Improvisation lesson video 6. Getting counterpoint smoother: removing cadences, deceptive cadences. 

They are on my Patreon account: www.patreon.com/user?u=80961676

You might be right. Anyway I will make a sheet which sums up the content of the first videos. I am still not sure how I will do that sheet: I don't want to make too complete scores or partimenti. The goal is to learn specific principles, not to play exactly the same music than me.

@@leonardschick5257 I see. Why do you say "The goal is to learn specific principles, not to play exactly the same music than me."?

@@RichardusCochlearius If one is learning how to improvise and one is struggling, one might be tempted to copy without understanding. Therefore I try to avoid to make things which are too easy to copy note by note. That's why I don't want to make too visual. Writing too much or showing the keyboard too much could possibly create such a temptation to just copy, instead of practicing the principles the way I present them. That being said, I don't have an idea if I am right about that approach. I still don't have enough feedback.

But your and other people's feedback will help me to improve that. It's just the reason why I did it like that until now.

Music is the most abstract Art of all. That's the reason one uses associations borrowed from another arts and creates terms like "the color of the sound (taken from painting), the counterpoint texture (taken from the sculpturing), the issues of rhetoric (taken from literature), the dramatic point of climax (taken from the theatre). The visual aspect of music is very important when a new musical concept is presented. I, for example, can remember all the music I read previously because I record in my mind all the notes for the traverso part or even the "skeleton" of the piece. And I study composition like that: many musical concepts are stocked in my mind thanks to the visual aspect of that. I can remember important passages from Vivaldi's or Haendel's orchestral pieces by sight reading. The graphic issues that the score provides is very useful for many things, and I believe that many students like me work like that.

Thank you. I like the sound as well. Today we would call it a virginal because the tuning pins are on the right side like on a Flemish virginal. Historically it could have been called both, but in Italy it would have been called a spinet because the word virginal wasn't used there. It's inspired of the drawings by Michael Praetorius (1619), but actually it's very similar to Italian spinets of this time. The strength is comparable to a harpsichord, however not to a loud one.

The size is amazing: I've already transported it alone in public transport. I wouldn't try that with a full size harpsichord...

@@leonardschick5257 thanks. For that information . Can I ask who was the builder?

@@michaeljking Oh, an obscure builder in the 1980's in Eastern Germany. Trobisch is (was?) his name.

I am currently making a new version of the first video using simpler clefs. I don't think I will do all of them again, but in future I will use only modern clefs.