37 JEAN MILLET'S L'ART DE BIEN CHANTER (1666): A TRANSLATION AND STUDY THESIS Presented to the Graduate School of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Barbara E. Thomas, B.M. Denton, Texas May, 1998 Q Thomas, Barbara E., lean Millet's L'art de bien chanter (1666): A Translation and Study. Master of Music in Musicology, May, 1998,112 pp., bibliography, 39 titles. Jean Millet's L Art de bien chanter (1666), describes the air de cour and its ornamentation as it existed in France during the first half of the seventeenth century. This work, translated for the first time into English and transcribed into modern notation, and B6nigne de Bacilly's Remarques curieuses sur l'art de bien chanter (1668) are the only detailed treatises explaining vocal ornamentation during this period. To clarify his ornamentation method, Millet introduces terms referring to placement of agrements, though few performers used them. Millet expresses the old style, popular under Louis XIII, and the provincial view. Bacilly's treatise deals with the air de cour under Louis XIV, which had a more Italian flavor. He gives aesthetic principles aiding the performer in placing and selecting ornaments. Though Millet and Bacilly describe the same practice, striking differences exist between the two air de cour styles. 37 JEAN MILLET'S L'ART DE BIEN CHANTER (1666): A TRANSLATION AND STUDY THESIS Presented to the Graduate School of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Barbara E. Thomas, B.M. Denton, Texas May, 1998 TABLE OF CONTENTS Page LIST OF TABLES, ILLUSTRATIONS AND MUSICAL EXAMPLES iv Chapter I. INTRODUCTION 1 II. THE AIR DE COURJDF THE EARLY SEVENTEETH CENTURY m. JEAN MILLET'S L'ART DE BIEN CHANTER (1666) 11 IV. MILLET'S TREATISE COMPARED TO BfiNIGNE DE BACSLLYSREMARQUES CURIEUSES SUR L'ART DE BIEN CHANTER (1668) 19 V. A TRANSLATION OF JEAN MILLET'S L'ART DE BIEN CHANTER (1666) REFERENCE LIST m HI LIST OF TABLES, ILLUSTRATIONS AND MUSICAL EXAMPLES Page Example 1. Jean Millet, L'art de bien chanter, p. 1. 13 Example 2. Millet, L'art, p. 5. 14 Example 3. Millet, L'art, p. 8. 15 Example 4. Millet, L'art, p. 10 15 Example 5. Millet, L'art, p. 32. 16 Example 6. Michel Lambert, Vous ne sauriez mes yeux, measure 13. 22 Example 7. Lambert, Vous ne sauriez, measures 8-9. 23 Example 8. Lambert, Vous ne sauriez, measures 36-37. 23 Example 9. Anthoine Boesset, Dans ce temple oil ma passion, measure 9. 24 Example 10. Boesset, Dans ce temple, measures 5-7, verses 1 and 2. 25 Figure 1. Comparison of Aldrich's system of terminology with those terms employed by Millet and Bacilly. 28 Figure 2. The crest and title page of the original L'art de bien chanter (1666). 31 IV CHAPTER I INTRODUCTION In a century overshadowed by the works of Jean-Baptiste Lully, the French air de cour existed as the dominant form of solo vocal music. Its simple form and the style of ornamentation heavily influenced Lully and the other masters of the French Baroque. Of the three seventeenth-century writings discussing the subject of ornamentation for the air de cour, two are relatively well- known: Marin Mersenne's Harmonie universelle (1635) and B6nigne de Bacilly's Remarques curieuses sur Vart de bien chanter (1668). Mersenne mentions and briefly describes the practice of diminutions, while Bacilly makes an examination of the entire practice of singing, as it applies to the air de cour. The third treatise, Jean MiUef s L'art de bien chanter (1666) had lain unnoticed for three centuries in the library of Padre Martini, until its discovery in 1968. Published two years earlier than Bacilly s more famous treatise, Millet's book deals specifically with ornamentation of the air de cour, and unlike Bacilly, Millet illustrates his points with specific musical examples. Contemporary notice of Millet consists of three articles and a facsimile of the treatise, which are primarily the work of Albert Cohen, l To date, only a few of the several articles and books on French ornamentation written after the publication of Cohen's work even mention the existence of the treatise. This 1oJ£Sfc55mSFIroWSP are: "Uart de bien chanter (1666) of Jean Millet/' Musical The third article is that announcing the discovers UnZr pJT1973>- Doubs 10 (1968), 3-18. 