Search Results: 'Harpsichord'

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215 results for "Harpsichord"
Talking Harpsichords By Alastair McAllister
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Talking Harpsichords is an attempt to bring more into focus the world of the harpsichord. Importantly, it is also an expression of appreciation to all those who have helped this traveller achieve the... More > making of some good instruments. In addition, the writer believes that we are, each one of us, and from time to time, entitled to be amused: so may it be.< Less
Talking Harpsichords By Alastair McAllister
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Talking Harpsichords is an attempt to bring more into focus the world of the harpsichord. Importantly, it is also an expression of appreciation to all those who have helped this traveller achieve the... More > making of some good instruments. In addition, the writer believes that we are, each one of us, and from time to time, entitled to be amused: so may it be.< Less
History of the Hazlerig Harpsichord By Sylvia Earnhart Hazlerig
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This is a history of the Zuckermann harpsichord built in 1963 by Sylvia's husband Jack Hazlerig.
Six Setts of Lessons for the Harpsichord By Grant Colburn
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Six Setts of Lessons for Harpsichord.This book was the first complete volume of all new music written by Grant Colburn. Originally completed in 2005 this book has been retypeset and edited for its... More > present publication.< Less
Dealing with Difficulties at the Harpsichord By Peter Mole
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A set of notes from harpsichord lessons undertaken by the author, who started playing at the age of 59. The objective of this volume is to help those who are late starters at the harpsichord, or... More > those who have not yet started, but are contemplating doing so. All proceeds from the sale of this booklet will be donated to the Friends of the Bate Collection of Musical Instruments, University of Oxford.< Less
Six Spanish Lessons for Harpsichord By John Carbon
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These six character pieces for harpsichord were composed during the summer of 1988 when the composer was enjoying Spanish lessons in the garden of a friend. The topics are animals, nature, fine food... More > and Domenico Scarlatti.< Less
Six Spanish Lessons for Harpsichord By John Carbon
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These six character pieces for harpsichord were composed during the summer of 1988 when the composer was enjoying Spanish lessons in the garden of a friend. The topics are animals, nature, fine food... More > and Domenico Scarlatti.< Less
8 Pieces for Harpsichord By Peter Goossen
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This Book contains 8 pieces of music in a classical style written for harpsichord (or piano), printed on 23 pages. The pieces vary in difficulty but should be playable for anyone with apr. 3 years of... More > experience. 1. Sad Dance (2 pages) 2. Changing Moods Walk (3 pages) 3. Number 4 (3 pages) 4. from Houston (3 pages) 5. Three Piece Suit for Anne, part 1 (3 pages) 6. Three Piece Suit for Anne, part 3 (3 pages) 7. Andantino in Em (3 pages) 8. The happy Piano Player (3 pages)< Less
8 Pieces for Harpsichord By Peter Goossen
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This Book contains 8 pieces of music in a classical style written for harpsichord (or piano), printed on 23 pages. The pieces vary in difficulty but should be playable for anyone with apr. 3 years of... More > experience. 1. Sad Dance (2 pages) 2. Changing Moods Walk (3 pages) 3. Number 4 (3 pages) 4. from Houston (3 pages) 5. Three Piece Suit for Anne, part 1 (3 pages) 6. Three Piece Suit for Anne, part 3 (3 pages) 7. Andantino in Em (3 pages) 8. The happy Piano Player (3 pages)< Less
Concertos for two harpsichords By Edward Smith
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F. Couperin, in his preface to his trio-sonata L’Apothéose de Lully, declares that the work may be performed “in a satisfactory way” with two harpsichords instead of two... More > violins and continuo, the players’ right hands taking the upper parts, and the left hands doubling the bass. This is how he performs such works at home, he assures us, for “it is easier to find two harpsichords than three string instruments”. The present transcriptions exploit the special sonority of the harpsichord, and the original works were selected for their multiple voices that could be distributed between the two instruments in a way to enrich the texture as much as possible. Rameau’s colourful and unusual instrumentation is ideal for this sort of treatment, as is Vivaldi’s quartet-concerto RV 107. The same composer’s Op. 3 no. 7 for string trio plus strings and continuo had already been transcribed for organ by J. S. Bach, and seemed to invite a further elaboration to create the maximum sonority possible for two harpsichords.< Less