Published in two parts in 1753 and 1762, the Essay on the true way of playing the keyboard is one of the most influential sources for the interpretation of the repertoire of the second half of the eighteenth century, together with the contemporary treatises of Quantz, Agricola and Leopold Mozart The detail and clarity of the information, the scientific rigor with which it deals with technical issues, as well as a solid aesthetic approach, allow us to consider it the first great modern method for the keyboard, conceived in its many facets: key, fortepiano, organ and, above all, clavichord, the instrument preferred by the author.

    The first part of the book examines the most technical aspects, such as fingering and ornamentation, and its use to achieve the ideal of "good execution", the clear and stylistically careful realization of the composer's ideas. The second part, centered on the accompaniment, analyzes the chords and their encryption, and draws an exhaustive panorama of what the author defines as refined accompaniment, the most suitable for the modern expressive style. The vast space dedicated to improvisation and the elaboration of free fantasy turns this already complete method of accompaniment practically into a whole composition treatise.

    This edition constitutes the first Spanish version of the Essay on the true way of playing the keyboard. It brings together in one volume the two original parts of 1753 and 1762 and the author added to the revised editions published in 1787 and 1797. It also includes autobiography that Bach wrote Carl Philipp Emanuel in 1773, along with the catalog of his works printed up That moment, as well as an original study by the harpsichordist Olivier Baumont.

    The extensive introduction and the meticulous critical and bibliographic apparatus facilitate the enjoyment of the work both to the reader specialized in the historical interpretation for the keyboard, and to anyone who wishes to enter the fascinating musical world that saw the birth of Classicism and Romanticism. The numerous musical examples - many of them true creations in miniature - have been transcribed, numbered and inserted in the pertinent text. This allows the book to be used as a true method for teaching the keyboard, as the author himself predicted. Finally, the exhaustive analytical index made expressly for this edition allows not only to locate terms, people, places and musical works in the original text as well as in the critical apparatus, but also to identify thematic associations, facilitating methodical study and comparison with other sources. contemporary