Allegro assai Sonata for Violin and Harpsichord in A, Andante un poco Sonata for Violin and Harpsichord in A, Presto Sonata for Violin and Harpsichord in A. Adagio Sonata for Violin and Harpsichord in E, 2. Allegro Sonata for Violin and Harpsichord in E, 3.
Adagio ma non tanto Sonata for Violin and Harpsichord in E, 4. Allegro Sonata for Violin and Harpsichord in E, 5. Allegro Sonata for Violin and Harpsichord in C minor, 7. Adagio Sonata for Violin and Harpsichord in C minor, 8. Allegro Sonata for Violin and Harpsichord in C minor, 9. Largo Sonata for Violin and Harpsichord in F minor, Allegro Sonata for Violin and Harpsichord in F minor, Adagio Sonata for Violin and Harpsichord in F minor, Vivace Sonata for Violin and Harpsichord in F minor, Allegro Sonata for Violin and Harpsichord in G, Largo Sonata for Violin and Harpsichord in G, Adagio Sonata for Violin and Harpsichord in G, Allegro Sonata for Violin and Harpsichord in G.
Allegro Concerto for Flute, 2. Adagio ma non Concerto for Flute, 3. Alla breve Concerto for Flute, 4. A Brandenburg Concerto No. Aria Goldberg Variations, 2. Canone all'Unisono Goldberg Variations, 5.
Canone alla Seconda Goldberg Variations, 8. Al tempo di Giga Goldberg Variations, 9. Canone alla Terza Goldberg Variations, Please login Please enter your access information on the righthand side, or sign up as a new member: Back Solo instruments Johann Sebastian Bach. Fugato in E minor.
Fugato, BWV 962, E Minor
Free sheet music for members. If you have fixed a notation mistake, then we would be grateful if you could inform us as such. Please indicate here which file and what have you improved. Musicalion Player Add new! Each string is held at the proper tension to sound the correct note. At one end, generally closest to the keyboard, each string is wound around a tuning pin , so that its tension may be adjusted by rotating the pin with a wrench or tuning hammer.
The tuning pins are held tightly in holes drilled in the pinblock or wrestplank , an oblong hard-wood plank.
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The other ends of the strings are fitted with twisted loopholes that pass over the hitchpins which are driven into the liner. Many harpsichords have exactly one string per note. There are several reasons why it is sometimes an advantage to have more. When there are two choirs of strings at the same length, it is possible to arrange for them to give different tonal qualities, and thus to increase the variety of sound produced by the instrument.
This is done by having one set of strings plucked closer to the nut the bridge-like device that terminates the sounding length of the strings than the other.
Plucking close to the nut emphasizes the higher harmonics , and produces a "nasal" sound quality. When two strings tuned to be the same pitch, or to an octave apart, are plucked simultaneously by a single keystroke, the note is louder and richer than one produced by a single string. The qualitative distinction is particularly noticeable when the strings are tuned an octave apart. When describing a harpsichord it is customary to specify its choirs of strings, often called its disposition.
Strings at eight foot pitch sound at the normal expected pitch, strings at four foot pitch sound an octave higher, and sometimes harpsichords have the rare foot pitch one octave lower than eight-foot or two-foot pitch two octaves higher.
When there are multiple choirs of strings, the player is often able to control which choirs sound. This is usually done by having a set of jacks for each choir, and a mechanism for "turning off" each set, often by moving the upper register through which the jacks slide sideways a short distance, so that their plectra miss the strings.
Bach, J.S.: Organ Music, Vol. 16 - NaxosDirect
In simpler instruments this is done by manually moving the registers, but as the harpsichord evolved levers, knee levers and pedal mechanisms were invented that made it easier to change registration. More flexibility in selecting which strings play is available in harpsichords having more than one keyboard or manual, since each manual can control the plucking of a different set of strings. In addition, such harpsichords often have a mechanism to couple manuals together, so that two can be used while actually playing on only one.
The most flexible system is the French shove coupler, in which the lower manual can slide forward and backward, so that in the backward position "dogs" attached to the upper surface of the lower manual engage the lower surface of the upper manual's keys.
Depending on choice of keyboard and coupler position, the player can select any of the sets of jacks labeled in figure 4 as A, or B and C, or all three. The English dogleg jack system is less flexible, in that the manuals are immobile. The dogleg shape of the set of jacks labeled A in figure 5 permits A to be played by either keyboard, but the lower manual necessarily plays all three sets, and the player cannot select just B and C as in the French shove coupler.
The use of multiple manuals in a harpsichord was not originally provided for the flexibility in choosing which strings would sound, but rather for transposition ; for discussion see History below.
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The case holds in position all of the important structural members: It usually includes a solid bottom, and also internal bracing to maintain its form without warping under the tension of the strings. Cases vary greatly in weight and sturdiness: Italian harpsichords are often of light construction; heavier construction is found in the later Flemish instruments and those derived from them see History, below.
The case also gives the harpsichord its external appearance and protects the instrument. A large harpsichord is, in a sense, a piece of furniture, as it stands alone on legs and may be styled in the manner of other furniture of its place and period. Early Italian instruments, on the other hand, were so light in construction that they were treated rather like a violin: Such tables were often quite high - until the late 18th century people usually played standing up.
Fugato in E Minor, BWV 962
Eventually, harpsichords came to be built with just a single case, though an intermediate stage also existed: Even after harpsichords became self-encased objects, they often were supported by separate stands, and some modern harpsichords have separate legs for improved portability. Many harpsichords have a lid that can be raised, a cover for the keyboard, and a stand for music. The terms used to denote the various members of the harpsichord family are now standardized.
This was not so in the harpsichord's heyday.
Fughetta in E Minor
In modern usage, "harpsichord" can mean any member of the family of instruments. More often, though, it specifically denotes a grand-piano -shaped instrument with a roughly triangular case accommodating long bass strings at the left and short treble strings at the right. The characteristic profile of such a harpsichord is more elongated than a modern piano, with a sharper curve to the bentside. The virginals is a smaller and simpler rectangular form of the harpsichord having only one string per note; the strings run parallel to the keyboard which is on the long side of the case.
A spinet is a harpsichord with the strings set at an angle usually about 30 degrees to the keyboard. The strings are too close together for the jacks to fit between them. Instead, the strings are arranged in pairs, and the jacks are in the larger gaps between the pairs. The two jacks in each gap face in opposite directions, and each plucks a string adjacent to a gap. A clavicytherium is a harpsichord with the soundboard and strings mounted vertically facing the player, the same space-saving principle as an upright piano.
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Since the strings run vertically, the jacks move horizontally, making the action of clavecytheria more involved than in a harpsichord. Some of the earliest harpsichords for which we have evidence are clavicytheria. One surviving example from the late 15th century is kept at the Royal College of Music in London.