Відео

Der Satz aus der Claviersonate klingt irgendwie deutlich "moderner" als die Lebensdaten des Komponisten vermuten lassen, oder täusche ich mich? Tolle Performance, vielen Dank!

Thank you.

Thank you for your explanation. Very useful for my pupils.

Do notice the pins in the block are laid out to mimic the keyboard.

What a fantastic gem to find! I dabble in Baroque and harpsichord music as a composer and this is fantastic! Thank You so much for sharing and playing and giving us a great insight into mean temperament! Bravo, good sir, bravo!

Chapeau! Loved your explanations. Man, I wish I had a harpsichord. Been playing some of Bach's two-part inventions on the piano and always wondered what they would sound like on an instrument like yours.

Fascinating.

so useful knowledge :) bravo. once I read chick corea did it for bach fugue.

One question, why are you tuning the harpsichord in 372 hz instead of 392, 400, 404, or 415?

I am always seeking new understanding of music. I heard much about basso continuo but never understood it. Your explanation was interesting, yet I am still confused. I would have been better to provide musical examples as you described the different iterations of the original basso continuo. I was much aware Opera began during the early part of the 17C, but I am still confused as to how to determine what each musical changes affected the music. For example - you stated the organist guessed the upper registers. An example would have clarified your explanation. Some people, such as myself have to listen and hear the changes to understand the progressions.

I love your video and explanation. I only wish I had seen it 40 years ago when it could have dramatically changed my life. Still it is a life-changing connection of the dots. Thank you.

Living history! ❤️ I love early music and the historical performance. It’s so beautiful and different.

Yesss

harpichord can't beat a piano

i prefer the sound of a piano

Underrated! This is so excellent.

Very nicely done, thanks. I tend to think of temperaments as being more thirdy or more fifthy, and don't try to distribute the comma evenly. But then again, I mostly do diatonic stuff, where you can get more pure intervals. Grüße aus windigem Wien, Scott

I always have used a tuning device (Poletti or ClearTune) and promised myself that someday I would learn to use the proper "old school" tuning method. Your video gives me the push that I need.

Hi, thank you for explaining this concept 😊. I know that learning other languages is not easy; the correct pronunciation is not continu-o. The "uo" must be in a single continuous flow (ahah get it?). Un saluto dall'Italia

Very interesting and impressing -- although I understand only little. I do not play harpsichord but I am fond of these wonderful instruments. And I have never seen a harpsichord-player tuning his instrument. I am going to learn hammered dulcimer which will also mean having to tune a great deal of strings regularly. The system of tuning is of course different there.

I'm taking a History of Opera course at my college and this hit so many relevant points for me in such a clear manner. Thank you!

How much does the change of tension on the strings throw off the tuning of the strings you tuned previously?

Basso continu-oh 😂

Wonderful video! I'm going to share it with one of my university classes. An alternative method for folks to consider when tuning meantone: Once you have tuned four fifths between a perfectly in-tune third, you can also set quarter-comma meantone by tuning nothing but thirds. In this excellent video, the tuner uses F-A as a starting reference, then does D-A, G-D, and C-G, checking F-C. Once that's done, one could simply tune pure D-F#, Bb-D, A-C#, C-E, G-B, and Eb-G. I prefer this method, because it removes guess work from the fifths. Of course, one must be able to hear pure thirds, which is sometimes hard for people used to equal temperament.

You are so genuine, man! I'm a beginner in terminology of classic music, but your eager makes me eager also. :D

Your presentation is truly wonderful and highly comprehensible. Lately, I've been delving into the History of Music during the shift from vocal polyphony in the Renaissance to the Baroque period. My thoughts were somewhat scattered, but your explanation has brilliantly illuminated the progression of these concepts, making it all much simpler to grasp. Warm regards to you from Brazil!

Love this video!!!

Great Explanation! But how do you guess the rest of the parts if they all have different rhythm?

