Early Keyboard Instruments: A Practical Guide (Cambridge by David Rowland

By David Rowland

Early Keyboard tools discusses numerous matters thinking about the functionality of keyboard track from the 17th to the 19th centuries. It brings jointly a variety of themes that experience come to the fore in contemporary a long time and kinds an invaluable creation to ancient functionality concerns for the coed performer or novice, even if enjoying on interval tools or at the sleek piano.

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Additional resources for Early Keyboard Instruments: A Practical Guide (Cambridge Handbooks to the Historical Performance of Music)

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However, it is possible to damage the delicate actions of early keyboard instruments quite easily, so advice from somebody more experienced is usually the wisest course of action before anything is attempted. 4 Use of instruments and technique Which instrument? Deciding which instrument is the most appropriate for any part of the early keyboard repertory can be problematic. The scores of many keyboard pieces contain no mention of any particular instrument while others are labelled ambiguously. ).

49 Backers almost certainly began to make grand pianos in the late 1760s. His single surviving piano, dated 1772 and now in the Russell Collection, Edinburgh, resembles an English harpsichord of the period in external appearance, but has an action which is based on Cristofori’s design and which is light, but not quite as responsive as the Viennese action (see below). There are two pedals, an una corda and a sustaining pedal (the same two pedals found on almost all English grands). Backers’ design forms the basis for all English grand pianos to the middle of the nineteenth century.

This fact is particularly significant, since during the eighteenth century some of these instruments underwent a ravalement – an alteration – by such important makers as Blanchet and Taskin. Typically, the un-aligned Ruckers keyboards were put into alignment, some extra notes were added, and the disposition altered to two 8′s and a 4′. Around the end of the seventeenth and the beginning of the eighteenth centuries the construction of French harpsichords changed from relatively thin-cased instruments in which the case walls overlap the baseboard to harpsichords built in the Ruckers tradition with thick cases which sit on top of the baseboard.

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