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Historical Harpsichord Technique

Developing La douceur du toucher

Yonit Lea Kosovske

Publication Year: 2011

Yonit Lea Kosovske surveys early music and writing about keyboard performance with the aim of facilitating the development of an expressive tone in the modern player. Reviewing the work of the pedagogues and performers of the late Renaissance through the late Baroque, she gives special emphasis to la douceur du toucher or a gentle touch. Other topics addressed include posture, early pedagogy, exercises, articulation, and fingering patterns. Illustrated with musical examples as well as photos of the author at the keyboard, Historical Harpsichord Technique can be used for individual or group lessons and for amateurs and professionals.

Published by: Indiana University Press

Title Page, Copyright Page

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Table of Contents

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Acknowledgments

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pp. xi-

There are several people I wish to thank for helping to make the completion of this book possible: my former professors at the Indiana University Jacobs School of Music—Elisabeth Wright, Dr. David Lasocki, Stanley Ritchie, Nigel North, and Michael McCraw; the editorial staff at Indiana University Press—Jane Behnken, Sarah Wyatt Swanson, Elaine Durham Otto, June...

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Introduction: La douceur du toucher

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pp. 1-4

In his Klavierschule (1789), Daniel Gottlob Türk remarks, “That a beautiful tone is a requisite for good execution I can presume as an established fact. It is also known from experience that of two players, one is able to produce a far more beautiful tone on the same instrument than the other.” He then asks, “What is a beautiful tone?” Early writers did not consider that everyone...

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1. Preparing to Play

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pp. 5-39

Although the majority of keyboardists today begin their studies on the piano and later specialize in organ, harpsichord, or clavichord, there is a growing population of students who choose harpsichord from the start. We read from at least three early sources that the best time to begin is before the age of ten. François Couperin recommends: “The appropriate age for children to begin...

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2. Touching the Instrument

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pp. 40-69

As in most disciplines of the performing arts, physical and mental preparedness is beneficial to the process of learning pieces and perfecting one’s craft. For harpsichordists, this preparation includes exercising the hands both away from and at the keyboard. We recall Couperin’s suggestion to pull the fingers and stretch the hands before touching the keys. Players can do this alone or...

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3. Articulation

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pp. 70-110

Articulation is a cornerstone of many standard courses about Baroque performance practice. It is often taught in conjunction with the principles of rhetoric, phrasing, rhythm, and overall expression, with special emphasis on how these topics are based on historical sources. Until my first official harpsichord lesson in the early 1990s, I had never heard “articulation” mentioned...

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4. Fingering

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pp. 111-135

Several keyboard sources spanning the late Renaissance through the late Baroque promote comfortable fingering patterns and flawless technique requiring minimal motion. The motivation behind such choices is the same—to communicate the expressiveness of the music. In his Arte de tañer fantasia, after several pages devoted to fingering scale passages, Sancta Maria adds this...

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Conclusion

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pp. 136-

To summarize, the main points needed to achieve a good technique include but are not limited to (1) the use of an excellent instrument, (2) good musical training, (3) an upright and comfortable posture, (4) frequent practice, (5) relaxation, (6) supple fingers with independent and even strength, and (7) finger connection to the quill against the string. The following tools are needed in...

Appendix: Brief Biographical Notes on People Mentioned in the Text

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pp. 137-148

Notes

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pp. 149-184

Bibliography

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pp. 185-195

Index

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pp. 197-221


E-ISBN-13: 9780253001450
E-ISBN-10: 0253001455
Print-ISBN-13: 9780253356475

Page Count: 240
Illustrations: 13 b&w illus., 34 music exx.
Publication Year: 2011

Series Title: Publications of the Early Music Institute