Clavichord for Beginners

Notes

111 Notes 1. Clavichord for All Keyboardists 1. For information on early pianos, see Coles, The Pianoforte in the Classical Era; Harding, The Piano-Forte (for excellent drawings of the action); Good, Giraffes, Black Dragons, and Other Pianos; and Pollens, The Early Pianoforte. 2. See Kottick, Early Keyboard Instruments. 3. Mason, Memories of a Musical Life, 18. 4. David and Mendel, The New Bach Reader, 334–35. 5. Bach, Geistliche Gesäng nach Christoph Christian Sturm. 2. Preparing to Play 1. Benson, “Qigong for Pianists.” 2. C. P. E. Bach, Essay, 42–43. 4. Clavichord Lessons, Series II 1. Türk, School of Clavier Playing, 133. Also see Bach, Essay, 44–47. 5. Preparing for Pieces 1. Bach, Essay, 101. For Emanuel Bach’s complete text on the trill, see 99–112. 2. Ibid., 101. 3. For Türk’s complete text on the trill, see his School of Clavier Playing, 245–64. 4. Ibid., 29. 5. Bach, Essay, 110. 6. Ibid., 101. 7. Ibid. 8. For the term “suffix,” see ibid., 103. 9. Ibid., 104. 10. For more details, see ibid., 127–32. 11. Ibid., 129. 12. Ibid., 87. 13. Türk, School of Clavier Playing, 281. 14. Bach, Essay, 156. 15. Burney, The Present State of Music, 269–70. 16. Bach, Essay, 81. 17. Ibid., 82. 112 Notes to Pages 68–83 7. exploring the Past 1. Apel, The History of Keyboard Music; and Silbiger, Keyboard Music. 2. See Kosner, “Arnaut de Zwolle”; Huber, “The Clavichord,” 5–12. 3. Ripin, “The Early Clavichord.” 4. See Wallner, Das Buxheimer Orgelbuch. 5. Soderlund, How Did They Play?, 23. This well-documented book has been useful for my research because it gives a detailed overview of keyboard technique from the fifteenth through the nineteenth centuries. 6. Rodgers, “Early Keyboard Fingering,” 172. Consult also the section on Buchner (7–14) and the facsimile and translation of Fundamentum (172–80). 7. Ibid., 8–9. 8. For the entire piece, see Soderlund, How Did They Play?, 24. 9. Keyboard transcriptions of some of Isaac’s vocal pieces are included in Amerbach , Die Tabulaturen. 10. Ibid., 8. 11. Picker, “Henry Bredemers.” 12. Brauchli, The Clavichord, 52. 13. Ibid., fig. 316. 14. Ibid., fig. 3.17, or on the cover, in color. 15. Ferer, Music and Ceremony. 16. See Ferer, “The Capilla Flamenca.” 17. See Cabezón, Collected Works. 18. For a picture of this technique, see Brauchli, The Clavichord, 74. 19. Rodgers, “Early Keyboard Fingering,” 229. 20. Santa María, The Art of Playing the Fantasia, 118–20. 21. See Hogwood, “The Clavichord.” 22. See Adlam, “An English Repertoire.” 23. See Soderlund, How Did They Play?, 50. 24. Ibid. 25. See Attaignant, Transcriptions. 26. See Chambonnières, Oeuvres complètes. 27. Froberger, New Edition, IV.1:22. 28. Ibid., IV.1:xxxvii. 29. Bach, The Letters, 72. 30. Fischer, Sämtliche Werke, 12. 31. For the short octave, C is on E, D on F#, E on G#, with F in its normal place. Sometimes F# and G# keys are divided in half so that F# contains D and F#, and G# contains E and G#. 32. Fischer, dedication to Blumen-Büschlein, in Sämtliche Werke. 8. exploring eighteenth-Century germany 1. Butt, “Bach’s Metaphysics,” 52. 2. Forkel, On Johann Sebastian Bach’s Life, 436. 113 Notes to Pages 83–103 3. Stauffer, “Changing Issues,” 218. 4. Little and Jenne, Dance, 14. 5. See Hilton, Dance and Music. 6. Bach and Agricola, Obituary of J. S. Bach. 7. Türk, School, 146. 8. For further information on J. S. Bach, see David and Mendel, The New Bach Reader; Troeger, Playing Bach; and Butt, The Cambridge Companion. 9. Burney, The Present State, 2:269–70. 10. Johann Joachim Quantz, flute virtuoso, Frederick the Great’s teacher, and Emanuel Bach’s colleague, wrote Versuch einer Anweisung die Flöte traversiere zu spielen (On Playing the Transverse Flute), first published in 1752. 11. Bach, open letter published in the Hamburger unpartheischer Correspondent, 1773, in Essay, 4. 12. Bach, Essay, 147. 13. Ibid., 52. 14. Ibid., 153. 15. Ibid., 41–78. (It is important to have read the entire book.) 16. Ibid., 58. 17. Ibid., 57. 18. Isolated cases include La Philippine (1755), the undated Allegretto in F (Wq 116/19), and the Allegro in D (Wq 116/20). More important are his two volumes of Short and Easy Clavier Pieces for Beginners, with Varied...