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  • Book General: THE Accompanist What

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    Lucas Reccitelli
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    This document outlines various aspects of expression, repeats, and tempo in early music performance. It discusses expression as a spontaneous impulse in early music and how repeats and omissions were used. It also examines tempo as a variable quality and how time-words from the early and later Baroque eras imply both mood and tempo. Finally, it explores dance tempos and how dance titles can guide the tempo of different dances such as the almain, ayre, and brawl.

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    Don 18

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    18

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    This document outlines various aspects of expression, repeats, and tempo in early music performance. It discusses expression as a spontaneous impulse in early music and how repeats and omissions were used. It also examines tempo as a variable quality and how time-words from the early and later Baroque eras imply both mood and tempo. Finally, it explores dance tempos and how dance titles can guide the tempo of different dances such as the almain, ayre, and brawl.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    10 views1 page

    Book General: THE Accompanist What

    Uploaded by

    Lucas Reccitelli
    This document outlines various aspects of expression, repeats, and tempo in early music performance. It discusses expression as a spontaneous impulse in early music and how repeats and omissions were used. It also examines tempo as a variable quality and how time-words from the early and later Baroque eras imply both mood and tempo. Finally, it explores dance tempos and how dance titles can guide the tempo of different dances such as the almain, ayre, and brawl.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    of 1

    CONTENTS

    XXXII. THE GOOD ACCOMPANIST


    1. What Makes a Good Accompanist page 302
    303
    2. Accompanying Recitative
    304
    3. Accompaniment as Composition

    BOOK THREE: THE EXPRESSION


    PART ONE: GENERAL
    XXXIII. EXPRESSION IN EARLY Music
    309
    1. Expression a Spontaneous Impulse

    XXXIV. REPEATS AND OMISSIONS


    the Performer's
    1. Repeats and Omissions within
    311
    Option
    311
    2. Regular Repeat Signs a Baroque Development
    313
    3. Repeats in Dances
    Repeats in Dance- Form Music
    4. 314
    5. Varied Repeats 314
    6. Omitting Movements or Sections 314

    PART TWO: TEMPO


    XXXV. TEMPO IN EARLY Music
    1 .
    Tempo a Variable Quantity 3I6
    2. Early Tempos Only to be Judged by Good
    Musicianship 317
    3. J. S,Bach's Tempos 318

    XXXVI. TIME- WORDS


    1. Time-Words Imply Both Mood and Tempo 320
    2. Early Baroque Time- Words 321
    3. Later Baroque Time- Words 322
    4. Metronome Equivalents for Time- Words 324

    XXXVIL DANCE TEMPOS


    L Dance-Titles as Guides to Tempo 326
    2. The Almain (AUemande* etc.) 327
    3. The Ayre 327
    4. The Brawl (Branle, Brando, etc.) 327
    14

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