2 unfounded neglect, perhaps due in part to the eminence of Bacillus similar work, does not account for the significant differences between the two that make Millefs treatise as worthy of study. As recently as 1993, David Tunley reflected in an article dealing with lute transpositions in the air de cour: In the early 17th century, however, no such method existed in France. Fortunately the air de cour did not require a voice with a wide range and a resourceful technique - unless the art of diminutions was displayed. But one wonders how often diminutions were introduced into performance outside court circles in the early 17th century. After all, would the amateur performer of those days have looked into Mersenne's vast and erudite Harmonie universelle (in which were reproduced examples of diminutions as performed by Le Bailly, Moulinie and others) for guidance m this skill, any more than a modern-day amateur pianist would purchase the expensive Schnabel edition to play through a few Beethoven sonatas?2 Perhaps not, but the amateur might have looked into Millet's L'art de bien chanter. Unlike Bacilly s work, which was published in Paris and reflects the practices of the court of Louis XIV, Millet describes provincial practices. As Sur-Chantre at the Metropolitan Church of Besan^on, a post he maintained for 25 years, Millet was isolated from court life. He was a churchman, an amateur composer and the author of three treatises dealing with sacred music: Directoire du chant gregorien (1666), Antiphonarium bisuntinum (1681) and Graduate bisuntinum (1682). Cohen argues that because of the provincial nature of the treatise, it better represents the style of ornamentation prevalent in the first half of the seventeenth century, the heyday of the air de cour, than does Bacilly's work. As Bacilly's treatise comments specifically on practices introduced around 1638 by Pierre de Nyert, a singer heavily influenced by the Italian style of ornamentation, it more represents the style used in the later seventeenth century. Millet's L'art de bien chanter is the only treatise that details techniques of Grj|^T^^|r^05itfons in lhe „ly 17lh.ceM„y French lute iIt,plicalions. 3 ornamentation during the first part of the century.3 Its provincial character confirms the performance of diminutions outside of the Parisian court, and because it was published two years earlier than Bacilly's treatise, Millet's work may be considered the first devoted exclusively to agrements. Further, it, not Bacilly's work as has been previously noted in Austin Caswell's dissertation on Bacilly,4 contains the first all-French terminology. The appendix of compositions included in Millet's treatise also demonstrates exactly the type of air popular in the earlier part of the century—that for solo voice with lute. Because of unique differences in the earlier form of the genre, Millef s treatise does not supersede Bacilly's, which deals with the later form utilizing basso continuo, but complements it in providing a complete understanding of the ornamentation of the air de cour. Albert Cohen's articles and facsimile are indispensable to the study of L'art de bien chanter. However, no English translation, in-depth study, nor comparison with Bacilly's Remarques curieuses exists. The facsimile version has made the treatise available to the student of seventeenth-century French vocal ornamentation; however, because of the peculiarities of seventeenth-century French, it can be easily used only by those who are well-versed. For this reason, a translation is sorely needed. Further, while Cohen's articles provide a good introduction and general survey of the contents of the treatise, the helpful musical examples included in Millet's treatise as well as specific commentary on the ornaments have been lacking. Finally, because of the differences in Millef s *"arnw!lie '""wrjelle (1635)is not detailed with regard to the air de cour. He mentions the practice of diminutions, and gives examples, but Bacilly and%illet are much more specific. Benigne de Bacilly, Remarques curieuses sur l'art de bien chanter (1668), translated bv Austin Caswell (Brooklyn, New York: Institute of Medieval Music, 1969), and Austin Gaswell "TheDevdopm™tof l7th- Cenpary French Vocal Ornamentation and Its Influence Upon Late Baroque Ornamentation Practice " (Ph.D. dissertation, University of Minnesota, 1964). ratuce, 4 and Bacilly's treatment of the ornamentation, a comparison is indispensable to the student of the air de cour, and since Bacilly's treatise is so well-researched, it is doubly important not to neglect the significance of Millet's earlier treatise in rounding out one s knowledge of the earlier air de cour. CHAPTER n THE AIR DE COUR OF THE EARLY SEVENTEETH CENTURY The primary outlet for vocal music in France during the seventeenth century was the air de cour. The term was used from 1571 until about 1660 to designate secular, strophic songs, sung at court From 1608 to 1632, during the reign of Louis XIII, airs de cour were the most important and numerous type of vocal compositions. Lully used the genre as a basis for his operatic airs and for 200 years the air de cour served as a basis for comparison of all vocal writing. Originating in the vaudeville, the genre had many names during the sixteenth century: voix de ville, air, air de cour, and chansonette. The first publication to bear the name "air de cour" was Adrian Le Roy's Livre d'Airs de Cour, published by Ballard in 1571. Le Roy (Ballard's brother-in-law) was simply a compiler: "Since Le Roy was not a composer, the supposition is that the music was by anonymous composers." 5 Slowly, as the genr e became more popular, it became a distinct form: In the early years of the seventeenth century there was a shift in emphasis from a random mixture of many different types of airs in a collection to a clear separation of genres with the air de cour gradually severing its ties with the vaudeville and becoming more serious and at the same time more precieux.6 5CaHfonrn^ l946)?^'Anth0ine BoSSSet md ^ Air de Cour'" (Ph"D' dissertation, University of Southern 6James R. Anthony, French Baroque Music: From Beaujoyeulx to Rameau (New York: W.W. Norton, 1978), 346. 5 In addition to their popularity in the Paris court, these airs spread throughout the continent, influencing many other genres of which the English air was but one. In 1608, Pierre Ballard (the major publisher of airs de cour) printed Airs de different autheurs mis en tablature de luth, intabulated for the lute by Gabriel Bataille. Ballard published 16 books, which contained more than 1,000 airs altogether. These books featured the greatest composers of the air de cour: Gabriel Bataille, Pierre Guedron, Guillaume Tessier, Jacques Mauduit, Vincent, Anthoine Boesset, Etienne Moulinie, J. Thibaut de Courville, Sauvage, Michel Lambert and Jacques Le Fevre. It was also common for complete books of airs by one composer, such as those of Boesset or Guedron, to be published. New books continued to be published through 1700, long after the vogue for them had disappeared. The general style of the air de cour is simple, syllabic, strophic and ametrical. The form was very adaptable: it could be performed by one or two unaccompanied voices, voice and lute, three to five voices, or voice with basso continuo. The publications, however, usually held to a format that offered an ensemble version, followed by an intabulation by someone other than the composer.7 Solo versions required some simple rhythmic changes to accommodate the ornamentation. The poetry, dominated by themes and images from Petrarch, was fashioned by Desportes and his followers into a sentimental language. Italian pastorals provided a common theme-but the French were not influenced by the madrigal or the monody of the time. Structured after their strophic poetry which is cast into 4 to 6 line stanzas, the airs usually had some type of binary form, of which AB, AAB or AA BB were the most common. Most airs de cour have two or ^ Anthony, 347. 7 more stanzas, and the performer was able to choose which, beside the first, he would sing. The type of singing voice that was preferred was even and supple, true in pitch and moderate in dynamics. This kind of voice was not only best suited for the delicate ornamentation, but for the clearly enunciated and properly stressed text. "The end result was to charm the ear through a 'sweetness' of sound ('la douceur frangoise')."8 One of the most distinguishing features of the air de cour was its free metrical structure. Meter signs are used to group time units, but they do not depict strong or weak metrical accents. "Like much French vocal music of the time, airs are typified by frequent changes of meter, to accommodate changes in scansion of text"9 The bar lines are irregular and have no metrical function. Where bar lines exist, they mark off phrases of poetry or are used for alignment purposes. The tempo of the airs can be a problem when performing. Seventeenth-century sources state that performers beat time to each note ("quasi a chaque note") regardless of the time value. The lack of a rigid tempo provided liberty to take time with important notes, especially when repeating or embellishing. One of the only fixed rhythmic patterns is the use of duple meter at cadences. D.P. Walker notes two distinct rhythmic groups in the air de cour. In the first, the meter of the text is emphasized by notes of a longer duration at points of caesura and at the ends of lines. The second has a completely free rhythm with no discernible plan and a seeming total disregard for verbal prosody. In the latter instance he posits that musique mesuree may have been an influential factor JO 9[bid., 55. Particularly on tt. ,i,s de amr of the Early 8 Despite wide variation in scoring in the other types, solo airs de cour were usually printed with lute tablature directly beneath the vocal part. The lute was the most popular accompanying instrument at least until Boesset's sixteenth book of Airs de cour avec la tablature de luth (1643), after which time the air acquired a more Italianate sound, with basso continuo or the theorbo as accompaniment. With this change, also came the change in name to simply air or air serieux. Collections continued to be published by the Ballard family, and those issued by Pierre and Jean-Baptiste Christophe are the best source in the second-half of the seventeenth century. Ornamentation in the Seventeenth Century During the era of the air de cour, ornaments or agrements were very important: Agrement is the technical name given by seventeenth-century French musicians to those musical ornaments that had become crystallized into definite forms and were sometimes indicated by signs in musical scores.h These agrements were not an afterthought to composition, they were an organic part of the melody. As David Fuller states, "A large part of the music was sketched, rather than fully realized."