolm Rose and David Law. Available from The Workshop, English Passage, Lewes BN7 2AP, United Kingdom. < previous page page_50 next page > < previous page page_51 next page > Page 51 5 Starting to Play the Harpsichord The next four chapters explore the principles of harpsichord playing and touch, showing how your hands should cooperate with the action of the instrument and how you can obtain various effects.
A Guide to the Harpsichord by Ann Bond