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The article presents a musical critique of François Couperin's collection of chamber music for solo bass viol and continuo, entitled "Pièces de violes". Topics discussed include the relationship of two suites in the collection to Évrard Titon du Tillet's composition "Concert de violes," the rediscovery of Couperin's work after its neglect in terms of publication and dissemination, and Couperin's attention to detail in all aspects of notation in his harpsichord music.

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The article offers information about Bart Jacobs, who studied organ and basso continuo in Belgium and he will play concerti for organ and strings by J. S. Bach in his own reconstructions of cantatas and concertos at the Regensburg Early Music Days under the motto "The Dresden Concerto 1725".

The article offers information on keyboardist Kathryn Cok. Topics covered include her expertise in playing harpsichord, fortepiano and basso as well as the importance of knowledge in playing the basso continuo line to successfully perform early music. Also mentioned are the different techniques she use to play the harmonies of the music and the basic instruction she shared on playing one or more plucked instruments. INSET: Paucity of Dutch Sources.

The article offers information on the bassoon continuo on the guitar. It states that the method is a style of notation for accompanying instruments. The method originated in 1600 in Italy and was used during the Baroque period. The parts of the continuo were written as a melodic bass line with figures that expresses the harmony supplied by its performer. It also mentions that guitar players must start without the ornamentation and realization.

The article discusses the discoveries of the unknown prelude and fugue of Gottfried Kirchoff from manuscripts MS H 3a, relative to his 325th birth anniversary. It states that the Prelude and fugue in C minor was recorded at the "Mylau Organ Book" under the authorship of Johann Pachelbel, which came under suspicion as its thoroughbass and manner of writing differs from the other preludes and fugues of Pachelbel. It says that the Prelude and fugue was revealed as a page of Kirchoff's oeuvre.

The article offers information on the significance of learning continuo in the musical world. It states that singing with continuo is to glance the freedom and creativity of a jazz musician. It mentions that continuo is also known as basso continuo, throughbass or general bass which frequently involves combination of keyboard, plucked string and bowed bass. Continuo player Catherine Liddell states that the most important thing is for performers to be closely connected to the affect of words.

The article profiles harpsichordist, fortepianist, and continuo player Christine Schornsheim in Munich, Germany. It notes that Schornsheim was not interested in learning harpsichord when she started playing keyboard instruments as she wanted to play the organ, just like her father. Schornsheim states that the complete Franz Joseph Haydn sonatas is the center piece of her work.

The article reports on the baroque musician and inventor Lorenz Christoph Mizler and his involvement with developing a type of musical notation called "basso continuo" in the 18th century. Topics discussed include how he created a machine that created a type of musical basslines, how other scholars and musicians, such as Silverio Picerli and Marin Mersenne, copied his idea, as well as how Mizler was in close contact with philosopher Christian Wolff and the scholar Johann Christoph Gottsched.

The article reviews the music score "12 Cantatas from Sonatas Op. 1, for 2 Sopranos and Continuo" by composer Arcangelo Corelli.

The article discusses the origins and characteristics of the d-minor tuning, the historical trajectory of its use in continuo, and its significance to modern lutenists. A description of the German Theorbo, a powerful continuo instrument, is also presented. The use of d-tuning by lutenists in France, Italy and Germany is discussed.

Discusses how musician Arnold Dolmetsch uses his 16th-century chamber organ for continuo purposes as well as for performances of the solo repertoire. Compositions that are being played by Dolmetsch including organ concerto by George Frederic Handel; Use of the Snetzler organ in public performances associated with the Dolmetsch family.

Compares Friedrich Erhard Niedt's `Musical Guide', a book for thorough-bass teaching and J. Sebastian Bach's `The Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four Parts by the Royal Court Composer and Kappelmeister as well as Director of Music and Cantor of the Thomasschule, Herr Johann Sebastian Bach at Leipzig for his students in Music, 1738.'

The article focuses on early guitar literature. Topics include the interpretation of alfabeto guitar accompaniments to songs, the relationship between guitar chords and basso continuo lines, and attaining variety in guitar accompaniments. Other topics include lutenist John Dowland's rendition of Giulio Caccioni's Amarilli in 1610, and the lute and guitar accompaniment of Giovanni Girolamo Kapsperger's songs.

The article reviews music scores for suites and sonatas for alto recorder and basso continuo, composed by James Paisible and edited by David Lasocki.

The article presents a discussion of continuo playing for keyboards. According to the author, a continuo part is a bass line that is meant to be played in itself and to be supplemented by other notes. The author notes that a combination of the ordinary notes of the bass line and the numbers and other symbols written above or below that line provides a guide to the player in choosing what notes to add to the written line.

Discusses the limitation of the theory-based approach to playing solo bass. Fundamental rules of chordal improvisation; Default ideas that can be used over many common progressions; Development of improvisational skills through learning to hear and subsequently play melodic phrases that are inspired by what is happening harmonically.

The article reviews the second volume of the music score "4 Suiten" composed for alto recorder and basso continuo by Johann Martin Blockwitz and edited by Winfried Michel.

The article explains the obbligato and basso continuo (BC) styles of baroque music accompaniment for flute. Topics discussed include a definition of obbligato as playing a musical piece in the exact way it was written, and BC as only the bass line accompaniment. It references flute sonatas by Johann Sebastian Bach to illustrate and distinguish the playing styles including the B Minor Sonata with obbligato, and the E Minor Sonata with BC.

The article reviews the music release "Concertos for 4 Recorders and Continuo, op 19," by Johann Christian Schickhardt.

The article reviews the music score "Three Sonatas for alto recorder and basso continuo" by William Topham.

The article focuses on a Lute summer course in Paris, France instructed by lute teacher Manuel Minguillon Nieto with Miguel Serdoura, a lutenist, on July 13-20, 2009. The solo lessons were instructed by Serdoura. It notes that the solo and Continuo lessons were taught 8 hours a day. How the Continuo and Chamber Music lessons were organized are also cited in the article.

The author focuses on the continuo class conducted by lutenist Pat O'Brien in Vancouver, British Columbia as part of the 2007 summer event of the Lute Society of America (LSA). He relates that O'Brien started the class with a discussion at some of the common 16th and 17th Century chord progressions. He notes that a basic skill that is important to continuo player is fluency in bass clef. A discussion on the ways of playing chords was also held.

The article reviews the sheet music for three sonatas for recorder and basso continuo, composed by Giuseppe Sammatini and edited and arranged by Laura Dalla Libera and Eckhart Kauper.

The article reviews sheet music for two sonatas for alto recorder and basso continuo, composed by Innocenzo Fede and edited by David Lasocki.

The article reviews two flute and basso continuo music scores including "The English Dancing Master" composed by Nikolaus Newerkla and flute music composed by Barbara Ertl.

The article reviews the music score "Sonata in C Minor," by George Philipp Telemann, edited by Brian Clark.

The article reviews the sheet music for Georg Friedrich Handel's "Alexander for a Flute for alto recorder and bosso continuo" and "Rinaldo for a Flute for alto recorder and basso continuo."

The author focuses on the seminar Beginning Continuo for Lute conducted by lutenist Phil Rukavina in Amherst, Massachusetts as part of the 2007 summer event of the Lute Society of America (LSA). He notes that the handouts of Rukavina for the class were a mixture of academic information and practice exercises. He states that the class took much time learning how to harmonize bass line.