Divided into two parts, the book combines TOUCH AT THE HARPSICHORD, in part one, with RHETORIC AT THE KEYBOARD (or, performance practice) in part two.

The book is spiral bound and designed for use at the keyboard, with or without a teacher. It features 30 teaching pieces from the Bach/Ricci "Methode ou Receuil de Connaissances elementaires pour le piano forte ou clavecin" of 1786.

Also featured are pieces to play by Louis & Francois Couperin, J. S. Bach and Georg Böhm. An appendix of recommended starting pieces follows.

What this book is about...

Part One of Harpsichord Technique is about making beautiful sounds on an instrument which, unlike the piano, cannot change from soft to loud or vice versa.

Despite this limitation, the harpsichord can be a beautiful, spell binding instrument when played sensitively.

That is the key! Sensitivity to what? Sounds! We must be careful listeners. Strange as it may seem, many musicians, both professional and amateur, are not careful, discerning listeners. Consequently their harpsichord playing doesn't sound any different than their organ or piano playing.

Interestingly enough, it is often non musicians or amateur players who are most capable of detecting subtle differences in harpsichord playing. "You use a variety of touches in your playing and it makes the music more interesting and exciting," I was told recently. Yes, that's what harpsichord playing is all about!

Since the piano, organ and harpsichord are three distinct instruments, one must play them differently, like it or not. And playing means touching.

Touch at the Harpsichord is Part One of this book. The first paragraph in Chapter One reads: "To begin, we must develop the arts of listening and discernment. Listen to all sounds produced on the harpsichord, and be discerning of them. Critique the initial sounds produced by your touch."

What about Part Two, Rhetoric at the Keyboard? Articulation...,
Strong vs Weak Beats and Measures..., Rules for Determining Accent...,
Discovering and Communicating Affect (mood)..., Rhythmic Alterations..., and Prose and Verse in Baroque Music... are some of the topics covered in detail under "Rhetoric."

There is also an introduction to the most familiar Baroque dance movements. All of these are the meat and potatoes of a historically informed performance, and as such, make up the bulk of this book.

For expressivity must include "theatrics" along with touch and articulation. CPE Bach summed up expressivity well when he wrote in his Essay on the True Art of Playing Keyboard Instruments: "What comprises good performance? The ability through singing or playing to make the ear conscious of the true content and affect of a composition." (Translated from the German and edited by William J. Mitchell. New York: W. W. Norton, Inc. 1949, p. 150).

You will also find a complete bibliography and 3 useful appendices.

These are the concepts which set this book apart from other instruction books. If you take the trouble to work with this book at a harpsichord, (especially if you use the recordings) your touch and knowledge of Baroque performance will improve. If you only read the book sitting in an armchair, I cannot guarantee anything except a good read! - Nancy Metzger .

"Suites and Treats" covers other pieces mentioned in the book.

Page 12 from the 2nd ed. of Harpsichord Technique: A Guide to Expressivity

Book with 2 CD's included: $44.00

Add Wine for the Soul CD for 60% off (w/ book order only) $6.00

CD "Suites and Treats" (when sold separately): $12.00

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