❤

"throw everything you know about basso-continuo away" already ahead of ya i have no clue what it is 😂

Thanks a lot for this excellent tutorial tuning presentation. Many years have passed with me neglecting my harpsichord's maintenance and tuning, and now - at old age with more time on my own , seeing your upload - encourages me to go back to my old love: this instrument and its music.

so BAD! The 5th f-c was MUCH more pure then the others!

that was excellent David. Thanks you for teaching us about the harpsichord!

Very well done!

Thank you, this was very helpful!

nice gay boy :P where are your leather restraints? :P I miss them :P

Bravissimo!!!!

Dual keyboards! Let’s hear some Goldberg.

An argument from a virtual instrument forum about functional music theory led me here. I can't believe how important this concept is in all of music. Thank you for clearly and generously explaining the concept. Keep up the good work.

I have a clavichord and tend do tune it this way... every other week 😂

Thank you David, what a lovely video 🙏🏻 I am a baroque oboist from the UK, dabbling with some harpsichord 😉 and I would love to study at Schola one day!

Is it true that basso continuo came from a shift from polyphony to homophony as the 'default' texture or do you think it more contributed to the shift?

Really like how your explanation shows how figures are supposed to be supplementary and the majority of the work is about predicting the notes in the right hand from what you know could go there. I am totally an amateur at continuo playing but i have found sometimes that a part with really detailed figures is a bit much - you have a lot of information to interpret all at once.

I have seen some fringes of Historically Informed Performers start meddling in the ranges of standard classical musicians. By that I mean period instruments and practice applied to Mozart symphonies etc and with the practice of arranging Beethoven or Brahms symphonies or piano works onto essentially wind bands which was a thing that definitely happened back then. I find this quite exciting because it shows an admitting that the modern classical tradition doesn't have a lot to with showing or presenting it's own repertoire closer to a way that it might have been done in the past, it is instead a tradition of the last 150 years or so. Or whenever the point in the 19th century that concert halls played more old music then newly composed things (which of course varies by place). It's also interesting to consider the point at which repertoire becomes part of Early Music. Modern violinists often will play Vivaldi, Handel and Bach and maybe Corelli - but Biber maybe not. Piano repertoire definitely includes Handel, Bach and Scarlatti. But Alessandro Scarlatti and d'Anglebert is firmly considered harpsichord repertoire i suppose.

I was definitely raised in a "classical music" environment. What I call the "Beethoven-Brahms continuum" So I experienced many concerts at the local town hall The most classic being: A Haydn symphony, a Mozart concerto and a Beethoven symphony. Certainly the programming wasn't that rigid but the "concerto sandwich" was a dominant model. I am of the punk rock generation and the LP generation so my discoveries of music beyond the concert hall were through LPs and late night programmes on the "classical radio channel" where new music and experimental music was played. I weirdly got into Monteverdi, Vivaldi, Schoenberg and Ives as well as punk rock and some experimental jazz too. People used to say I had broad tastes in music I disagree I have several disparate interests but they are not grouped around a type. I still go to classical concerts and enjoy them but I also like to explore new sound worlds too.

Was there not also a move from the theology of polyphony to monophony in the reformation and for Italy the counter-reformation?

Interesting, but I would just use the Korg and be done with it. I don't know of any professional tuners who tune by ear at concert venues. Time is money. I can tune the 8' on my Flemish single in 12 minutes or less, and another 8 minutes for the 4'.

Great combination of being informative and entertaining - keep it up, David! :-)

David, really appreciate your vids! I’ve known a few conductors, men and women, and only one of them was not a narcissistic egomaniac. Since this is early in your career, please preserve your spirit from this stinking tendency, in terms to convey a vibe and music which is greater than the “me”, it somehow affects the world one way or the other. If you wish to take my advise all you have to do is be alert internally towards the egoic self - its posturing starts in small increments: subtle selfimportant inflections of the voice, lifting the chin up, googling the eyes, condescending tone, etc… being alert is all it takes not to start to spiral into this vomit vibe. Beware, people are programmed to see your occupation as a “high social status” (complete bull crap) and such snobs may validate such posturing… Music (or any art…) free from the “me” becomes extremely moving and potent! Cheers!

Great video, some audio aid or visual aid(with the scores) would've been great though.