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Basso Continuo in Italian Baroque Music.^ a Work As Rich in Practical Reality About Continuo As It Is in Scholarly Insight

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CONTINUO FOR LUTENISTS AND GUITARISTS: A TUTOR AND MUSIC THEORY SUPPLEMENT by ROLAND HB STEARNS, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Appro^ August, 1992 gel ^' /\^,5'? ACKNOWLEDGMENTS This tutor represents the inspirational ideas and support given by my good friends, Stefan Lundgren of Munich, Germany, and Dr. James Bogle, my major professor at Texas Tech University. Of course, without the many past opportunities I have had to participate in various kinds of continuo here and in Europe (for which I am happily indebted), there would be little sense to such a project. Special thanks go also to the students of Mr. Lundgren's May, 1988, Kurse fiir Laure (Courses for Lute) in Zillertal, Austria, who participated with great success in a trial run of the ideas developed in this tutor. In a single week of intensive studies, we were able to cover continuo basics in the six introductory pieces contained in this tutor's Part Two, including excursions into more advanced topics, and finally, perform these works with good success at a small "in house" gathering at the course completion.^ Additional thanks go to those friends and colleagues whose names may appear in footnotes or, through my unfortunate oversight, have been left out. Finally, I would like also to acknowledge with thanks the assistance of my brother, Frank, for his knowledge of acoustics and for helping me to establish the computer skiUs which have contributed so much to the appearance of this work, to the Dell Computer corporation for its superb hardware and support, to NISCA Corporation, whose products and "hands on" assistance have contributed so significantly to the graphics resources which appear in this tutor. ^Among them, Albert Davy, Uli Lehmann, Christine Geissler, Hannes Goullon, Werner Faust, Rudolf Perl, Hans Haase, Use Semmelmann, Goran Josefsson, and Angela and Robert Hommes. It should be noted that while none of the Zillertal students were professional performers or musicians, some were excellent players. Their accomplishment in inspiring this text will, I hope, encourage other prospective condnuo students. 11 CONTENTS ACKNOWLEDGEMENTS ii LIST OF TABLES ix LIST OF INSTRUMENT FIGURES x LIST OF MUSICAL WORKS xi LIST OF QUOTES xii PREFACE xiii PART ONE INTRODUCTION AND HISTORICAL BACKGROUND I. CONTINUO - GENERAL INTRODUCTION 2 A Layman' s Summary 2 Monody 2 A Second Phase 3 A Third Phase 4 Why History? 4 History Versus Practical Pedagogy 6 Condnuo - The Need For Historical Perspective 9 II. ORIGINS OF CONTINUO - THE SCHOLAR'S VIEW 10 Seventeenth Century Developments 11 Complicating Factors 11 Condnuo - General Development 12 Condnuo Origins in Vocal Literature 14 Implications for Modern Lute and Guitar Studies 15 In Vocal Genres 15 Historical Continuo and Modern Pedagogy 16 III. CONTINUO - PRELIMINARY EXAMPLES 18 A Practical Student Summary 18 Condnuo Examples 20 Lute as bass obbligato instrument 20 Early Chording 22 from dance scores 22 written out continuo and melody line 24 Early Figured Bass 26 Written out continuo 27 Later Figured Bass 30 111 Some Preliminary Conclusions 34 IV. TONALITY, PITCHES, AND ACCORDATURA 35 Tonality 35 Accordatura 38 Pitches - Historical and Modern 39 PART TWO LEARNING TO PLAY CONTINUO V. CONTINUO PRELIMINARIES 42 Some Brief Pedagogical Notes 42 For All Prospective Students 42 For The Guitarist 42 Scales 46 Background 46 Recurring Note Groups - The Octave 47 C-Major octave scale 47 Intervals Larger than Half and Whole Steps 48 Table 5.1- Intervals and Scale Figures 49 Intervals in Major/minor 49 Building Chords for Condnuo 50 Background 50 Structure 51 C-Majof and minor triads 52 Chords from Scale Steps 52 Doubled Chord Notes, String Doubling, Accidentals, and Keys 54 Doubled Notes from Instrument Courses 54 Accidentals and