An old-fingering method for students and performers of Baroque keyboards. After its first version of 1983, enhanced editions received very favourable comments,including an endorsement by Igor Kipnis.... More > This 6th revised edition, based on decades of studies and performance, is as always the most comprehensive work in the field, with 174 fingered passages and a bibliography of sources. Scales and other passages are resolved with fifty-plus fingering Rules based on examples with original fingerings from the Baroque era. Old fingerings are also suggested for difficult passages in the repertoire. Find a recently published review and excerpts in http://finger.braybaroque.ie/< Less
This is a comprehensive set of Baroque keyboard pieces, fully fingered according to the principles expounded in the eBook "Baroque Keyboard Fingerings: A Method" [also available from Lulu].... More > The scores included in this edition range from easy to advanced, and cover most of the technical difficulties and tonalities found in the Baroque repertoire, especially when playing scales and/or ornaments. A 13-page introductory text provides full details on the edition and on each piece, with suggestions for performance.
This edition is meant for players of all early-model keyboards: harpsichords, virginals, clavichords and organs. A few pieces are specific for the harpsichord. A piece for organ with pedals has also been included. The eBook is formatted for both easy printing and reading from any personal computer. Find more details and excerpts in http://master.braybaroque.ie/< Less
This is an integrated collection of updated and expanded essays, some of them endorsed by leading harpsichordists. Only a few chapters are specific for the harpsichord: most of the book applies to... More > all the Baroque keyboard instruments. Several colour figures are included, as well as musical examples from well-known Baroque works. The reader will find here the answer to long-standing problems. Thorough guidance is provided on difficult matters such as ornamentation, articulation, tempi, registration, sesquialter rhythms, notes inégales and further topics that have been found to be useful to the modern performer of Baroque keyboard music, whether amateur, advanced student or professional player. Find excerpts and a recent published review in http://play.braybaroque.ie/< Less
Theory, History and Practice of scales and tuning/intonation: 456 pages and 335 figures incorporating decades of new research in the field. PART ONE provides the acoustical background. The main... More > temperaments are then covered, with a thorough analysis of their musical features. Finally a HISTORICAL SURVEY guides the performer in the selection of temperament(s) for his/her repertoire. PART TWO consists of keyboard tuning and fretting instructions for several temperaments, plus unequal temperament directions for unfretted strings, voices, woodwinds and brass wind instruments, including variable intonation techniques. PART THREE covers multiple divisions of the octave and the analysis of historical sources, including some research results published here for the first time. See published reviews and a book preview in http://temper.braybaroque.ie/< Less
About Claudio Di Veroli
Born in Buenos Aires, he studied piano, woodwinds and later the harpsichord under Colin Tilney in London and Hubert Bédard in Paris. With a PhD in Mathematics from Imperial College, back to Argentina he introduced the authentic harpsichords, building a double French reviewed as the best instrument in S.America. His research and writings on early instruments and performance have been endorsed by leading musicians such as Gustav Leonhardt, Igor Kipnis and John Barnes. They include four favourably-reviewed books—all available from Lulu—and several papers. He was Professor of Harpsichord and examiner of Organ at the Conservatorio Nacional in Buenos Aires, and performed both instruments in different countries, with favourable reviews. In the Bach-year 1985 he premiered the performance of J.S. Bach’s harpsichord concertos using his reconstruction of Bach’s fingerings. Recent teaching practices include masterclasses in different countries. He relocated to Ireland in 2001.
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