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Did Bach really mean that? by Colin Booth

Did Bach really mean that? Deceptive notation in baroque keyboard music. Praise for Did Bach really mean that? With complimentary Goldberg Variations. The Long and Short of it: Note-lengths and Touch. Problems with Triplets, Part One: Synchronisation from the 17th to the 19th century. Problems with Triplets, Part Two: What exactly is a triplet, anyway? Swung Rhythms: An introduction to “unequal” playing. Overtures and Overture-style; Inequality and J. S. Bach. Bach and his Baroque contemporaries used the...

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Did Bach really mean that? by Colin Booth | didbach.co.uk Reviews
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Did Bach really mean that? Deceptive notation in baroque keyboard music. Praise for Did Bach really mean that? With complimentary Goldberg Variations. The Long and Short of it: Note-lengths and Touch. Problems with Triplets, Part One: Synchronisation from the 17th to the 19th century. Problems with Triplets, Part Two: What exactly is a triplet, anyway? Swung Rhythms: An introduction to “unequal” playing. Overtures and Overture-style; Inequality and J. S. Bach. Bach and his Baroque contemporaries used the...
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Did Bach really mean that? by Colin Booth | didbach.co.uk Reviews

https://didbach.co.uk

Did Bach really mean that? Deceptive notation in baroque keyboard music. Praise for Did Bach really mean that? With complimentary Goldberg Variations. The Long and Short of it: Note-lengths and Touch. Problems with Triplets, Part One: Synchronisation from the 17th to the 19th century. Problems with Triplets, Part Two: What exactly is a triplet, anyway? Swung Rhythms: An introduction to “unequal” playing. Overtures and Overture-style; Inequality and J. S. Bach. Bach and his Baroque contemporaries used the...

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didbach.co.uk didbach.co.uk
1

Did Bach really mean that? by Colin Booth

http://didbach.co.uk/ch08.htm

Did Bach really mean that? Deceptive notation in baroque keyboard music. Praise for Did Bach really mean that? With complimentary Goldberg Variations. The Long and Short of it: Note-lengths and Touch. Problems with Triplets, Part One: Synchronisation from the 17th to the 19th century. Problems with Triplets, Part Two: What exactly is a triplet, anyway? Swung Rhythms: An introduction to “unequal” playing. Overtures and Overture-style; Inequality and J. S. Bach. Sample from the start of chapter 8:.

2

Did Bach really mean that? by Colin Booth

http://didbach.co.uk/ch02.htm

Did Bach really mean that? Deceptive notation in baroque keyboard music. Praise for Did Bach really mean that? With complimentary Goldberg Variations. The Long and Short of it: Note-lengths and Touch. Problems with Triplets, Part One: Synchronisation from the 17th to the 19th century. Problems with Triplets, Part Two: What exactly is a triplet, anyway? Swung Rhythms: An introduction to “unequal” playing. Overtures and Overture-style; Inequality and J. S. Bach. Sample from the start of chapter 2:. Quantz ...

3

Did Bach really mean that? by Colin Booth

http://didbach.co.uk/praise.htm

Did Bach really mean that? Deceptive notation in baroque keyboard music. Praise for Did Bach really mean that? With complimentary Goldberg Variations. The Long and Short of it: Note-lengths and Touch. Problems with Triplets, Part One: Synchronisation from the 17th to the 19th century. Problems with Triplets, Part Two: What exactly is a triplet, anyway? Swung Rhythms: An introduction to “unequal” playing. Overtures and Overture-style; Inequality and J. S. Bach. Praise for Did Bach really mean that? 147;Th...

4

Did Bach really mean that? by Colin Booth

http://didbach.co.uk/colin.htm

Did Bach really mean that? Deceptive notation in baroque keyboard music. Praise for Did Bach really mean that? With complimentary Goldberg Variations. The Long and Short of it: Note-lengths and Touch. Problems with Triplets, Part One: Synchronisation from the 17th to the 19th century. Problems with Triplets, Part Two: What exactly is a triplet, anyway? Swung Rhythms: An introduction to “unequal” playing. Overtures and Overture-style; Inequality and J. S. Bach. All have received warm reviews. The two ...

5

Did Bach really mean that? by Colin Booth

http://didbach.co.uk/ch05b.htm

Did Bach really mean that? Deceptive notation in baroque keyboard music. Praise for Did Bach really mean that? With complimentary Goldberg Variations. The Long and Short of it: Note-lengths and Touch. Problems with Triplets, Part One: Synchronisation from the 17th to the 19th century. Problems with Triplets, Part Two: What exactly is a triplet, anyway? Swung Rhythms: An introduction to “unequal” playing. Overtures and Overture-style; Inequality and J. S. Bach. Sample from the start of chapter 5, part 2:.

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Colin Booth - harpsichordist and harpsichord maker

http://colinbooth.co.uk/customers.html

Harpsichordist and Harpsichord Maker. Colin Tilney (four instruments). Nicolai and Hanne Nielsen. Kristian Nyquist (two instruments). Sabine and Thomas Kaipainen. The late Michel Piguet. Steven Devine (three instruments). Massimo Redaelli (two instruments). Click here to explore recordings of solo harpsichord music on the Soundboard label. Click here for “Did Bach Really Mean That? Deceptive notation in Baroque keyboard music”. 2013-2016 Colin Booth, harpsichordist and harpsichord maker.

