Solo Keyboards

Available in 44.1kHz/16bit

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Album Name Length Format Sample Rate Price
Solo Keyboards 1:14:32 $11.98
Buy Bundles
# Track Title Length Format Sample Rate Price
A Sonata for Harpsichord $5.98 Buy
Village Music $5.98 Buy
Six Sonatas for Cembalo $5.98 Buy
Incidental Music for Corneille's 'Cinna' $5.98 Buy
A Summerfield Set $5.98 Buy
Earlier Works for Solo Keyboard $5.98 Buy
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 A Sonata for Harpsichord Allegro Moderato 02:35 $1.49 Buy
2 A Sonata for Harpsichord Adagio, Arioso 03:30 $1.49 Buy
3 A Sonata for Harpsichord Estampie 03:25 $1.49 Buy
4 Village Music Pastorale 00:58 $1.49 Buy
5 Village Music Quadrille 00:49 $1.49 Buy
6 Village Music Chorale 00:54 $1.49 Buy
7 Village Music Hommage to Milhaud 00:51 $1.49 Buy
8 Village Music Jahla 01:38 $1.49 Buy
9 Village Music Gigue & Musette 02:35 $1.49 Buy
10 Six Sonatas for Cembalo I. Moderato 03:16 $1.49 Buy
11 Six Sonatas for Cembalo II. Allegro 02:58 $1.49 Buy
12 Six Sonatas for Cembalo III. Moderato 05:14 $1.49 Buy
13 Six Sonatas for Cembalo IV. Allegro 01:48 $1.49 Buy
14 Six Sonatas for Cembalo V. Moderato 03:27 $1.49 Buy
15 Six Sonatas for Cembalo VI. Allegro 03:17 $1.49 Buy
16 Incidental Music for Corneille's 'Cinna' I. Medium Fast 02:14 $1.49 Buy
17 Incidental Music for Corneille's 'Cinna' II. Slow 02:43 $1.49 Buy
18 Incidental Music for Corneille's 'Cinna' III. Fast 01:48 $1.49 Buy
19 Incidental Music for Corneille's 'Cinna' IV. Medium Fast 02:44 $1.49 Buy
20 Incidental Music for Corneille's 'Cinna' V. Grand 02:59 $1.49 Buy
21 A Summerfield Set I. Sonata (Allegro, Vigoroso), Air (Slow, Amoroso), Sonata da Capo 04:40 $1.49 Buy
22 A Summerfield Set II. Ground (Moderato) 04:06 $1.49 Buy
23 A Summerfield Set III. Round for the Triumph of Alexander (Fastish, Vigorous) 02:06 $1.49 Buy
24 Earlier Works for Solo Keyboard Triphony 05:13 $1.49 Buy
25 Earlier Works for Solo Keyboard A 12-Tone Morning After to Amuse Henry 02:55 $1.49 Buy
26 Earlier Works for Solo Keyboard Largo Ostinato 05:49 $1.49 Buy

Price as configured: $11.98

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On tuning & creativity: Throughout history we have thought up many visual, numeric, and verbal ways to represent the beautiful vibrations that make up music...their direct speeds, the ratios between them and even ways to show how to tamper (temper) them. The earliest written tuning instructions come to us from the time of Hammurabi and are written by cuneiform in the language called old Babylonian. An example of this in the British Museum (U. 7/80) uses the term "unclear" to refer to the tri-tone, and recommends making it "clear" by sequentially raising tones by a half step. The reverse side of the tablet tells how to lower the "unclear" ones until all seven steps are returned to the original.

Pythagoras is said to have brought the "monochord", or single string, from Mesopotamia and/or Egypt. This method is as useful today as it was several thousand years ago. Today using the metric system for marking off the proportions on a meter-length string, and then sounding them will produce the actual musical relationship intended. These can be transferred to any tunable instrument. Our luscious heritage from Claudius Ptolemy, Didymus, Avicenna, Al Farabi, Werckmeister, Kirnberger, Stanhope and a multitude of others are all available by this sure and simple method. Popular in more recent times is the graphic circular method, showing 12 "fifths" either "just"... correctly tuned to a three to two... or altered a little by widening or narrowing. Lines crossing the circle are almost always just major thirds, and in this reminding us that Europe had a "thing" for the major third and in its keyboards altered other intervals to attain it at large so to speak. Meantone temperament was a result of this.

Although for several centuries keyboards were made that presented more than twelve tones, the hypnosis of twelve has continued, and continues to spread wherever "Western" culture settles in. Even here there are apostates. The important composer Harry Partch built an entire orchestra for his works written in a forty-three tone scale. Younger people still do this and, in addition, tend to show tunings by means of "lattices."

In this fine recording of my keyboard works, Linda and I have become a part of such apostasy from the dull grey of industrial twelve tone equal temperament and worked together to take back to ourselves as artists the natural right to tune pieces in ways that are fitting, appropriate, or enhance musical beauty.

--Lou Harrison

The determined team of Harrison and Linda Burman-Hall present their generous helping of keyboard works on a variety of harpsichords, as well as on tack piano (which uses thumbtacks in the hammers to create a sound similar to the harpsichord) and fortepiano. Pitches and tunings vary. The result is a strange sonic universe, whose unusual relationships between notes leave listeners without the usual tonal anchors that enable one to find home. The disc opens with a piece written expressly for Burman-Hall, the Sonata for Harpsichord (1999), played on a French double harpsichord. Composed of three contrasting movements based on modal scales, the work offers Harrison's usual exuberance, but with harmonics equally strange and captivating. - Jason Serinus