^ Performers in the Baroque period were expected to embellish the written melody as a matter of course. In fact, a singer's facility at ornamentation was the mark of excellence. Both Millet and Bacilly go so far as to say that it is the art of proper singing. Many options were available to a performer. Besides choosing which stanzas to sing, he could decide how "Putnam C. Aldrich, "The Principal Agrements of the Seventeenth and Eighteenth Century: A Study in Musical Ornamentation, (Ph.D. dissertation, Harvard University, 1942), ii. 12David Fuller "The Performer as Composer," Performance Practice: Music After 1600, ed. Howard Mayer Brown and Stanley Sadie (New York: W.W. Norton, 1989), 117. many written or unwritten repeats to take. The repetitions were used to embellish the vocal line, and each repeat was to be more elaborate than its predecessor. The manner of embellishment depended upon both the skill of the performer and the choice of medium. But it also was conditioned by historical period and locale, for preference in manner of ornamenting a vocal line continued to change throughout the time that the air had currency.13 Many factors played a part in the selection of vocal ornamentation. The marking of a cross (+) to indicate a trill or an "m" for a double cadence was common. Probably, the signs were added as an aid to students, but there was no fixed rule to their placement. In its early development, agrements were freely and often unpredictably added to the air de cour. When the French vocal style came under the influence of Italian ornamentation around the mid-century, it resisted some of the more ornate aspects, though some writers, for example, Marin Mersenne (1588-1648), in his Harmonie universelle, was quite enamoured of the Italian style. Concerning this, Aldrich wrote: He believes that the best points of the Italians should be imitated and that their 'exclamations' could easily be tempered enough to suit the 'douceur Franchise/ in order to add expressiveness to the beauty, elegance and sweetness of French music.14 One of the most important Italian influences was the practice of adding diminutions. Diminutions were florid vocal variations written by the composer to the second and later stanzas. The term diminution, though slightly confusing, l^Cohen, "A Study," 55. '4Aldrich, xlviii. 10 means to break up notes into many smaller ones. These diminutions could be improvised by the performer or written out by the composer (in which case the performer would be expected to add a few more). The first stanza (the simple) was uncomplicated and free for clear poetic declamation. Each stanza thereafter (called a double) was heavily ornamented. In many cases, there was a total disregard for the natural rhythm of the text. Bacilly, as will be seen later, felt that those who were not extremely careful to follow word stress were contemptible. CHAPTER HI JEAN MILLET'S L'ART DE BIEN CHANTER (1666) A churchman from the provinces, Jean Millet (1618-1684) was actively involved at the High Metropolitan Church of Besangon nearly all his life. He was born in Montgesoye, a town 20 miles south of Besangon, where he came at the age of ten as a choir boy. Though it is not known if he ever took clerical orders, he served in many capacities there, and was finally appointed as Sur- Chantre in 1645. The post of Sur-Chantre was an important one, and Millet had a moderately sized retinue of musicians in his employ. He kept this position for 25 years, and though he was also well-known as a composer, his only extant compositions are four French airs and two Latin motets, contained in this treatise. His other works may have been destroyed during the sack of the Cath£drale St-Jean at the time of the French Revolution. Besides this treatise, he published three other works: Directoire du chant gregorien (1666), Antiphonarium bisuntinum (1681) and Graduate bisuntinum (1682). La belle methode ou VArt de bien chanter was engraved in Besangon and published in Lyon in 1666 by Jean Gr%oire. Written during a time when the region called Franche-Comte (that is, "free county") was not yet under French domination, it details the practice of ornamentation in the provinces and in Paris in the earlier years of the century. The area came under much Italian influence, and this not only affected the music, but musical instruction as well. Cohen suggests that: 11 12 The significance of this treatise lies in the attempt of its author to adapt mid-XVIIth century French ornamental vocal practice to Italian style, probably reflecting such an adaptation in music of the Franche-Comte, where both Italian and French influences were strong.15 The original treatise can be found in the library of the Conservatorio de Musica G.B. Martini in Bologna. The first three compositions at the end give a good example of the type of song discussed by Millet. These are airs de cour similar to those popular in the first half of the seventeenth century, and are for solo voice with lute accompaniment. Each composition is introduced with an unornamented first stanza (simple) and a figured second stanza (double). Their musical style is similar to that used by Millef s contemporaries. An important facet of the treatise is that it details traits of the air de cour before the change of style introduced by Pierre de Nyert, Michel Lambert and Benigne de Bacilly. In Millet's mind, the "art of proper singing" dealt with the application of ornaments, and his book is devoted to just that. "The method of applying vocal embellishment or diminutions to music is considered by Millet to be the essence of 'le bel usage de chanter/"i6 wrote Albert Cohen, and like many other treatises of the time, the book is filled with musical examples, for almost every possible situation. His techniques describe the freer, rhythmically complex style of ornamentation during the most popular time of the air de cour. Yet, as mentioned earlier, it also reflects the emerging Italian influences: "indeed, La belle methode seemingly provides a means for studying the development of French ornamentational practice as it grew from Italian vocal improvisation in the early ^Albert Cohen, "jean Millet 'de Montgesoye' (1618-1684)," Recherclies sur la musique frangaise classique 8 (1968), 16. 16Albert Cohen, "L'Art de biett chanter (1666) of Jean Millet," Musical Quarterly 55 (1969), 171. 13 17th century."17 Millet's work is the only complete source of vocal agriments in the air de cour as it was performed during the reign of Louis XIII. However, its provinciality is obvious in its use of the hexachord system for the musical examples, in an era when other areas were well-developed in their use of functional harmony. Millet begins his treatise with an attempt to revise and clarify his French terminology for ornaments. In his mind, traits de gorge, portaments de voix, agrements, passages and roulades all meant very much the same thing. Some of these terms related to the way an ornament is produced, others were simply general. Millet suggests terms that signify the location of ornaments. The three types of ornaments he proposes are: the avant-son (that which proceeds the embellished note), the reste du son (that which follows it) and the roulade (which can be an elaboration of the main note or an expanded version including the other two). First, he discusses the avant-son, which is a type of ornament consisting of an accelerated movement of sound, just before the main note. This ornament is similar to an appogiatura or an anticipation. It can be placed on the same pitch, or on the note above or below. In the music, it is represented by a sixteenth note, an eighth note or a quarter note. Example 1. Jean Millet, L'art de bien chanter, p. 1. The Avant-Son The Avant-Son The Avant-Son on the same note on the lower degree on the higher degree I f pr ipr up u ut. re e. mi i. fa a, so ol. mi i, u ut. 7 l Cohen, "L'Art," 172. 14 Generally, Millet represents the avant-son with a sixteenth note. Only in rare instances does he use an eighth or quarter in the examples. In general, the shorter the indicated note, the less time spent on the appogiatura. The syllables used, indicate that the avant-son is to be performed on the chordal shifts in the accompaniment, or more simply, on the beat. Millet writes that proper placement of the avant-son is at the beginning of a song, the beginning of a phrase, or after a leap in the melody, though he often uses it at other points in a phrase. If the avant-son is made up of two or more notes, it is more properly called a roulade. The reste du son is comprised of a short sound after a note. There are two types: one is on the final note of a cadence, a very short, almost imperceptible pitch, comparable to a 32nd note. The second occurs after a principal note, contains one or two notes, and has a speed suited to the progression. Example 2. Millet, L'art, p. 5. 1 nP 0 1 m V-L/ m^ w ^ gRPj mi. mi. This unusual ornament can be seen in some examples, but is not used in any of the compositions appended to the end of the treatise. Millet suggests different styles for different countries when explaining the roulade. Four types of roulade are possible: those that take the place of an avant- son or reste-du-son, those which comprise the entire value of the principal note, those which are combinations of other the other types, and those which are an 15 elaborated cadence. Example 3 illustrates three different roulades: Example 3. Millet, L'art, p. 8. 