On the Execution of Music And Principally of Ancient Music
The book On the Execution of Music And Principally of Ancient Music was written by author Here you can read free online of On the Execution of Music And Principally of Ancient Music book, rate and share your impressions in comments. If you don't know what to write, just answer the question: Why is On the Execution of Music And Principally of Ancient Music a good or bad book?
Where can I read On the Execution of Music And Principally of Ancient Music for free?
In our eReader you can find the full English version of the book. Read On the Execution of Music And Principally of Ancient Music Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book On the Execution of Music And Principally of Ancient Music
In our eReader you can find the full English version of the book. Read On the Execution of Music And Principally of Ancient Music Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book On the Execution of Music And Principally of Ancient Music
What reading level is On the Execution of Music And Principally of Ancient Music book?
To quickly assess the difficulty of the text, read a short excerpt:
One must be governed by the declamation, and not by the written note indicating a long or short duration. The proof of this is to be seen when the violins and the voice are in unison the way of writing them is different.
A great obstacle to executing ancient works from the eighteenth century on is in the interpretation of grace notes, "appoggiaturas" and others. In these cases there is an unfortunate habit in players of con- forming to their own taste, which may guide a little, but cannot suffi...ce in every instance. One can be con- vinced of this in studying The Method of Violin by the father of Mozart. We find there things which one would never dream of.
The "appoggiatura" 4 (from appoggiare, which in Italian means "to lean upon"), should always be long, the different ways in which it may be written having no influence upon its length. There is an ex- ception to this when its final little note, ascending or descending, and preceding the larger note, is distant from it a disjointed degree.
What to read after On the Execution of Music And Principally of Ancient Music?
You can find similar books in the "Read Also" column, or choose other free books by Camille Saint-Saëns to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
One must be governed by the declamation, and not by the written note indicating a long or short duration. The proof of this is to be seen when the violins and the voice are in unison the way of writing them is different.
A great obstacle to executing ancient works from the eighteenth century on is in the interpretation of grace notes, "appoggiaturas" and others. In these cases there is an unfortunate habit in players of con- forming to their own taste, which may guide a little, but cannot suffi...ce in every instance. One can be con- vinced of this in studying The Method of Violin by the father of Mozart. We find there things which one would never dream of.
The "appoggiatura" 4 (from appoggiare, which in Italian means "to lean upon"), should always be long, the different ways in which it may be written having no influence upon its length. There is an ex- ception to this when its final little note, ascending or descending, and preceding the larger note, is distant from it a disjointed degree.
What to read after On the Execution of Music And Principally of Ancient Music?
You can find similar books in the "Read Also" column, or choose other free books by Camille Saint-Saëns to read onlineMoreLess
Write Review:
Guest
Read Also
9 / 10
User Reviews: