The Baroque Violin & Viola vol. II A Fifty-Lesson Course

Foreword Introductory quotes Questions and Answers

Part Three Approaching the Early Seventeenth Century Italian Sonata

Lesson Twenty-Four. Stepping Back in Time: Division Manuals 1535-1624. Ornamentation, Module Two Divisions - Learning to Dare: Developing Basic Improvisational Skills - Sylvestro Ganassi's 'Fontegara' (Venice, 1535) - Studying Divisions from Ganassi's 'Fontegara' - Learning to Read Sixteenth and Seventeenth-century Music from Facsimiles - Note Values - Giovanni Bassano: 'Ricercate, passaggi et cadentie,' (Venice 1585) - Cadences - Aurelio Virgiliano: 'Regole Della Diminutione' (c 1600) - G. B. Spadi: 'Libro de passaggi ascendenti e descendenti' (Venice, 1624).

A Florentine Interlude. Towards 'The New Music:' from Plato to Caccini

Lesson Twenty-Five. The Noble Manner of Singing: Caccini's 'Le Nuove Musiche' (1602) Passaggi - Three ways to Sing a Note - The Intonatio - Con Grazia - The Esclamazione - Transferring Caccini's 'Cor mio, deh! non languire' to the Violin - The Trillo and the Gruppo - Transferring the Vocal Trillo to the Violin - The Gruppo - Transferring the Vocal Gruppo to the Violin - Rhythmic Alteration - Transferring the Vocal Cascata to the Violin - Sprezzatura - Transferring Caccini's 'Deh, dove son fuggiti' to the Violin.

Lesson Twenty-Six. A Lesson from Francesco Rognoni Taeggio: Applying Vocal Technique to the Violin El Portar della Voce - The Accento - The Tremolo - The Groppo - Del principiar sotto la nota - The Esclamatione - La Selva, Part Two - Francesco Rognoni's 'Way of slurring' -

Lesson Twenty-Seven. Giovanni Battista Fontana (1589 (?) - 1630) Sonata Terza The Tactus - Reading this Sonata in the Original Notation Clefs - Rests - Coloration - Tempo Relationships and Proportional Notation.

Lesson Twenty-Eight. Dario Castello: Sonata Prima, for Soprano Solo

Lesson Twenty-Nine. Giovanni Antonio Pandolfi Mealli: Sonata Quarta Opus 4, La Biancuccia 'Stylus Phantasticus' - Musica Ficta.

Lesson Thirty: Ornamentation, Module Three, including Tables of Ornaments Derived from the Sonatas of Corelli and Babell

A Roman Interlude: Transforming Visual Gestures into Sound

Part Four Church Militant: The Sonatas of Schmelzer and Biber

Lesson Thirty-One. Johann Heinrich Schmelzer: Sonata Quarta from 'Sonatae unarum fidium' (1664)

Lesson Thirty-Two. Heinrich Ignaz Franz von Biber: the Mystery Sonatas. Sonata No 1: the Annunciation The Mystery Sonatas: an Introduction - Reference to the Texts.

Lesson Thirty-Three. Heinrich Ignaz Franz von Biber: the Mystery Sonatas. Sonata No 10: The Crucifixion Scordatura - Symbolism and the Jesuits - The Rhetorical Fragments Described.

Part Five Supreme Refinement of the Human Spirit François Couperin and the Music of France

Interlude in Versailles: Approaching the Music of the French Baroque The Sun King and the Culture of Versailles - The Social Status of the Violin in France.

Lesson Thirty-Four. The 'Concerts Royaux' of François Couperin. Ornamentation, Module Four The 'Concerts Royaux,' an Introduction - Couperin's Agrémens, as found in the Septiéme Concert Royal - The Tremblement - The Pincé - The Port de voix - The Tierce de coulé - The comma (petit silence) - Notes inégales - Slurs - Pitch - Addendum: The Doublé - The Aspiration - The Suspension.

Lesson Thirty-Five. To Soothe the Sorrows of a King. François Couperin: Septiéme Concert Royal (I) Movement One (no title) - Allemande, Gayement - Postscript: Dynamic and Rhythmical inégalité, a Personal View.

Lesson Thirty-Six. François Couperin: Septiéme Concert Royal (II) Sarabande Grave - Georg Muffat on Lully's Bowings.

Lesson Thirty-Seven. François Couperin: Septiéme Concert Royal (III) Fuguéte - Gavote - Siciliéne.

Part Six Approaching the Galant

Lesson Thirty-Eight. Beyond 'Beautiful': Searching for Meaning in Music. Handel: Sonata in A Major Beautiful Sights and Beautiful Sounds - Handel and Mattheson - Der Vollkommene Capellmeister - Identifying Affects in the Handel Sonata Movement - Punctuation.

Lesson Thirty-Nine. Into the Galant: Tartini, Telemann, Quantz and Zuccari. Ornamentation Module Five Tartini: Grace notes - Trills - Vibrato (Tremolo) - The Turn - The Mordent - Cadences. Telemann's Methodical Sonatas. Telemann's Ornaments: Rising and falling appoggiaturas - Trills - Passing notes - Harmonising ornaments - Turns - Rhythmic variation - Ornamented Cadences - Tiratas. Quantz - A Lesson from the Master: Quantz's Notated Adagio - Zuccari.

Part Seven J.S. Bach

Lesson Forty. A Brief History of Baroque Romanticism: Bach's 'Sei Solo'

Lesson Forty-One. Johann Sebastian Bach, Sonata I, BWV 1001. Adagio Bach's Written-out Ornamentation - The Necessity of Illusion - A Controversial Note - Afterthought.

Lesson Forty-Two. Johann Sebastian Bach, Sonata I, BWV 1001. Fuga A Note on Resonance

Lesson Forty-Three. Johann Sebastian Bach, Sonata I, BWV 1001. Siciliana Hooked Bowings

Lesson Forty-Four. Johann Sebastian Bach, Sonata I, BWV 1001. Presto Bach and Rhetoric - On Slow practice.

Lesson Forty-Five. Intonation in Bach's 'Sei Solo.' The Training of the Ear - Intonation Analysis - Learning to hear quickly - The Training of the Left Hand - Playing Chords: the Left Hand

Lesson Forty-Six. Johann Sebastian Bach, Partita III in E Major, BWV 1006. Preludio

Interlude: Bach and the Influence of French Culture in the German Lands Bach and Dance

Lesson Forty-Seven. Johann Sebastian Bach: Partita III in E Major, BWV 1006 Loure Tempo and Bowings in Bach's Loure - Punctuation and Articulation in Dance Movements - Punctuation and Articulation in Bach's Loure - Ornamentation in Bach's Dances.

Lesson Forty-Eight. Johann Sebastian Bach. Partita III in E Major, BWV 1006. Gavotte en Rondeaux

Lesson Forty-Nine. Johann Sebastian Bach. Partita III in E Major, BWV 1006. Minuets I and II

Lesson Fifty. Johann Sebastian. Bach. Partita III in E Major, BWV 1006. Bourée and Giga

Notes to Lessons

Bibliography Index Acknowledgements