4 notes A 53 notes k j J i -&• 5 fa sol fa mi fa mi The term passage, which he often uses is another term for roulade. He also suggests that those containing leaps have unparalleled grace (elans). The fourth main ornament discussed by Millet is the tremblement. He explains that these are applied to long notes and also to the penultimate note of cadences. He does not discuss it in detail, and indeed, gives only one example. Example 4. Millet, L'art, p. 10. $ O sol fa sol. Millet writes that the tremblement is impossible to learn from written examples alone. His example is quite complicated, resembling a combination of the Italian trillo, ribattuta, and tremolo.18 Frederick Neumann, one of the few authors to note the unusual form of Millef s trill, writes: Jean Millet in 1666 hesitates to offer an illustration for the trill (tremblement), which he says defies description and can be truly learned only by imitation. Although his reluctantly produced model is rather complicated, since it contains tone repetitions in addition to alternations, two features stand out: a start with the anticipated auxiliary and an end leading with an anticipated port de voix to the following note one step above. In his illustrations of embellished cadences he indicates the trill with the (multiplication) cross "x," which seems to have been used Robert Donington, The Interpretation of Early Music (London: Faber and Faber, 1963), 164 and!90. 16 interchangeably with the (addition) cross "+" by French composers and theorists of the 17th and 18th centuries. In the embellished cadences here and in songs at the end of the book, we find quite a few supported appogiatura trills, some grace-note trills, and others that are ambiguous because the spelling of the embellishments is (intentionally) unmetrical.19 The use of "x" to represent tremblement seems to be the only ornamental symbol occurring in the treatise.20 The main portion of the treatise is devoted to further descriptions of the three types. A number of possibilities for ornamenting any type of interval are given, but always in terms of hexachordal intervals such as la to sol, ut to mi and so forth. Reflecting 16th-century practice, the only interval he does not give examples for is the major sixth, which he says is "never seen in the beauty of song." Because he uses a hexachordal system, no examples of sevenths are discussed, although octaves are given a fair amount of treatment. There are also examples of cadence formulas. These examples deal almost exclusively with the vocal part, but a few bass cadences are given. In the majority of the examples, stress is given to the first note of the two in each interval. A typical case: Example 5. Millet, L'art, p. 32. IT m $ t 9 9m ZZIZZH sol ut, sol ut, sol ut, Of interest is Millet's use of the hexachordal system throughout the examples. In naming the notes, he goes outside normal practice and reverses syllabic order. For example, F-fa-ut is given as F-ut-fa and A-la-mi-re as A-mi-la- Frederick Neumann, Performance Practices of the Seventeenth and Eighteenth Centuries (New York: Schirmer Books, 1993), 377. 20 These are marked with a "+" in the translation. 17 re. Most of the treatise is printed in a mezzo-soprano clef, with C on the second line, and G on the fourth line. However, the syllables often do not match the expected order of whole and half steps. In several instances, fa is B natural in what appears to be an F hexachord.21 In other cases, the music seems to be once or twice transposed. Furthermore, he may have confused the clefs, intending to use a G clef, rather than the C clef that occurs in most of the treatise. Mutation of the hexachords is also common, especially when the examples stray from the C hexachord. The last portion of the treatise contains an example of a textless simple and double. On page 50 he includes four airs de cour, most of which are two stanzas long. The fourth air, "Vous me demandez/' is only one stanza long and its melody is somewhat more embellished than the usual simple. The embellishments are quite complicated, for very few of the syllables are not given some form of avant-son, reste du son, or roulade. Most often, the unembellished syllables fall at the end of the poetic line. He also appends two Latin motets, the first of which, Ave Ventm Corpus, may be considered another example of vocal embellishment. There is no simple, and it is even more ornamented than "Vous me demandez" above its simple bass line. Millet may have added these motets to show how his approach would apply to religious music. The second motet, Vanitas, contains few agrements. It is a traditional three-part motet, with a figured bass. The use of the figured bass certainly reflects the Italian influence- and is an unusual addendum to the treatise, particularly since none of the other basses are figured. When embellishing the vocal line of an air de cour, one must take the