The Tiento: an Iberian Art Form

Organ Literature The Tiento: An Iberian Art Form Mark J. Merrill uring my many years of playing very improvisatory in nature. So the real and the full title gives the player every The title will often have a reference Dand specializing in Iberian reper- answer is: a tiento is many things! bit of information that is required to to the eight church modes. This order- toire, the most frequently asked ques- As an undergraduate, I remember fully interpret, register, and realize the ing of the modes tells the performer tion was always: “What IS a tiento?” during our organ literature class each performance of the work in question— many important factors as regards the According to various textbooks, tiento student was assigned a genre to pres- much like French Classical titles tell the registrations required for the particular (Portuguese: tento) is a musical genre ent to the class. Having a double major organist what registration is required for work in question. (See performance originating in Spain in the mid-15th in Spanish, of course I was given the the particular piece. guildelines chart.) century. It is formally analogous to the Iberian portion to present. We were fantasia (fantasy), found in England, using two texts for this course: Corliss The title tells all! The 8 Gregorian modes Germany, and the Low Countries, and Arnold’s Organ Literature: A Com- Indeed, the title tells the performer The basis for interpretation of any tiento also the ricercare, first found in Italy. prehensive Survey (The Scarecrow nearly everything one needs to know in lies in two major observations: the mode in The word derives from the Spanish Press, Second Edition, 1984) and terms of tempo, registrations, and orna- which it is written and the title of the work. verb tentar (meaning either to touch, to Marilou Kratzenstein’s Survey of Organ ments (or lack thereof). Let’s learn a few In determining the mode or tone the per- tempt, or to attempt), and was originally Literature and Editions (Iowa State basic terms first. Tiple, mano derecha: former must refer to the authentic church applied to music for various instru- University Press, 1980). The two books both terms refer to the fact that the modes as defined by Cicero, who codified ments. By the end of the 16th century, had a total of 11–14 pages devoted to melody is in the right hand. Bajo, baixo, the modes and attributed their astrological the tiento was exclusively a keyboard this repertoire as compared to English and mano izquierda all refer to the meanings in musical terms such as tempo, dynamics, registrations and especially tonal form, especially organ music. It con- repertoire, which had nearly 40 pages! melody being in the left hand. Tientos effects or qualities. The title will further tinued to be the predominant form in It was clear that Iberian repertoire was de falsas are generally always played on provide the given information as to specific the Spanish organ tradition through very under-represented. one manual. Some tientos are contra- or implied registrations.1 the time of Cabanilles, and developed During my investigation I quickly dis- puntal in nature and will be played on many variants. Additionally, many 20th- covered that the term tiento was a very one manual; this must be determined by Each mode has particular implica- century composers have written works generic label applied by many compos- studying the texture of the selection: is tions regarding the use of registrations entitled “tiento.” ers of the period and that many of these there an obvious melody line, an obvious as well as moods. The early modes So, “What is a tiento?” It is many works had no common variables. So the accompanying line, and so forth. One played a very important role and had things: it can be a fast- or slow-moving word “tiento” was a broad term. other notable point: the use of pedals a very strong connection to daily life. work; it can be a work with the cantus Keeping that in mind, it was obvious is generally only at cadences or where a The classical education consisted of in the left or right hand; sometimes it that the full title of the tiento was impor- pedalpoint is sustained and at 16′ pitch literature, poetry, science, astronomy/ is a structured form and sometimes it is tant. There are many types of tientos on a Bourdon or other flute. astrology, mathematics, and music. The Tiento de mano izquierda de 1º tono, by Sebastián Aguilera de Heredia 20 n THE DIAPASON n DECEMBER 2012 WWW.THEDIAPASON.COM Performance guidelines Type of Work Left Hand Registration Right Hand Registration General Implications 2 1 2 1 Tiento 8′, 4′, 2 ⁄3′, 2′, 1 ⁄3′ 8′, 4′, 2 ⁄3′, 2′, 1 ⁄3′ Generally