Keys 56 VL STARTING TO PLAY - C-MAJOR 58 Elements of Condnuo Harmonic Style 58 Course/String Notes for C-Major 58 A Final Preparatory C-Major Scale Exercise 60 A First Musical Work 61 Playing Individual Lines 61 The First Two Chords of C-Major 64 C-Major-G-Major bass notes and chord forms 65 CompleUng the Basic C-Major Chord Group 66 "The Squirrel's Toye" - A Continuo Score 68 VII. THE DOMINANT (V) OF C-MAJOR AS THE KEY OF G-MAJOR 70 Accidentals and Key Signatures 70 iv Rules for Accidentals 71 Playing in G Major 72 Course/String Notes for G-Major 72 Preparatory G-Major 1 and 2-Octave Scale Exercises 73 The 3-Octave G-Major Scale 74 A Second Musical Work 76 Playing Individual Lines 76 G-Major Chords (I, IV, V) 80 G, C, and D-Major Bass Notes And Chord Forms 80 Accidentals As Condnuo Chord Altering Symbols 81 Introducdon to an Altered (Major) Chord 81 A G-Major Exception (The A-Major Barred Chord) 82 A-Major Preparatory Exercise 83 "Gathering Peascods" - A Continuo Score 83 VIII. AN INTRODUCTION TO F-MAJOR 85 The Subdominant (IV) Of C-major As A Key - F-major 85 Accidentals in Key Signatures 85 F Scale in C - F-Major scale (with Bb in Key Signature) 86 Playing in F-Major 86 Course/String Notes for F-Major 86 F-Major 3-octave Scale 86 A Third Musical Work 89 Playing Individual Lines 89 The Three Basic Chords of F-Major Plus Two 90 F, Bb, C, Eb-Major, d-minor bass notes and chord forms 91 Reviewing and Condnuing with Chord Altering Symbols 92 "Cortesa Padoana" - A Continuo Score 93 IX. CHORD INVERSIONS 94 An Introduction to Inversions 94 Chord Inversion (6, 6/3, 6/4) Symbols 94 Playing Basic Chord Inversions 96 A Fourth Musical Work 98 Playing Individual Lines 98 "Sellinger's Round" - A Condnuo Score 99 X. THE PARALLEL MINOR OF G-MAJOR - G-MINOR 100 Background - Modes and Minor Scales 100 Chord Function and Accidentals in Minor 101 The Parallel Minor 101 Harmonic Function and Accidentals in the Minor Key 101 The Harmonic Minor 102 The Melodic Minor 102 Course/String Notes for g-minor 102 The G-minor Scales 103 A Fifth Musical Work 104 Playing Individual Lines 104 The Chords of g-minor 105 G-minor Bass Notes And Chord Exercise 105 "Upon a Summer's Day" - A Condnuo Score 106 XL THE RELATIVE MINOR OF F-MAJOR - D-MINOR 107 The D-minor Scales 107 Course/String Notes for d-minor 108 A Sixth Musical Work 109 The Chords of d-minor 110 "The Siege of Limerick" A Condnuo Score 110 PART THREE ADDITIONAL CONTINUO TOPICS, AND APPENDICES Xn. ADDITIONAL CONTINUO TOPICS 112 Where to Go from Here 112 Stylistic Considerations - Handel's "Nel Dolce" 113 Conclusions 114 Instrumental Considerations 114 Bass Strings (Diapasons) 114 Additional Tips for the Beginner 115 Plucking Techniques with Lute and Guitar 116 The Chitarrone (Theorbo) in A 119 The Baroque Lute 121 The Baroque Guitar 123 The Condnuo Player as Accompanist 128 APPENDIX A - OTHER CONTINUO TECHNICAL FEATURES 130 A Guide to Condnuo Symbols 130 Figured Bass Numbers 130 Accidentals 131 Part Wridng, Voice Leading, and Non-figured Basses 131 Rule of the Octave 133 Voice Leading Suggestions 133 vi Four-part Wridng Guidelines 134 Voice Leading 134 Parts Doubling Guidelines 134 Seventh Chords 134 Seventh Chord Symbols and Inversions 135 Diminished Seventh chords 136 Ornaments 137 An Introducdon To Non-harmonic Tones 139 A Summary of Non-Harmonic Tones 140 Passing Tone 140 Anticipation 140 Echappee 141 Cambiata 141 Nota Cambiata 141 Auxiliary (Upper or lower Neighbor) 142 Changing Tone (Double Upper/lower Neighbor) 142 Appoggiatura 143 Suspensions 143 APPENDIX B - ADDITIONAL KEYS AND WORKS -Bb, D, A-MAJOR, AND C-MINOR 145 Theory/reading Supplements - (G-g' Accordatura) 146 Condnuo Supplements 153 Continuo Supplements in Facsimile 156 Some Notational Considerations 156 APPENDIX C - A HARMONIC SYSTEM FROM THE CONTINUO ERA ... 