| H1 | Andrew Lawrence-King |
| H1 | Post navigation |
| H1 | Enargeia – Visions in Performance |
| H1 | Three ways to make Early Music more expressive (And is there a ‘true way’?) |
| H1 | The Wrong Trousers: can new training re-purpose Early Music skills for Historically Informed Performance? |
| H1 | Measuring musical time in late-17th-century Italy |
| H1 | Altri canti senza battuta: Madrigals of Love, War & Tactus |
| H1 | Passaggi: Della Casa & Bovicelli on the True Way to make Divisions |
| H1 | Time for ‘Messiah’ |
| H1 | Making Time for beautiful singing: a lost practice |
| H1 | Cantar con gratia – a forgotten ornament? |
| H1 | Music of an Earlier Time: in respect of before and after |
| H1 | Post navigation Duplicate text |
| H1 | ANDREW LAWRENCE-KING |
| H1 | Search this Blog for content |
| H1 | Andrew Lawrence-King Duplicate text |
| H1 | Visit the websites |
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| H1 | Index |
| H2 | Text, Rhythm, Action! (Historically Informed Performance) & The Flow.Zone |
| H2 | The Bullet-Proof Musician |
| H2 | Three Ways to Teach |
| H2 | What is ‘Expressive’? |
| H2 | Tears & Laughter |
| H2 | Three ways to learn: Listening |
| H2 | Detail |
| H2 | Visions |
| H2 | Music of the Spheres |
| H2 | Last of All |
| H2 | Vocal Scores |
| H2 | Conductors |
| H2 | Transferrable skills |
| H2 | Visual beat |
| H2 | Listening without a score |
| H2 | Directing |
| H2 | Aural training |
| H2 | Pre-requisites |
| H2 | Context |
| H2 | Tempo |
| H2 | Notation |
| H2 | Proportions |
| H2 | Monteverdi’s notation |
| H2 | Badalla’s notation |
| H2 | Tempo-modifying words |
| H2 | Handel’s notation |
| H2 | Handel’s Proportions |
| H2 | Handel’s Time Signatures |
| H2 | Modifying words |
| H2 | FOR MODERN PERFORMERS |
| H2 | WARNING! |
| H2 | Badalla’s Time Signatures |
| H2 | RHETORIC |
| H2 | Word by word, movement by movement |
| H2 | Summary |
| H2 | Fundamental Tactus: minim = 60 |
| H2 | Proportions Duplicate text |
| H2 | Binary Tactus – ternary metre |
| H2 | Tweaking the Tactus |
| H2 | Changing the Tactus according to the affetto |
| H2 | Change of affetto word by word |
| H2 | Dispositione – technique |
| H2 | Style in peformance |
| H2 | Del portar la minuta a tempo. |
| H2 | Tactus for Divisions |
| H2 | From renaissance to early Baroque |
| H2 | Singers can sing off the beat |
| H2 | Tactus (and continuo) continue steadily |
| H2 | Implications |
| H2 | How to ‘add beauty’ |
| H2 | Highlight by delaying & sustaining |
| H2 | How to carry the voice |
| H2 | Subtleties |
| H2 | Accenti for seconds |
| H2 | Accenti for fourths & fifths |
| H2 | Other ways to beautify |
| H2 | Significance |
| H2 | Empty heading |
| H2 | Empty heading |
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