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Colin Booth early keyboard instruments. Hire a harpsichord or virginals for your concert or recording.

http://colinbooth.co.uk/hiring.html

Harpsichordist and Harpsichord Maker. Short-term harpsichord hire for special events. As well as instruments for longer-term rental. I regularly supply instruments for hire, to cater for specific events such as concerts and recordings. The normal arrangement is for a one-day hiring, where an inclusive charge covers insurance, travel, and as many tunings as the day requires. Extended hirings are also possible, in which case a reduction to the full daily charge may be arranged. Please note that I am willin...

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Colin Booth - harpsichord player and harpsichord maker for more than thirty years.

http://colinbooth.co.uk/faq.html

Harpsichordist and Harpsichord Maker. The three questions a harpsichord-maker is always asked are always the same, so look no further! This page gives me the opportunity to answer these questions much more fully than I normally do. 1) How long does it take to make a harpsichord? 2) What woods do you use in harpsichord-making? 3) How did you become a harpsichord-maker? Which came first - making or playing? How long does it take to make a harpsichord? What woods do you use in harpsichord-making? The two ac...

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Colin Booth, harpsichordist. Thoughts on the harpsichord as an instrument to excite the emotions.

http://colinbooth.co.uk/recordings.html

Harpsichordist and Harpsichord Maker. The article below, “The harpsichord - an instrument for the head or the heart? Rdquo; describes my approach to performance, as it has developed over the years through concert performances and CD recordings. Also on this page, information about:. Landmark CDs - Soundboard Records. Latest recording - Louis Couperin CD. Video animation - by Stephen Malinowski. The harpsichord - an instrument for the head or the heart? My interest in trying to divine the intentions of th...

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Colin Booth, harpsichordist and harpsichord maker : instrument portfolio.

http://colinbooth.co.uk/portfolio.html

Harpsichordist and Harpsichord Maker. If you are looking for an early keyboard instrument for your personal use and would prefer to rent rather than buy, see the Instruments to Rent. Click here for German instruments. 2-manual harpsichord after Italian original by Migliai (c.1680), in the Nuremberg museum. Frescobaldi Toccata played on the instrument shown (unless your browser does not support this audio element). I offer single-strung and double-strung Italian harpsichords and an Italian virginals.

colinbooth.co.uk colinbooth.co.uk

Colin Booth - harpsichord maker for more than thirty years.

http://colinbooth.co.uk/instruments.html

Harpsichordist and Harpsichord Maker. One maker’s approach to harpsichord-making. Click here to explore recordings of solo harpsichord music on the Soundboard label. Click here for “Did Bach Really Mean That? Deceptive notation in Baroque keyboard music”. 2013-2016 Colin Booth, harpsichordist and harpsichord maker. Website design by Small World Websites.

colinbooth.co.uk colinbooth.co.uk

Colin Booth early keyboard instruments. Rental information. Rent a harpsichord for private home use.

http://colinbooth.co.uk/rentals.html

Harpsichordist and Harpsichord Maker. Long-term instrument rental (3-month minimum charge). In addition to providing instruments for short hirings. Such as for concerts), I am the UK’s leading supplier of early keyboard instruments for home rental. For fifteen years, dozens of clients throughout southern England and Wales have discovered the joy of having a harpsichord, spinet, or clavichord in their home in tip-top playing order, without having to gamble thousands of pounds on the experiment. Charges ar...

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Colin Booth - harpsichordist - Concert Programmes and Diary

http://colinbooth.co.uk/concerts.html

Harpsichordist and Harpsichord Maker. A harpsichordist often works with other musicians. In my case this can be with single artists (for example, the Danish singer and violinist Jette Rosendal), or as continuo with entire choirs and orchestras, such as the European Union Chamber Orchestra, and the Bournemouth Symphony Orchestra. As for solo work, I welcome invitations to perform any of the programmes below and am happy to consider requests for variants upon them. See forthcoming and previous events.

colinbooth.co.uk colinbooth.co.uk

'Did Bach Really Mean That? - Deceptive Notation in Baroque Keyboard Music' by Colin Booth.

http://colinbooth.co.uk/book.html

Harpsichordist and Harpsichord Maker. Exploring Baroque keyboard notation. Click here for: Sheet Music. My exploration of Baroque keyboard notation in general was published as,. Did Bach Really Mean That? Deceptive notation in Baroque keyboard music. In brief - about the book. The book is a systematic exploration of notational conventions, from the most basic (note-length and touch) through to rhythmic complexities, notational formulae, and certain aspects of ornamentation. Click here for reviews. Some y...

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Did Bach really mean that? by Colin Booth

Did Bach really mean that? Deceptive notation in baroque keyboard music. Praise for Did Bach really mean that? With complimentary Goldberg Variations. The Long and Short of it: Note-lengths and Touch. Problems with Triplets, Part One: Synchronisation from the 17th to the 19th century. Problems with Triplets, Part Two: What exactly is a triplet, anyway? Swung Rhythms: An introduction to “unequal” playing. Overtures and Overture-style; Inequality and J. S. Bach. Bach and his Baroque contemporaries used the...

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