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Unformatted text preview: 4) Johann Nikolaus Forkel, On Joh. Seb. Bach's Life, Art
and Works, Leipzig, 1802, transl. C. S. Terry, London, 1920, p. 49: Fingers bent and
to the plane of the
keys '[J. S.] Bach placed his hand on the finger-board so that his fingers
were bent and their extremities poised perpendicularly over the keys in a
plane parallel to them. Consequently none of his fingers was remote from
the note it was intended to strike. [So placed] the fingers cannot fall or Fingers PLACED
(as so often happens) be thrown upon the notes, but are placed upon them. rather than fallen
. . . We gather that the action of Bach's fingers was so slight as to be or thrown on the
barely perceptible. Only the top joint seemed to move. His hand pre- keys
served its rounded shape even in the most intricate passages.' (c) Though the approach must be smooth, the depressing of the
keys must be firm even for soft effects, and very strong for loud effects. Depressing of the
The dynamic contrast made by strengthening the touch is not great on keys
the harpsichord, but it is sufficient to mould a phrase or give an impression of loud and soft playing. A touch...
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This document was uploaded on 03/14/2014 for the course MUS 352 at Azusa Pacific.
- Spring '14