natural rhythmic complexity into account. Changes of meter usually occur to 21 The translation adds editorial flat signs above the staff to correct this. 18 accompany changes in poetic scansion. Millet's ornamentation, unlike that of other teachers of his time, carefully follows these poetic stresses. In the doubles, the verbal rhythm of the simple is kept by intensifying the ornamentation on principal notes. As the only known work describing the early style of the air de cour, Jean Millet's L'Art de bien chanter is an important repository of information about the heyday of the genre. He created his own French terminology to describe the placement of the ornaments, and gave numerous examples of their use. The provincial nature of Millet's treatise makes it unique, as it shows the practice of vocal ornamentation outside of the Paris court. CHAPTER IV MILLET'S TREATISE COMPARED TO BfiNIGNE DE BACILLY'S REMARQUES CURIEUSES SUR L'ART DE BIEN CHANTER (1668) Benigne de Bacilly (1625-1692) was famous as a composer, performer and teacher of voice under Louis XIV. Little is known of the early life, other than he was born in lower Normandy and is said to have studied for the priesthood in Rouen. 22 There is no record of the date of his arrival at Versailles, but his airs began to appear in published collections after 1655, and thereafter he became well-known as a composer and teacher. It is difficult to determine how many of his compositions survive. Caswell credits Prunferes with the discovery that many of the airs published under Michel Lambert's name were claimed by Bacilly in an earlier text and then disclaimed in favor of Lambert. Bacilly's reasons for this act have not been determined. He was best known as a master of vocal technique, and his ornamentation treatise "remained the breviary of French singers" for over a century. 23 Bacilly, along with Michel Lambert, was a student of Pierre de Nyert, who, after a trip to Rome, had brought the Italian style to France. After 1640, Nyerf s influence was felt all over the country: He was a favorite singer of Louis XIII and one of the strongest influences on Lambert and above all on Bacilly who, in his Remarques curieuses sur Vart de bien chanter (1668), attempted a reform of French singing by systematizing rules of pronunciation, ornamentation, prosody and correct 22 Theodore G6rold, L'art du chant en France au xviie sieck (Paris: Librairie Istra, 1921), 116. 23Aldrich, xiix. 19 20 breathing. 24 Lambert composed his airs in this new style, and Bacilly set about codifying the techniques of its performance. As a result, the Lambert-Bacilly oeuvre embodies the type of air de cour popular during the second half of the seventeenth century. Bacilly published Remarques curieuses sur I'art be bien chanter, et particulerement pour ce qui regard le chant frangais in 1668. At this time, the most popular genre of the air de cour was the air serieux. In many ways the air serieux was very similar to the older style of air described by Millet, but differed in the use of basso continuo instead of lute. Bacilly's treatise is valuable for three reasons. First, it contributes significantly to our knowledge about the air de cour in his time. Second, he gives specific directions concerning the interpretation and placement of agrements. Third, he describes aesthetic formula for the employment of these ornaments. Until the Millet treatise was discovered in the 1960s, Bacilly's treatise was thought to be the first to explain and codify French ornamentation. It is, however, still the only discourse to illuminate the later style of the air de cour. Unfortunately, Bacilly did not illustrate his points with musical examples. Instead, he makes constant references to four books of airs by Michel Lambert which show the reader how to perform the ornaments. Apparently he thought that notating examples would obscure the subtle nuances of each agrement. Fortunately, Austin Caswell, who translated and edited Bacilly's treatise, unearthed those books, and added his examples into the translation at the appropriate places.25 24Anthony, 352. 25Benigne de Bacilly, A Commentary Upon the Art of Proper Singing, trans, and ed. Austin B. Caswell (Brooklyn, New York: The Institute of Mediaeval Music, 1968). 