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Articles 31 - 32 of 32
Full-Text Articles in Music Practice
Monsieur De Saint-Georges' 'Règles Pour L'Accompagnement': A Translation And Commentary, Sara-Anne Churchill
Monsieur De Saint-Georges' 'Règles Pour L'Accompagnement': A Translation And Commentary, Sara-Anne Churchill
Performance Practice Review
Saint-Georges' 'Règles pour l'accompagnement,' which provide instruction in figured bass realization at the harpsichord, are found in an undated manuscript (Paris, Bn, Vm8 1139). This article examines questions of authorship, date of copying, and the author's identity. The manuscript exhibits a close connection to Jean-François Dandrieu’s Principes de l’accompagnement du clavecin (1719) and probably represents an early version of that work.
It Can “Spoil All The Beauty”: The Duplicating Of Solo Dissonances In Seventeenth-Century Thorough-Bass Accompaniment, Roland Jackson
It Can “Spoil All The Beauty”: The Duplicating Of Solo Dissonances In Seventeenth-Century Thorough-Bass Accompaniment, Roland Jackson
Performance Practice Review
17th-century accompaniments avoid duplicating the dissonances present in solo parts. This is borne out in available written-out versions (composer's copies, orchestral scorings), e.g. by R. Dowland, Cesti, A. Scarlatti, and Purcell. The same is evident in unrealized accompaniments (bass lines with or without figures) if interpreted according to contemporary strictures (e.g. Rule of Octave). Following these guidelines, harmonizations are suggested for laments by Monteverdi, Cavalli, and Cesti.