Foreword |
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xiii | |
Inspirational quotes |
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xix | |
Questions and Answers |
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xxi | |
About the Companion Website |
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xxiii | |
Acknowledgments |
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xxv | |
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PART THREE APPROACHING THE EARLY SEVENTEENTH-CENTURY ITALIAN SONATA |
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Lesson 24 Stepping Back in Time: Division Manuals 1535-1624. Ornamentation, Module Two |
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3 | (15) |
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4 | (1) |
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Learning to Dare: Developing Basic Improvisational Skills |
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5 | (2) |
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Sylvestro Ganassi's Fontegara (Venice, 1535) |
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7 | (1) |
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Studying Divisions from Ganassi's Fontegara |
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8 | (2) |
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Learning to Read Sixteenth and Seventeenth-Century Music from Facsimiles |
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10 | (1) |
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10 | (2) |
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Giovanni Bassano: Ricercate, passaggi et cadentie (Venice 1585) |
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12 | (1) |
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13 | (1) |
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Aurelio Virgiliano: Regole delta diminutione (c. 1600) |
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14 | (1) |
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Observations on Virgiliano's Regole |
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15 | (3) |
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A Florentine Interlude. Toward "The New Music": From Plato to Caccini |
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18 | (4) |
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Lesson 25 "The Noble Manner of Singing": Caccini's Le nuove musiche (1602) |
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22 | (9) |
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23 | (1) |
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Three Ways to Sing a Note |
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23 | (1) |
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Transferring Caccini's Cor mio, deh! non languire to the Violin |
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24 | (1) |
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The Trillo and the Gruppo |
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25 | (1) |
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Transferring the Vocal Trillo to the Violin |
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26 | (1) |
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27 | (1) |
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Transferring the Vocal Gruppo to the Violin |
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27 | (1) |
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27 | (1) |
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Transferring the Vocal Cascata to the Violin |
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28 | (1) |
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28 | (1) |
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Transferring Caccini's Deh, dove son fuggiti to the Violin |
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29 | (2) |
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Lesson 26 A Lesson from Francesco Rognoni Taeggio: Applying Vocal Technique to the Violin |
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31 | (7) |
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32 | (1) |
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32 | (1) |
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32 | (1) |
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33 | (1) |
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Del principiar sotto la nota |
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33 | (1) |
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34 | (1) |
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35 | (1) |
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Francesco Rognoni's "Way of Slurring" |
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36 | (1) |
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Observations on Rognoni's "Modo di lireggiar" |
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37 | (1) |
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Lesson 27 Giovanni Battista Fontana (1589 (?)--1630) Sonata Terza |
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38 | (15) |
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40 | (1) |
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Reading This Sonata in the Original Notation |
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41 | (1) |
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42 | (1) |
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42 | (1) |
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43 | (1) |
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43 | (4) |
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Tempo Relationships and Proportional Notation |
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47 | (6) |
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Lesson 28 Dario Castello: Sonata Prima, A Sopran Solo |
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53 | (31) |
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54 | (11) |
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Lesson 29 Giovanni Antonio Pandolfi Mealli: Sonata Quarta, op. 4, no. 4, La Biancuccia |
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65 | (1) |
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65 | (1) |
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66 | (1) |
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67 | (13) |
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A Roman Interlude: Transforming Visual Gestures into Sound |
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80 | (4) |
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Lesson 30 Ornamenting Corelli: Module Three including Tables of Ornaments Derived from the Sonatas of Corelli and Babell |
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84 | (11) |
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PART FOUR CHURCH MILITANT: THE SONATAS OF SCHMELZER AND BIBER |
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Lesson 31 Johann Heinrich Schmelzer (c. 1620-1680): Sonata Quarta from Sonatae unarum fidium (1664) |
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95 | (25) |
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96 | (11) |
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107 | (2) |
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Lesson 32 Heinrich Ignaz Franz von Biber: The Mystery Sonatas. Sonata no. 1: The Annunciation |
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109 | (1) |
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The Mystery Sonatas: An Introduction |
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109 | (1) |
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Sonata no. 1: The Annunciation |
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110 | (2) |
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112 | (1) |
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113 | (7) |
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Lesson 33 Heinrich Ignaz Franz von Biber: The Mystery Sonatas. Sonata no. 10: The Crucifixion |
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120 | (15) |
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120 | (3) |
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Symbolism and the Jesuits |
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123 | (1) |
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124 | (4) |
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The Rhetorical Fragments Described |
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128 | (7) |
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PART FIVE SUPREME REFINEMENT OF THE HUMAN SPIRIT: FRANCOIS COUPERIN AND THE MUSIC OF FRANCE |
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Interlude in Versailles: Approaching the Music of the French Baroque |
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135 | (7) |
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The Sun King and the Culture of Versailles |
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135 | (5) |
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The Social Status of the Violin in France |
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140 | (2) |
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Lesson 34 The "Concerts" of Francois Couperin: Ornamentation, Module Four |
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142 | (10) |
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142 | (3) |
