>Still I think it's possible to get a bigger chunk of the
>contrasts you suggest than you imply.
Perhaps. But the music plays naturally on a double whereas one has to work
very hard to get dynamics AND color AND phrasing to come off well on a
single and the result still falls short. It's sort of like, say, playing
Louis Couperin on a Taskin.
>How many registration changes do a
>piano or violin have??
Let's see, a piano has una corda and the damper pedal, and earlier pianos
had more effects.
As for the violin, I think one can move the bow up the string, and one can
get fairly striking changes by changing bow pressure. I'm sure the string
players can tell more.
Much greater difference in tone than one gets by varying touch on a
harpsichord, in my experience, but I admit that is somewhat limited. I must
hear one of your Italians sometime.
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