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harpsichord

harpsichord

harpsichord Sentence Examples

  • To sacrifice phrasing, and distinctness in real partwriting, to a crude imitation of the richness produced mechanically on the harpsichord by drawing 4-ft.

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  • He endeavoured to illustrate the subject by a clavecin oculaire, or ocular harpsichord; but the treatise and the illustration were quickly forgotten.

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  • The greater richness of tone of the modern pianoforte is a better compensation for any bareness that may be imputed to pure two-part or three-part writing than a filling out which deprives the listener of the power to follow the essential lines of the music. The same holds good, though in a lesser degree, of the resources of the harpsichord in respect of octavestrings.

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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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  • Before that time it was based exclusively on the use of the harpsichord either as a means of supporting the other instruments or as also contributing principal parts to the combination.

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  • In the time of Bach such writing was beautifully suited to enliven the dry glitter of the harpsichord, and Bach's duets for clavier and violin seem to have been sometimes played as trios with a violoncello playing from the clavier bass.

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  • A frequent combination was flute, violin and harpsichord (very probably with a violoncello doubling the bass), and in more than one case the violin was partly tuned lower to soften its tone.

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  • Chamber-music. - Bach's and his contemporaries' combinations with the harpsichord show the natural fondness, in his day, for instruments of a tone too gentle for prominent use in large rooms, or indeed for survival in modern times.

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  • In 1740, on the recommendation of the Dean of Hainburg, Haydn obtained a place in the cathedral choir of St Stephen's, Vienna, where he took the solo-part in the services and received, at the choir school, some further instruction on the violin and the harpsichord.

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  • Certain ancient stringed instruments were played with a plectrum or plucker made of the quill of a bird's feather, and the word has thus been used of a plectrum made of other material and differing in shape, and also of an analogous object for striking the strings in the harpsichord, spinet or virginal.

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  • bach performed on the harpsichord and never enjoyed Mozart played on the fortepiano.

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  • Recent WDR recordings have included a program of solo harpsichord by JS Bach, Duphly and Arne and Italian cantatas by HÃndel.

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  • Ng's arrangement of an anonymous harpsichord chaconne is especially striking.

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  • chorale at the end of what is intended to be an epic work for harpsichord?

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  • But why an organ chorale at the end of what is intended to be an epic work for harpsichord?

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

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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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  • playing the harpsichord Most Likely to Say You know you love me tripping you everytime you walk!

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  • harpsichord built by his father, M. E. Cole of Cheltenham.

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  • harpsichord used tonight is now a part of the Russell Collection of Early Keyboard Instruments housed here in St Cecilia's Hall.

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  • As a bonus most models now have a convincing harpsichord.

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  • Figure 2 - Graph showing the string scalings of the 1769 Pascal Taskin double-manual harpsichord, Russell Collection of Early Keyboard Instruments, Cat.

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  • harpsichord The single-manual harpsichord being used in tonight's concert is unfortunately neither signed nor dated.

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  • Concert Notes - The single-manual anonymous Italian harpsichord The single-manual harpsichord being used in tonight's concert is unfortunately neither signed nor dated.

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  • But there is an additional reason for using an English harpsichord for the performance of Handel's keyboard works.

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  • harpsichord builders of all times.

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  • harpsichord maker, was more successful.

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  • harpsichord solos.

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  • harpsichord music can be very tiring.

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  • harpsichord piece appears on Volume Two.

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  • harpsichord player, went on to become a university lecturer.

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  • The next track, for solo harpsichord, fits the sequence beautifully.

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  • Flemish school: 3. Double-manual harpsichord, Andreas I Ruckers.

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  • It had originally been conceived for harpsichord, but had been extensively reworked for clavichord.

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  • In 1764, while visiting England, he composed several sonatas for violin and harpsichord and a number of symphonies.

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  • John himself plays the harpsichord and is learning to play the tenor viol.

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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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  • Bach himself is known to have executed it in a very polyphonic style, and this for the excellent reason that plain chords would have contrasted so strongly with the real instrumental parts that they could not fail to attract attention even in the softest tones of the harpsichord or the organ, while light polyphony in these tones would elude the ear and at the same time perfectly bridge over the gap in the harmony.

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  • The same comments apply to the attempts sometimes made to fill out the bare places in 18thcentury clavier music. There is no doubt that such filling out was often done on a second harpsichord with stops of a very light tone; but, if it cannot be done on the modern pianoforte in a touch so light as to avoid confusion between it and the notes actually written as essential to the design, it certainly ought not to be done at all.

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  • The greater richness of tone of the modern pianoforte is a better compensation for any bareness that may be imputed to pure two-part or three-part writing than a filling out which deprives the listener of the power to follow the essential lines of the music. The same holds good, though in a lesser degree, of the resources of the harpsichord in respect of octavestrings.

    0
    0
  • To sacrifice phrasing, and distinctness in real partwriting, to a crude imitation of the richness produced mechanically on the harpsichord by drawing 4-ft.

    0
    0
  • In the time of Bach such writing was beautifully suited to enliven the dry glitter of the harpsichord, and Bach's duets for clavier and violin seem to have been sometimes played as trios with a violoncello playing from the clavier bass.

    0
    0
  • Before that time it was based exclusively on the use of the harpsichord either as a means of supporting the other instruments or as also contributing principal parts to the combination.

    0
    0
  • Chamber-music. - Bach's and his contemporaries' combinations with the harpsichord show the natural fondness, in his day, for instruments of a tone too gentle for prominent use in large rooms, or indeed for survival in modern times.

    0
    0
  • A frequent combination was flute, violin and harpsichord (very probably with a violoncello doubling the bass), and in more than one case the violin was partly tuned lower to soften its tone.

    0
    0
  • Certain ancient stringed instruments were played with a plectrum or plucker made of the quill of a bird's feather, and the word has thus been used of a plectrum made of other material and differing in shape, and also of an analogous object for striking the strings in the harpsichord, spinet or virginal.

    0
    0
  • He endeavoured to illustrate the subject by a clavecin oculaire, or ocular harpsichord; but the treatise and the illustration were quickly forgotten.

    0
    0
  • In 1740, on the recommendation of the Dean of Hainburg, Haydn obtained a place in the cathedral choir of St Stephen's, Vienna, where he took the solo-part in the services and received, at the choir school, some further instruction on the violin and the harpsichord.

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    0
  • His father, Antonio Maria Martini, a violinist, taught him the elements of music and the violin; later he learned singing and harpsichord playing from Padre Pradieri, and counterpoint from Antonio Riccieri.

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  • It had originally been conceived for harpsichord, but had been extensively reworked for clavichord.

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  • In 1764, while visiting England, he composed several sonatas for violin and harpsichord and a number of symphonies.

    0
    0
  • John himself plays the harpsichord and is learning to play the tenor viol.

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