played on one 16′, 8′, 4′, 2′ 16′, 8′, 4′, 2′ manual. Plenum through 8′, 4′, 2′, Mixture 8′, 4′, 2′, Mixture mixtures is possible. This work is contrapuntal in most cases. Tiento de falsas 8′ Gamba, 8′ Flute 8′ Gamba, 8′ Flute Generally played on one 8′ String tone, 8′ Flute 8′ String tone, 8′ Flute manual. Piece makes use 8′ Celeste, 8′ Gamba 8′ Celeste, 8′ Gamba of suspensions. The idea is 8′ Flute 8′ Flute conflict and resolution; place emphasis on the conflict, NOT the resolution. modes indicate the nature or spirit of Tiento de mano izquierda 8′ Trumpet 8′ Principal + (4′ Flute or The melody is in the left hand. Tiento de bajo tono 8′ Krummhorn Principal) It is important to make sure you the work: tempo, tonal colorings, and 2 Tiento de baixo 8′ Reed 8′ Flute, 4′ Flute, 2 ⁄3′ Flute balance the sound levels of registrations. This is very similar to the 2 1 8′, 4′, 2 ⁄3′, 2′, 1 ⁄3′ 8′ Gamba, 8′ Flute + (4′ Flute) each hand, while maintaining early French Classical school, in which 4′ Reed (bright) contrasting sounds. the title dictates the possible registra- Tiento de mano derecha 8′ Principal, possibly + 8′ Trumpet The melody is in the right hand. tions and mood of the work. Tiento de tiples (4′ Flute or Principal) 8′ Reed It is important again to contrast 2 1 8′ Flute, 4′ Flute 8′, 4′, 2 ⁄3′, 2′, 1 ⁄3′ the sounds while maintaining a 2 The most common 8′ Gamba, 8′ Flute + (4′ Flute) 8′, 4′, 2 ⁄3′ balance. types of tientos 8′ Flute 16′ Reed (bright) Plenum through Mixture Tiento de falsas de 2º tono. The name looks daunting, but in fact is rela- Tiento de Batalla This will vary depending upon This will vary depending upon This type of work makes use tively easy to understand. Falsas indicates the texture of each section; is the the texture of each section; is the of echo sections within each melody in the right/left hand, etc. melody in the right/left hand, etc. portion. Use contrasting reeds, that this work consists of many suspen- cornets, plenums, etc. sions: conflict and resolution—simple enough. 2º tono tells us that this work is based upon the second mode (attrib- Tiento de mano derecha de 3º tono. hand (bajo meaning lower voice) and the uted to the moon)—the Hypodorian Again, the title tells all. The mano derecha accompaniment is in the right hand. 1º List of representative works mode; it is associated with somberness, indicates that the melody is in the right tono is the Dorian mode, which is associ- Antonio de Cabezón: sadness, and elicits tension. Knowing hand, leaving the left hand to accompany ated with the sun. The registration quali- Diferencias sobre ‘La Gallarda Milanesa’ that, one would use registrations that with 8′ pitches. 3º tono is attributed to ties are grave and solemn happiness. Diferencias sobre ‘La Pavana Italiana’ reflect a somber mood: string tones and Mars and based upon the Phrygian mode, The left hand would use a Cornet or Tiento 2 del primer tono celestes at 8′ pitch, along with a soft 8′ which incites force, energy, and fiery wide-scaled reed (Trumpet 8′ or possibly Un gay bergier flute, which creates an uneasy feeling of overtones. The registrations possible are: a Krummhorn 8′). a somber or sad quality. Mystery solved. a Cornet in the right hand, or a fiery reed So, one can see that the title really Juan Cabanilles: Tientos de falsas are generally played on stop such as an 8′ Trumpet, or possibly a does tell a great deal about the registra- Corrente italiana one manual for the most part due to the cluster of trumpets 16′, 8′, 4′ or even a tions. The Spanish seemed to be very Tiento de falsas 4° tono intricate use of suspensions and close pleno if good reeds are unavailable. specific about their registrations. How- harmonies. Pedal is not used, except to Tiento de bajo de 1º tono tells one ever, one must also keep in mind that the Francisco Correa de Arauxo: emphasize cadences. that the work is for melody in the left Spanish favored the “divided” keyboard, Un gay bergier which means that one could play the solo Tiento de medio registro de tiple 7° tono (melody) and accompaniment on the same manual. Tomás Santamaría: The important aspect of registrations Arte de Tañer Fantasia in regard to this repertoire is found at the core of the associations between Pablo Bruna: astrology and the early modes of the Medio registro vasso church. The chart shown above outlines, Pange lingua in very basic terms, possible registration solutions. Of course, these are merely Sebastián Aguilera de Heredia: suggestions; ultimately the final selection Tiento de falsas 6° tono will be determined by the stops available Pange lingua por ce sol fa ut on any given organ.

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