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Unformatted text preview: xt (b) The ideal approach is to feel the keys before depressing them. This
is not peculiar to the harpsichord: pianists, especially those whose
tradition descends along the great Czerny and Leschetizky line, recognise
the same ideal. In practice, it cannot be done above a certain speed, but
there is a certain feline smoothness which comes very near to it. The
opposite to this is throwing the hands at the keys from a height, which
sends the jacks up too violently for the quills to take a proper hold on the
strings before plucking them. The result is a quite remarkably hard,
metallic and jangling tone.
(731) Fran9ois Couperin, UArt de toucher le clavecin, Paris, 1716, ed.
of 1717, p. 7:
'The sweetness of the touch depends on holding the fingers as near to
the keys as possible . . . a hand which falls from a height gives a drier
stroke than if it touches from close; and the quill draws a harder sound
from the string.' (732) Jean-Philippe Rameau, Pieces de clavecin, Paris , preface
'The greater movement should never be made except where the lesser
will not suffice . . . e...
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This document was uploaded on 03/14/2014 for the course MUS 352 at Azusa Pacific.
- Spring '14