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145 | (1) |
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146 | (1) |
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147 | (1) |
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148 | (1) |
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The Comma (Petit Silence) |
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148 | (1) |
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149 | (1) |
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150 | (1) |
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150 | (1) |
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150 | (1) |
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The Aspiration and the Suspension |
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150 | (2) |
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Lesson 35 To Soothe the Sorrows of a King. Francois Couperin: Septieme Concert (I) |
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152 | (8) |
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152 | (3) |
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155 | (3) |
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Postscript: Dynamic and Rhythmical Inegalite, a Personal View |
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158 | (2) |
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Lesson 36 Francois Couperin: Septieme Concert (II) |
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160 | (6) |
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160 | (1) |
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Georg Muffat on Lully's Bowings |
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160 | (2) |
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162 | (4) |
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Lesson 37 Francois Couperin: Septieme Concert (III) |
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166 | (11) |
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166 | (1) |
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167 | (2) |
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169 | (1) |
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170 | (1) |
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171 | (1) |
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172 | (5) |
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PART SIX APPROACHING THE GALANT |
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Lesson 38 Beyond "Beautiful": Searching for Meaning in Music |
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177 | (9) |
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Beautiful Sights and Beautiful Sounds |
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177 | (2) |
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179 | (1) |
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Der Vollkommene Capellmeister |
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179 | (2) |
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Identifying Affects in the Handel Sonata Movement |
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181 | (1) |
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182 | (4) |
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Lesson 39 Into the Calant: Tartini, Telemann, Quantz, and Zuccari: Ornamentation, Module Five |
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186 | (1) |
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186 | (5) |
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Telemann's Methodical Sonatas |
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191 | (2) |
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193 | (2) |
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195 | (2) |
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A Lesson from the Master: Quantz's Annotated Adagio |
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197 | (1) |
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198 | (5) |
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Lesson 40 A Brief History of Baroque Romanticism: Bach's Sei Solo |
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203 | (8) |
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210 | (1) |
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Lesson 41 Johann Sebastian Bach: Sonata I, BWV 1001, Adagio |
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211 | (16) |
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Bach's Written-Out Ornamentation |
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211 | (3) |
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214 | (2) |
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The Necessity of Illusion |
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216 | (4) |
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220 | (6) |
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226 | (1) |
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Lesson 42 Johann Sebastian Bach: Sonata I, BWV 1001, Fuga |
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227 | (12) |
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229 | (8) |
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237 | (2) |
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Lesson 43 Johann Sebastian Bach: Sonata I, BWV 1001, Siciliana |
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239 | (7) |
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241 | (3) |
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244 | (2) |
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Lesson 44 Johann Sebastian Bach: Sonata I, BWV 1001, Presto |
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246 | (10) |
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246 | (6) |
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252 | (2) |
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254 | (2) |
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Lesson 45 Intonation in Bach's Sei Solo |
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256 | (8) |
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Section One The Training of the Ear |
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256 | (1) |
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257 | (2) |
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259 | (2) |
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Section Two The Training of the Left Hand |
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261 | (1) |
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Playing Chords: The Left Hand |
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261 | (3) |
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Lesson 46 Johann Sebastian Bach: Partita III in E Major, BWV 1006, Preludio |
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264 | (11) |
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265 | (6) |
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Interlude: Bach and the Influence of French Culture in the German Lands |
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271 | (1) |
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272 | (3) |
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Lesson 47 Johann Sebastian Bach: Partita III in E Major, BWV 1006, Loure |
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275 | (9) |
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Tempo and Bowings in Bach's Loure |
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275 | (3) |
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Punctuation and Articulation in Dance Movements |
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278 | (1) |
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Punctuation and Articulation in Bach's Loure |
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278 | (1) |
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279 | (3) |
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Ornamentation in Bach's Dances |
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282 | (2) |
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Lesson 48 Johann Sebastian Bach: Partita III in E Major, BWV 1006, Gavotte en Rondeaux |
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284 | (9) |
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286 | (7) |
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Lesson 49 Johann Sebastian Bach: Partita III in E Major, BWV 1006, Minuets I and II |
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293 | (6) |
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294 | (1) |
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295 | (1) |
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295 | (2) |
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297 | (2) |
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Lesson 50 Johann Sebastian Bach: Partita III in E Major, BWV 1006, Bouree and Gigue |
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299 | (8) |
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299 | (1) |
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300 | (2) |
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302 | (1) |
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303 | (1) |
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304 | (3) |
Bibliography |
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307 | (10) |
Index |
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317 | |