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Unformatted text preview: toucher le clavecin, Paris, 1716, ed.
of 1717, p. 10:
'A certain passage, being fingered in a certain way, produces a definite
"The manner of fingering is a great help to good playing.'
Text T ? On the harpsichord and clavichord, the principle of holding down
notes of the same harmony for as long as fingers can be spared—see 1
(g) above—means that arpeggio-like figures will often need to be
fingered as if for the corresponding chord.
POSTSCRIPT TO SECOND EDITION There are full and excellent discussions of early keyboard fingerings
both in Arnold Dolmetsch (Interpretation . . .) and in Eta HarichSchneider's Kunst des Cembalo-Spiels (see my Bibl.).
The following confirms Rameau at (741) above.
(752b) C. P. E. Bach, Essay, I, Berlin, 1753, III, 18:
'When slurs appear over broken chords, one can keep the whole chord
[sounding] at the same time.' As with all such refinements, the occasions on which the notation
shows any indication are few; the occasions on which they should be
used are numerous. From the musical effects, I am certain that this
building up of the sonority by holding down all possible harmony notes
(except where considerations of phrasing or articulation preclude it) is...
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- Spring '14