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
Av: Medverkande: Språk: Engelska Original language: Tyska Utgivning: New York : W. W. Norton & Company, 1949Beskrivning: xiii, 449 s. ill., musiknoter; xiii, 449 sISBN:
  • 0393097161
  • 9780393097160
Ämne: DDK-klassifikation:
  • 786.2143 23/swe
SAB-klassifikation:
  • ML 700
  • Ijd
Innehåll:
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
Anmärkning bestånd: B 5141 | B30.434 | Nytryck
Holdings
Item type Current library Call number Materials specified Copy number Status Date due Barcode Item holds
Book Musik- och teaterbiblioteket Magasin A B30.434 Available 26201820192
Book Musik- och teaterbiblioteket Magasin A B 5141 1 Available 26201046618
Total holds: 0

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

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