Early Keyboard Music A Collection Of Pieces Written For The Virginal Spinet Harpsichord And Clavichord Volume 2 Primary Source Edition

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Excerpt from Early Keyboard Music, Vol. 2: A Collection of Pieces Written for the Virginal, Spinet, Harpsichord, and Clavichord Besides dances, composers of this period occupied themselves with Fantasias, Preludes, Toccatas, and Variations. The Toccata was one of the earliest specifically instrumental forms. It had no well-defined requirements; but one of its obvious features was a flowing movement, often regularly recurring figures, frequently of rapid running passages, with little decided melodic character; thus, like the Fantasia and Prelude, it was in the nature of a brilliant improvisation. In the Variation was soon found a medium for the development and display of the composer's ingenuity and the executant's technical facility; and it was considered appropriate to many of the dances just described. When composers came to perceive the value of the artistic balance and contrast to be obtained by grouping together dances of different tempos, rhythms and character, grave and gay, the Suite came into being. There was no definite rule, even in the latest and lightest development of the Suite, establishing the kind and order of the movements to be used; and in the earliest examples we find an infinite variety. However, the Suite was always in the same key throughout. By the beginning of the seventeenth century some general principles of choice and arrangement were cur rently accepted; with or without a Prelude, the Suite was often constituted of an Allemande, a Courante, a Sarabande and a Gigue, in the above order; but sometimes other movements were employed. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Well-tempered Clavichord: Forty-eight Preludes And Fugues For The Piano, Volume 2; The Well-tempered Clavichord: Forty-eight Preludes And Fugues For The Piano; Johann Sebastian Bach Johann Sebastian Bach Carl Czerny G. Schirmer, 1893 Canons, fugues, etc. (Piano); Piano music

The Harpsichord and Clavichord, An Encyclopedia includes articles on this family of instruments, including famous players, composers, instruments builders, the construction of the instruments, and related terminology. It is the first complete reference on this important family of keyboard instruments. The contributors include major scholars of music and musical instrument history from around the world. It completes the three-volume Encyclopedia of Keyboard Instruments.