Unformatted text preview: which is less than firm, however,
merely fails to get the string into proper vibration, and sounds not soft
but weak. The hand should grasp the keys with the grip of an eagle.
(735) Joachim Quantz, Essay, Berlin, 1752, XVII, vi, 18:
'It is necessary for ah1 the fingers to play with an equal force and with
the right weight; the strings have to be given time enough to come into
vibration undisturbed, and yet the fingers have to be pressed down not
too slowly, but on the contrary, in one motion with a certain force
puts the strings into sufficient vibration.' (736) C. P. E. Bach, Essay, II, Berlin, 1762, XXIX, 26:
'In accompanying, just as much as in playing solos, a continual playing on
the surface of the keys must be avoided: on the contrary, they must 1 ' (d) The 'follow-through' is as important to good harpsichord touch as
it is in golf or tennis (it probably minimises the faint impurity caused by
the quill falling back into position again past the string).
(738) Joachim Quantz, Essay, Berlin, 1752, XVII, vi, 18:
'[In runs] the fingers should not be lifted brusquely; you must draw the
tips back to the near end of the key, and slide them off in this way, which
will secure the clearest possible performance of the runs. My opinion...
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This document was uploaded on 03/14/2014 for the course MUS 352 at Azusa Pacific.
- Spring '14