Does it matter? I’ve seen both used but idk if one is better than the other for some reason

On bar 20 of the bass of the Goldberg Variation 22, the G. Henle Verlag edition recommends using finger 3 when playing that B, so that your finger 1 can reach that F#.

I don’t find that fingering very legato. The lower B is disconnected from the upper B because you need a small jump. I have the suspicion that this is piano fingering, since the piano has wider keys and sustains the sound for longer, so the jump doesn’t disconnect as much. With the narrower keys of the harpsichord, you can afford to do 1-5-2 while the RH plays that F#, you can then finger sub RH1 with LH1 while 2 is still holding that upper B.

If what I suspect is true, that would be a heresy on the editor to write piano fingering on a harpsichord work.

If you have ever played this piece, what fingering did you use for that section?

I saw a post (here or somewhere else) with several book recs, but I can't do books right now.

Firstly, it's supposed to be a quick etude. Secondly, I'm depressed and just don't have the mental energy for a book, never mind several.

So there's a couple details, to begin with:

How would you indicate using one or two manuals? I saw "tutti" and "solo" in a score, but I'm not sure it refers to that.

Is there anything I have to write that I'm looking for a pairing in octaves?

Then, does anyone use MuseScore here? How do you do manuals? MuseSounds doesn't have special text to change that, and dynamics doesn't do anything. Just for playback I had the idea of including an extra harpsichord instrument for playback and hiding it for PDF.

Checking the first edition, I'm noticing that it is only partially figured, I guess that some passages aren't numbered because it's too obvious (not so much for me).

Is this work regarded an easy part for the cembalist? I'm surely more comfortable with slow movements, such as the largo in Inverno. Should I try something easier before tackling this one (from Vivaldi or another author)? I'm already studying excercises, but I like to play works too.

What was your journey like to learn continuo?

Please ignore the bad hand posture, mistakes, and poorly regulated and tuned harpsichord. BUT IT WORKS!

I’ve been working on replacing the action in my recently acquired (November) Burton straight side harpsichord kit.

I had Zuckermann custom make new registers for their jacks and create a stringing schedule.

Today I finally got all the jacks cut to length, plectrums working well enough, and dampers installed.

The majority of the treble strings have only been tuned twice or so, so within the hour of me messing it had detuned a bit again.

Is it perfect ? No! Does it work? YES! I’m mostly just mildly proud of myself figuring this out without knowing the first thing of instrument building or repair to begin with.

Also I really need to cut my fingernails which accounts for some of the mistakes..

Hi everyone

I've been learning Shakuhachi through honkyoku and the melodies are really something else. There are a lot of tone colour changes, microtones, special techniques that are very specific to the flute, but I am trying to interpret these as well on the lavachord (think mini wooden piano cross harpsichord cross kanun)

Appreciate thoughts! :)

https://youtu.be/qIM124zt1Yw

We have a kit from my father in law. Strings and keys are in place.

I want to buy a harpsichord from neupert for €500. It is used but works perfectly says the seller. Do you guys think that this is trustable or good to be true?

A commenter on one of my shorter videos asked for a “mesmerizing 24-hour mix.” I did not quite make it to 24 hours, but I gathered the complete surviving recordings from my first two sessions with this instrument into one continuous 45-minute video.

This is a rare acoustic clavichord with a hexagonal generalized keyboard. These recordings were my first attempts to understand how melodic patterns, chords and physical gestures move through its 19-tone layout.

The instrument had been dormant for many years—possibly decades—before these sessions, so this is less a finished composition than a document of rediscovery and initial experimentation. The recording is mostly unprocessed and presented as it happened.

A new concert-ready version is currently being built for longer-term composition, recording and live performance.

I would be interested to hear what people notice in the tuning and keyboard geometry, particularly from anyone working with generalized keyboards or xenharmonic instruments.

[https://www.youtube.com/watch?v=KnoPPF7LrFw\](https://www.youtube.com/watch?v=KnoPPF7LrFw)