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School for harpsichord in two volumes, edited by Kees Rosenhart and a foreword by Gustav Leonhardt. This famous school, which is recommended by many harpsichordists, is the tried and tested entrance for students coming from other keyboard instruments.

The Clavichord by Hanns Neutert - Barenreiter This is just a wonderful book. It presents unique, first hand knowledge of the clavichord by a person who not only knew, built and played the instrument himself but also had a deep knowledge of its historical and cultural background. A small book but possesses very interesting and rare information.

School for harpsichord in two volumes, edited by Kees Rosenhart and a foreword by Gustav Leonhardt. This famous school, which is recommended by many harpsichordists, is the tried and tested entrance for students coming from other keyboard instruments.

Fifteen pieces newly edited in this second edition, sourced from Parthenia (1612-13), and the Fitzwilliam Virginal Book. Contents: Alman: G major Alman: G minor Callino Custurame Coranto: A minor Coranto: C major Coranto: Lady Riche (ascribed) Galiarda: A Galiarda: D Galliard The Earl of Salisbury Gigg: F Tregian La Volta (FWVB 155) La Volta: Lady Morley Pavan: The Earl of Salisbury Rowland Wolsey’s Wilde (Wilson’s Wild)

UOEDM69 Contents: Preliminary Remarks The Touch Ornaments Scales Extensions - Arpeggios Alternating Hands Repeated Notes Double Notes - Polyphony - Octaves Leap - Cross-overs Hints on Performance Agility Etudes This manual sets out to analyse and tackle the key problems posed by harpsichord technique. Since people often begin to study the harpsichord after spending years learning the piano or the organ and playing music of the 19th and 20th centuries, they invariably come up against all sorts of technical problems. The technique used on the piano and organ is simply not suitable for an instrument in which the strings are plucked. The harpsichord is in fact a totally different instrument, with its own characteristics and requiring a specific technique. A misguided technical approach can have fatal consequences for the quality of the sound produced by the aspiring harpsichordist. The sound cannot be properly calibrated in the service of interpretation, and may well be marred by extraneous mechanical noises. In extreme cases, even when the performer is aiming to be stylistically correct, the technical problems can make for a performance which is at best laboured and may simply prove unattainable; it may also result in damage to the instrument. Thus it is vitally important for teacher and student to dedicate time to rethinking and rebuilding the student’s technique. The principles outlined here can be applied with just a few modifications to the clavichord and the fortepiano. The student will find three types of musical excerpts: purely technical exercises, which isolate the specific movement to be mastered; short fragments – what François Couperin styled évolutions – in which the movement is practised in a more authentic context; and studies which are more complex in scope. The author has chosen not to start from the elementary stage, since this is dealt with in other methods, but rather to go in some detail into the intermediate and advanced levels. The material has been largely transcribed or adapted from the harpsichord repertoire; in some cases Baiano has composed it himself. Except when it comes to scales, the author has deliberately avoided quoting from the recognised manuals. In the historical literature technical instructions tend to be of a general nature, while Baiano's aim here is to ‘take students by the hand’ and help them gradually to acquire (or perfect) the fundamental mechanisms which are indispensable for successful harpsichord playing. The author has also deliberately kept the section devoted to interpretation quite short: if one were to go in depth into all the problems concerned with style and expression (and could one ever cover them all?), this would require a massive volume all to itself. Besides, the danger is always for a written text to turn into dogma, laying down sterile rules which cannot possibly encompass all the infinite variables that crop up in musical discourse. Music has to be made; it can only be explained up to a point. Thus Baiano has chosen to restrict himself to a few words of advice, just to start the performer off, aware that whatever he says will have its limits in practice. He remains convinced that personal experience and work alongside a teacher are immeasurably more fruitful.

ED11837 12 Easy pieces compiled by Maria Boxall. Air del. sor. Hendell Air Air (Lesson by Lully) Musette Menuet Menuet (bon) Tamo Tanto Menuet del Seg. Handell Gavotte Gavotte (Couperin La Bourbonoise)

A Historical Guide to the Basics

London c.1742

Containing Instructions for Learners by Henry Purcell, with a collection of pieces by Purcell, Clarke and others

Harpsichord pieces by Elisabeth-Claude Jacquet de la Guerre.

A selection of pieces from Volume LXXII of Musica Britannica , edited by Robert Klakowich. John Blow stands as the dominant figure of English harpsichord composition in the late seventeenth century. Includes 5 almands, 4 corrants and 5 sarabands among other assorted works.

Transcribed and edited by Stephen D. Tuttle and revised by Thurston Dart and John Irving. Contents: Galliard: Earl Strafford (Short version) Galliard of Three Parts Galliard: September 7th 1654 Lady Folliott’s Galliard Pavan: Earl Strafford (short version) Pavan of Three Parts Pavan: Lord Canterbury Pavan: September 10th 1647 Pavan: September 14th 1647 Pavan: August 20th 1650 Pavan: September 4th 1654 Sad Pavan (for these distracted times) Short Pavan: July 19th 1654 Toy: Made at Poole Court Worster Brawls

Ten pieces by William Kinlock, Duncan Burnett and others, together with a short selection of Scots airs for cittern and for violin. All taken from four manuscripts which form part of Lord Dalhousie's fine collection of seventeenth-century music books. Transcribed and edited by Kenneth Elliott. Contents: ANONYMOUS (Almayne; Coranto; Galliard; Green grows the rushes (Violin); Ile of Rea (Cittern); Jhon come kisse me noue (Cittern); Kathren Oggie (Violin); Last time I came over the mure (Violin); Laydie Louthian’s lilte (Cittern); Pavan: The queine of Inglands Lessoune; Sueit smylling Katie loves me (Cittern)) BURNETT, Duncan (Pavan) JOHNSON, Edward (Pavan: Jhonstounis delyt) KINLOCH, William (Galliard of the Lang paven; Kinloche his Fantassie; Kinloch his Lang pavane) LASSO, Orlando di (Sussanna (Un Jour))

Pieces for Harpsichord by Antoine Forqueray.

Fourth Part of the Clavier Übung

First Set of 1720 The Eight Great Suites

These pieces, transcribed and edited by Gerald Henrie, have been selected from Volume XX of Musica Britannica . Contents: Alman (Tone 1) French Air Galliard (Tone 1) (No. 21 in Musica Britannica) Galliard: Lord Salisbury Ground; Pavan (Tone 3) Pavan: Lord Salisbury Peascod Time: or, The Hunt’s Up