Harpsichord training method

Here, we are starting from nothing. It is the ABC's of music. The basics of learning and localizing notes are laid down, as well as the first steps in touch, hand coordination and displacement, motor skills, and articulation.

This volume is a transitory phase. It contains less pages, but there is more to do. We reinforce the skills acquired in Volume 1, and prepare the pupil to play more important pieces. We introduce the English virginalists and their ornamentation. The pupil is going to play pieces where each hand plays several notes. We begin a study of Major scales in historical fingerings, introduce historical exercises, and the concept of notes inégales. We also begin a study of Basso Continuo and Diminutions.

We continue our study of Basso Continuo and Diminutions. We study selections from suites and introduce polyphony and the unmeasured prelude.

This volume discusses J.S. Bach's fingering. The pieces are considerably longer. We continue our study of Articulations. The German, French, Italian, and English Schools are represented here.

We complete our study of Diminutions and start a study of Ornamention from the period 1680-1750 and how to incorporate it in the repertoire. We introduce the Dutch School and study exercises Bach might have known.

We begin studying selections from the larger suites and continue our study of the English virginalists and unmeasured prelude. The polyphonic articulation exercises permit the pupil to acquire more independence. The pupil is offered the opportunity to improvize ornaments in a fantasia. Performance Practice notes are given when necessary.

This volume prepares the pupil for the repertoire that will be studied in Volume 8, which is a summa of diverse styles and historical information. In Volume 7, we continue our study of selections from the larger suites, play selections from the Wegweiser, an organ method Bach might have known, and meet the acquaintance of Domenico Scarlatti. The Localizing Notes exercises we had in Volumes 1 to 6 serve as a preparation for Sight-reading, and here are the first exercises.

In this volume, we treat more polyphony and counterpoint, study Early Italian Baroque fingerings, learn how to prepare an unmeasured prelude, approach Late Medieval repertoire, discuss the earliest fingerings, explain "musica ficta", approach the Spanish Renaissance, the English Virginalists, as well as the North German School, and learn an entire suite by Rameau. We continue our study of Ornamentation and Improvization, Sight-reading, and Basso Continuo.

This volume treats more important works by François Couperin, Kuhnau, Sweelinck, Gibbons, Domenico Scarlatti, J.S. Bach, Frescobaldi, Froberger, Byrd, d'Anglebert, and we learn a suite by Handel. As for Basso Continuo, we study single suspensions and the seventh chord such as they are found in the context of selected works.