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First, going back to articulation: Yes, legato is not entirely banned from Baroque playing, but as I said, it is not the norm as it is in Romantic playing. When using legato articulation with dissonances, it depends on the kind of dissonance and how it is resolved. Appogiaturas are generally resolved in a legato or almost legato fashion. Suspensions can be resolved legato, but if they bp gas prices act as an escape tone with no immediate resolution, it’s often more dramatic to make a sharp articulation after the dissonance. Passing tones, which are generally on a weak beat and come before a strong one, are played with an articulation afterwards in order both to make the passing tone electricity dance moms song sound weaker and the following note stronger.

Legato or very close articulation also sounds good in chromatic passages. While one generally never plays legato over a barline in Baroque music, there are undeniable times when Bach marked this, such as, for instance, the counter subject in the Passacaglia fugue. My belief at this point is that he marked these because one would not gas and electric phone number normally play this way.

There are a number of approaches to registration that kind of boil down to maybe 2 major approaches, both inter-related–one of color and one of function. You’ll get an interesting set of ideas here because Giovanni v gashi 2013 seems to be from the color school and I am mostly from the function school, but it depends on the music I’m playing. Let me explain wd gaster cosplay tutorial what I mean. The functional approach applies mostly to earlier music such as Bach. In this case, organs were built and pieces were composed with certain kinds of registrations in mind. A plenum, or full organ, was generally built up in the German school based on using the Principals at the various pitches, starting from low and adding higher ones successively to make a louder or fuller sound. The mixture, in this case, is an integral part of the sound, adding more power and brilliance in the final stages of building up a chorus.

In the color approach, which is a later concept (but don’t get this gas pains 6 weeks pregnant wrong–Bach and earlier organists were concerned about color too, especially in pieces that were not for plenum registrations) the stops are used in a more free way. The French Romantic composers such as Franck and mp electricity bill payment jabalpur Widor still had definate ideas on how the organ should be registered, but in general, organ playing of the 19th century and later is conceived with more freedom in combining stops. Organs were designed this way and music was composed with this in mind. And in this case, Giovanni’s idea of a mixture being part of a sauce is more of the way it is done.

Yes, the roman numerals on Mixture stops indicate the number of pipes that gas 91 play for each key. Mixtures generally have pipes that play at the unison and at the la gas leak fifth, though there were times when Mixtures were made with pipes that also play at the third. But the idea is that these sounds are meant to reinforce the harmonics, not to sound like separate notes playing.

Yes, you’re both quite right about color in Baroque registrations. Registration in general is complex enough that gas outage we could start different threads for each topic: French Classical (or Baroque), German Baroque, French Romantic, 20th century Orchestral, English practices, etc. (as well as two areas I am fuzzy in–Italian and Spanish registration practices!)

But I do want to make clear that I did not mean the German Baroque organists and builders were not concerned about color. But when it came to combining stops in plenum combinations, there were conventions that were generally expected to be followed. The Germans tended to register as I mentioned in another thread grade 6 electricity experiments about Bach registration (although Bach himself was likely a bit off the beaten path.) The French had the Plein Jeu, which is like a German Principal chorus, as well as a completely different concept, the Grands Jeux, which is basically the cornets and big reeds combined–a very different concept than early German practices–AND YET I believe Bach was familiar with French registration practices and used electricity 4th grade powerpoint them in his music.

But it is Bach’s likely familiarity with French practices which informs my own Bach registrations. I have never been able to get his music to work well with a completely French Grands Jeux, but when playing the E-flat St. Anne Prelude, for instance, if I’m on the right organ I do a combined German gas density/French registration which is based on a Principal chorus, but I see if I can get a cornet to blend in. Almost gasbuddy without exception I prefer reeds in the chorus in that particular prelude because of its French character. So yes, in this sense, color is extremely important. While I advocate knowing the practices of the period in question, I do not advocate a one size plenum fits all approach, even though it might sound that way. I think you need to know the norms in order to know how to deviate in an artistic manner.