Essay on the true art of playing keyboard instruments / by Carl Philipp Emanuel Bach ; translated and edited by William J. Mitchell.
Föredragen titel:- Versuch über die wahre Art das Klavier zu spielen. Engelska
- 0393097161
- 9780393097160
- 786.2143 23/swe
- ML 700
- Ijd
| Exemplartyp | Aktuellt bibliotek | Hyllsignatur | Del av materialet som avses | Ex.nummer | Status | Förfallodatum | Streckkod | Exemplarreservationer | |
|---|---|---|---|---|---|---|---|---|---|
| Bok | Musik- och teaterbiblioteket Magasin A | B30.434 | Tillgänglig | 26201820192 | |||||
| Bok | Musik- och teaterbiblioteket Magasin A | B 5141 | 1 | Tillgänglig | 26201046618 |
Innehåller bibliografiska referenser (s. 446-449)
Innehåller bibliografiska referenser (s. 446-449)
Part I: 1. Fingering -- 2. Embellishments: General ; The appoggiatura ; The trill ; The turn ; The mordent ; The compound appoggiatura ; The slide ; The snap ; The elaboration of fermate -- 3. Performance -- Part II: 4. Intervals and their signatures -- 5. Thorough bass: The triad (I) ; The triad (II) ; The chord of the sixth (I) ; The chord of the sixth (II) ; The diminished triad ; The augmented triad ; The six-four chord (I) ; The six-four chord (II) ; The four-three chord (I) ; The four-three chord (II) ; The six-five chord (I) ; The six-five chord (II) ; The chord of the second (I) ; The chord of the second (II) ; The five-two chord ; The five-four-two chord ; The three-two chord ; The chord of the seventh (I) ; The chord of the seventh (II) ; The seven-six chord ; The seven-four chord ; The chord of the major seventh (I) ; The chord of the major seventh (II) ; The chord of the ninth (I) ; The chord of the ninth (II) ; The nine-six chord ; The nine-four chord ; The nine-seven chord ; The five-four chord -- 6. Accompaniment: The unison ; One-part accompaniment for the left hand ; The organ point ; Appoggiaturas ; Syncopated notes ; The dotted compound appoggiatura ; The dotted slide ; Performance ; Closing cadences ; The fermata ; Some refinements of accompaniment ; Imitation ; Some precautions of accompaniment ; The need for figured basses ; Passing tones ; Chords that precede their bass notes ; The recitative ; Changing notes ; Bass themes -- 7. Improvisation: The free fantasia
Part I: 1. Fingering -- 2. Embellishments: General ; The appoggiatura ; The trill ; The turn ; The mordent ; The compound appoggiatura ; The slide ; The snap ; The elaboration of fermate -- 3. Performance -- Part II: 4. Intervals and their signatures -- 5. Thorough bass: The triad (I) ; The triad (II) ; The chord of the sixth (I) ; The chord of the sixth (II) ; The diminished triad ; The augmented triad ; The six-four chord (I) ; The six-four chord (II) ; The four-three chord (I) ; The four-three chord (II) ; The six-five chord (I) ; The six-five chord (II) ; The chord of the second (I) ; The chord of the second (II) ; The five-two chord ; The five-four-two chord ; The three-two chord ; The chord of the seventh (I) ; The chord of the seventh (II) ; The seven-six chord ; The seven-four chord ; The chord of the major seventh (I) ; The chord of the major seventh (II) ; The chord of the ninth (I) ; The chord of the ninth (II) ; The nine-six chord ; The nine-four chord ; The nine-seven chord ; The five-four chord -- 6. Accompaniment: The unison ; One-part accompaniment for the left hand ; The organ point ; Appoggiaturas ; Syncopated notes ; The dotted compound appoggiatura ; The dotted slide ; Performance ; Closing cadences ; The fermata ; Some refinements of accompaniment ; Imitation ; Some precautions of accompaniment ; The need for figured basses ; Passing tones ; Chords that precede their bass notes ; The recitative ; Changing notes ; Bass themes -- 7. Improvisation: The free fantasia