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Partitions
- Accordeon
- Alto
- Banjo
- Basson
- Carillon
- Chansons pour les enfants
- Chant classique
- Choeur
- Choeur et orchestre
- Clarinette
- Clavecin
- Contrebasse
- Cor
- Directiepartituren
- Ensemble
- Ethnic instruments
- Etnische tokkelinstr.
- Flûte à bec
- Flûte et piccolo
- Guitare
- Guitare basse
- Guitare électrique
- Hafabra
- Harmonica
- Harmonium
- Hautbois et cor anglais
- Herpe
- Jazz et improvisation
- Kamermuziek gemengd
- Keyboard
- Luth
- Mandoline et mandole
-
Musique de chambre
- Fluit en gitaar
- Historical instruments with strings
- Instruments historiques à vent
- Kamermuziek blazers
- Kamermuziek blazers (diverse zonder piano)
- Kamermuziek blazers met piano
- Kamermuziek houtblaaskwintet
- Kamermuziek koopjes
- Kamermuziek koperkwintet
- Kamermuziek strijkers (zonder piano)
- Kamermuziek strijkers met piano
- Kamermuziek strijkkwartet
- Various ensembles without piano
- Various ensembles with piano
- Musique du monde
- Musique pop
- Opéra
- Orchestre
- Orgue
- Orgue electronique
- Percussion
- Piano
- Real books
- Saxophone
- Shows et films
- Songbooks
- Trombone et trombone basse
- Trompette
- Tuba et euphonium
- Ukulélé
- Violon
- Violoncelle
- Solfège et théorie de la musique
-
Livres sur la musique
- Compositeurs
- Esthétique musicale, philosophie
- Facsimilés
- Histoire de la musique
- Instruments
- Koopjes
- Literature- livres audio
- Littérature – fiction
- Littérature – non-ficton
- Livres pour enfants
- Musiciens
- Musicologie
- Musicothérapie
- Musique et culture
- Notation musicale
- Pédagogie
- Pratique de la performance
- Styles de musique
- Technique musicale et électronique
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Accessoires
- Accessoires alto
- Accessoires basson
- Accessoires clarinette
- Accessoires contrebasse
- Accessoires cor
- Accessoires flûte
- Accessoires flûte à bec
- Accessoires guitare
- Accessoires hautbois
- Accessoires mandoline
- Accessoires piano
- Accessoires saxophone
- Accessoires trombone
- Accessoires trompette
- Accessoires violon
- Accessoires violoncelle
- Anches pour clarinette
- Anches pour saxophone
- Baguettes de direction
- Cordes pour alto
- Cordes pour banjo
- Cordes pour contrebasse
- Cordes pour guitare
- Cordes pour guitare basse
- Cordes pour guitare electrique
- Cordes pour mandoline
- Cordes pour ukelélé
- Cordes pour violon
- Cordes pour violoncelle
- Eclairage
- Métronomes et accordeurs
- Protection auditive
- Pupitres
- Software
- Cadeaux et papeterie
Generalbass-Übungen
- Instrument
- Klavecimbel
- Auteur/Compositeur
- Erich Wolf
- Éditeur
- Breitkopf & Härtel
- Article
- Partition
The material contained in this volume is, as far as possible, arranged in progressive order. The three sections into which the work is divided correspond roughly to an elementary, an intermediate and an advanced stage of instruction. All the exercises, with the exception of the preliminary exercises, are excerpts from original compositions of the thorough-bass period; the majority of the chorales has been taken from old collections. The exercises should be carried out in accordance with the following principles:
- Chorales are played strictly in four parts; the given melody is always the topmost voice. The four-part texture includes the possibility that on occasion two voices may arrive at a simultaneous unison, so that in actual fact only three keys will in that case be depressed. On rare occasions, chords that demand five parts may be called for in chorales. (In this volume, chorales are distinguished by being printed with continuous bar-lines extending across both staves of each system.)
- Recitatives are normally performed in three to four parts. As the vocal line should not be duplicated in the accompaniment, the top line of the latter is determined in an easy and natural way by the smooth linking of the chords. The contour of the vocal line can from time to time provide the skeleton for the progress of the accompaniment's top line.
- The accompaniments of instrumental pieces, songs and arias is
in anything from two to many parts; the number of parts used can
also vary during the course of a piece. In the case of
rapidly-moving individual parts, a thinner texture is recommended,
whereas calm harmonic progressions and isolated chords can be
played more fully.
Good continuo style does not, however, consist of a plain succession of chords, but includes passages in which the part-writing results in an emphasis on the horizontal aspect, and in which the separate parts can acquire a certain individual Iife of their own by virtue of their rhythmic independence. - The exercises contained in this volume should be played on a keyboard instrument. Beginners are, however, recommended in addition to work out occasional ones of the problems on paper.
Since a secure feeling for style and a thorough knowledge and understanding of Baroque keyboard writing is essential for good continuo playing, the student is recommended not only to play original Baroque keyboard music, but also to study already-realized figured-bass parts and to play such parts frequently. The more recent collected editions of the important composers of the thorough-bass period include continuo parts that are, almost throughout, model examples of the art of continuo realization.