166 Introducdon 166 Clarifying Tuning and Temperaments 166 The Circle of Fifths 169 From Sharp to Flat Keys 171 Enharmonic Spellings 172 APPENDIX D - A BRIEF SUMMARY OF THE LUTE FAMILY 173 The "Classical" Lutes 175 Transitional Lutes 178 Longer Scale Continuo Lutes 179 Chitarrone 180 Tiorba, Theorbo, Theorbe 180 Mid and Short-Scale Baroque Lutes 182 Arciliuto (Arcileuto) 182 Archlute, Erzlaute 183 vii JIL Liuto Atdorbato 184 Baroque (Two-headed) Lute 186 Other Plucked Instruments 187 Cittern 187 Cetrone 187 Mandora, Pandurina 187 Bandora, Orpharion 187 Angelique 188 Penorcon, Poliphant, Stump 188 APPENDIX E - SOME CONCLUDING GENERAL OBSERVATIONS ON CONTINUO PERFORMANCE PROBLEMS 189 Expecdng Too Much from a Prepared Realizadon 189 Salzburg, Musicology, Music Stands, and Dead Rooms 190 Early and Modern Acoustics versus Modern Instruments 192 Introduction 192 Modem Acoustics and Eariy Instruments - Early Acoustics and Modern Instruments 193 Degendorf, Ravenna, and Regensburg 193 The Condnuo Singer and Acousdcs 194 Some Brief Conclusions 195 APPENDIX F - INDEX 196 BIBLIOGRAPHY 204 viu LIST OF TABLES 4.1 Lute/Guitar Accordature 39 5.1 Intervals and Scale Figures 49 C. 1 Pythagorean, Just, Equal, and Meantone Temperaments 169 IX LIST OF INSTRUMENT FIGURES Fig. D.l Descant, Alto, Bass Lutes 176 Fig. D.2 Theorbo (d-minor Lute?), Short Theorbo, Chitarrone 181 Fig. D.3 Archlutes, Liuto Atdorbato 185 Fig. D.4 Baroque (Two-headed) Lute 186 Fig. D.5 Pandurina 187 LIST OF MUSICAL WORKS Tielman Susato, "Mein Verlangen" (1551) 21 Cesare Negri, "Le gratie d'amore" (1602/04) 26 Giulio Caccini, "AmariUi mia bella" (1602) 27 Giulio Caccini, "Amarilli" (piano adaptation) 28 Giulio Caccmi, "Amarilli" (R. Dowland transcription) 30 Giovanni Pittoni, "Sonata I" (1669) 31 G.F. Handel, "Nel dolce dell'oblio" (17??) 32 "The Squirrel's Toye" 61 "Cortesa Padoana" 89 "Sellinger's Round" 99 "Upon a Summer's Day" 106 "The Siege of Limerick" 109 "Lo How a Rose e're blooming" 146 "Herr Jesu Christ" 146 "Praise to God (Old 100th)" 147 "On Jordan's Bank" 147 "Rejoice, believers" 148 "GodRest Ye Merry Gentlemen" 149 "What Child" 150 "Lord, dismiss us with Thy blessing" 151 "Father Eternal" 151 "Christ Lag in Todesbanden" 152 "Per Pianto la mia came" (Leonora Orsina) 153 "Se in me, donna, movete" (Sigismondo d'India) 155 Sonata V, Adagio (Johann Ernst Galliard) 157 "Lob der Keuscheit" (Gabriel Voigtlander) 158 Sonata a Tre (Trio Sonata) (A.
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  • Two Common Errors About the Proportions of the ‛Ūd

    Two Common Errors About the Proportions of the ‛Ūd

    ICONEA 2011 On the other hand, the‛ūd as we know it in its current form since the eleventh century, due to various, principally ideological considerations, has been the catalyst of most of the organological er- rors and arbitrary postulations3. In the present paper, we shall explore mainly two obvious errors about the instrument. The first one being Farmer’s description of a-ţ-ŢaĦĦān’s TWO COMMON ERRORS 'archlute', of great importance because it reveals the ABOUT careless attitude of Orientalist musicology towards scientific truth. The second is Poché’s so-called THE PROPORTIONS hemispherical body of al-Kindī’s‛ūd. Both errors are extremely misleading especially because of their OF THE ‛ŪD: wide repute in the literature4. Ibn a-ţ-ŢaĦĦān Ibn a-ţ-ŢaĦĦān’s’5 archlute according to Farmer 1 and al-Kindī In 1939, Henry George Farmer’6 described an archlute which would have been 180 cm tall. It would have been designed by Abū-l-Ģassan ibn a-ţ- Amine Beyhom ŢaĦĦān, a musician from Fatimid Egypt. In 1979, Curtis Bouterse7 corrected Farmer’s assumption on Introduction the basis of logic. A-ţ-ŢaĦĦān’s lute was brought back to a more reasonable size, closer to modern The ‛ūd and the ţunbūr are generically called proportions. However, the misinterpretation per- 'lutes' in archaeomusicology. This leads to persistent sisted for forty years during which musicologists misunderstandings about the origins of both were amazed at the size of this instrument, without instruments. They are, as far as we know, distinct disputing Farmer’s description. In the first part of in their origins as well as in their organology.