At 8:52 AM -0400 8/3/07, Martin Banner wrote:
I am preparing a modern performing edition of an 18th Century sacred
Latin piece for chorus and orchestra, including continuo. As I am
preparing the keyboard realization of the figured bass, I think back
to the continuo keyboard parts I have played
On 6 Aug 2007 at 15:13, John Howell wrote:
And be aware (as you no doubt already are) that players capable of
realizing the figures themselves really hate having someone else's
realization in front of them, while inexperienced players (including
many students) do need something that lies
John Howell and David Fenton offer very good suggestions on this. I'll
offer a few of my own observations/preferences as a conductor, keyboard
player, and teacher:
As a conductor I very much prefer to see just the figures, no realization.
As a continuo player I like playing from the full
Martin Banner wrote:
I am preparing a modern performing edition of an 18th Century sacred
Latin piece for chorus and orchestra, including continuo. As I am
preparing the keyboard realization of the figured bass, I think back to
the continuo keyboard parts I have played from (mostly European
On 3 Aug 2007 at 17:13, dc wrote:
Martin Banner écrit:
I am preparing a modern performing edition of an 18th Century sacred
Latin piece for chorus and orchestra, including continuo. As I am
preparing the keyboard realization of the figured bass, I think back
to the continuo keyboard parts I
On 3 Aug 2007 at 10:03, dhbailey wrote:
Martin Banner wrote:
I am preparing a modern performing edition of an 18th Century sacred
Latin piece for chorus and orchestra, including continuo. As I am
preparing the keyboard realization of the figured bass, I think back
to the continuo
Cembalo is Italian for harpsichord. Some editions simply show
continuo for this part, as the choice of instrument is often determined
by circumstances at hand.
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
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