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continuo

continuo

continuo Sentence Examples

  • The chords necessary in this part, which with its supporting bass is called the continuo, were indicated by figures; and the evanescent and delicate tones of the harpsichord; lent themselves admirably to this purpose where solo voices and instruments were concerned.

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  • It is in the attempt to supply the place of this continuo (or _ figured bass) by definite orchestral parts that modern per formances, until the most recent times, have shown so radical an incapacity to grasp the nature of 18th-century instrumentation.

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  • To write an account of symphonic instrumentation in any detail would be like attempting a history of emotional expression; and all that we can do here is to point out that the problem which was, so to speak, shelved by the polyphonic device of the continuo, was for a long time solved only by methods which, in any hands but those of the greatest masters, were very inartistic conventions.

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  • These motets are usually in the vernacular and usually expect only continuo accompaniment, tho some do have optional instrumental doubling parts.

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  • basso continuo accompaniment which is reproduced at the bottom of every page.

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  • basso continuo part.

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  • continuo played on a piano.

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  • Students of Harpsichord and Organ will be required to include some continuo playing in the recital.

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  • continuo accompaniment which is reproduced at the bottom of every page.

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  • continuo playing according to Handel, ed.

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  • continuo organ is available for hire.

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  • continuo player.

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  • continuo instrument and later by the principal first violin.

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  • They can be played either by violin alone or with the basso continuo accompaniment which is reproduced at the bottom of every page.

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  • keyboard continuo can be improvised ad lib from the score.

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  • On this disk the opportunity is taken to present individual concerti with either harpsichord or chamber organ continuo, or without either.

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  • This three stop continuo organ is available for hire.

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  • The chords necessary in this part, which with its supporting bass is called the continuo, were indicated by figures; and the evanescent and delicate tones of the harpsichord; lent themselves admirably to this purpose where solo voices and instruments were concerned.

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  • It is in the attempt to supply the place of this continuo (or _ figured bass) by definite orchestral parts that modern per formances, until the most recent times, have shown so radical an incapacity to grasp the nature of 18th-century instrumentation.

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  • To write an account of symphonic instrumentation in any detail would be like attempting a history of emotional expression; and all that we can do here is to point out that the problem which was, so to speak, shelved by the polyphonic device of the continuo, was for a long time solved only by methods which, in any hands but those of the greatest masters, were very inartistic conventions.

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  • Missa pro organo; Fantasia and Fugue, " Ad nos, ad salutarem undam "; B-A-C-H Fugue; Variations on Bach's Basso continuo, " Weinen, Klagen "; Bach's Introduction and Fugue, " Ich hatte viel Bekiimmerniss "; Bach's Choral Fugue, " Lob and Ehre "; Nicolai's Kirchliche Festouvertiire, " Ein feste Burg "; Allegri's Miserere; Mozart's Ave Verum; Arcadelt's Ave Maria; Lasso's Regina Coeli.

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