21 After dealing in the first part of the treatise with general vocal music, Bacilly turns to the subject of ornamentation. He separates it into two general types: agrements and diminutions. Agrements, of French origin, are defined as a pattern of notes applied at certain places in a melody. These are seldom printed, and when they are, it is by symbol, not notes. Diminutions are of Italian origin, and are similar to continuous variations by the composer (or performer) of the original melody. They are only applied to the second and following stanzas, whereas agrements may be sparingly applied in the first stanza. Unlike Millet, who offered no suggestions for performance, Bacilly provides five guidelines for the aestheitc application of agrements. First, they are essential to performance: It is worth noting that not only in Bacilly, but also in all of the contemporary musical tutors (not merely vocal, but also instrumental) the first and most basic claim made is that the use of the accepted agrements is absolutely essential to melodic beauty.26 Second, they must be performed delicately and subtlely. Third, the individual performer must use his own good taste to judge the placement and frequency. Fourth, one must always be aware of the stresses of the text. Finally, he explains that ornaments are never written down because it would prevent the performer from using his own interpretation. A bad performance can be attributed to the lack or faulty placement of ornaments. He claims that the simple melody of the first stanza is just a framework of the potential vocal beauty. Again and again, Bacilly stated that good taste is the judge for deciding when to use ornamentation, for he believed ornaments were too subtle to write down. Austin Caswell, "The Development of 17th-Century French Vocal Ornamentation and Its Influence Upon Late Baroque Ornamentation Practice" (Ph.D. dissertation, University of Minnesota, 1964), 68. 22 The port de voix, one of the most popular ornaments in the seventeenth century, was treated more extensively by Bacilly than any other agrement. This ornament is applied to two notes, of which the second is a minor or major second above the first. "The principal element of the port de voix Caswell writes, "is the rhythmic retardation of the second note by extending the first note for a longer time than is indicated by the notation."27 As a result, the underlying syllable of the second note is moved rhythmically. Finally, the second pitch should be emphasized by a pulsation of the throat or doublement du gosier (represented by an accent mark). Example 6. Michel Lambert, Vous ne sauriez mes yeux, measure 13. 1 —y 1— m r°— v # P' m & n M ••• flTS rX A \AJ . V> pre - vu pre- vu Bacilly stresses three items when performing a port de voix: sustain the first pitch, repeat the second, and sustain the repetition. Further, the port de voix should never be hurried, but interpreted freely. It was usually applied at cadential points (the end or phrase endings), but also occurred in other situations. Caswell notes that "in all the examples...he deems the port de voix applicable whenever the word conveys a tender, plaintive or poignant situation or emotion."28 A unique facet of Bacilly's port de voix is the division of the time value between the first and second notes. In the preceding era, all of the time was taken from the first note and in the succeeding period, the time was taken from 27 Caswell/ "The Development," 72. 2$Ibid, 73. 23 the second, like an appogiatura on the beat. Bacilly represents a transition between these two styles. He completes his discussion with some observations on the demi-port de voix. This, he writes, is not pulsated and uses a shorter time value: Example 7. Lambert, Vous ne sauriez, measures 8-9. 1 i Lar - mes Lar - mes Further, he questions the value of the demi-port de voix that involves an interval greater than a second. Bacilly's next section deals with the cadence or tremblement. The term cadence may be used two ways: as the harmonic or melodic pattern at the end of a phrase as in the modern meaning of cadence, or as a trill or a vibrato used at such points. A trill simply applied to notes within the melody is called a tremblement. It may be used at various places on the principal notes, but is neither prepared nor terminated. The cadence, with which Bacilly is more concerned, has three characteristics: a preparatory appogiatura (called an appuy, a preparation, or a soutien de la voix), a tremblement (the actual trill - no number of oscillations specified) and the liaison (a minor or major second below the main note to anticipate the final note). Example 8. Lambert, Vous ne sauriez, measures 36-37. ±_ 0 O H 3E- w~v qui ma chan ge appuy tremblement liaison 24 Bacilly calls the cadence "one of the greatest ornaments, without which singing is quite imperfect"29 and a beautiful one is often the mark of a good singer. He further mentions two variant forms, the double cadence and the tremblement etouffe. The former involves a turn (tour de gosier) before or after the trill, while the latter holds the appuy for almost the full value of the note, with a short trill at the end. An agrement that is much less recognized is the accent, aspiration or plainte, which is usually applied to two notes, where the second is the same or one pitch lower than the first. The accent comes well at the end of the first note. Caswell suggests that "Bacilly himself implies that it is merely a slight vocal inflection rather than a melodic formula and that therefore it does not qualify as a true agrement.":30 Example 9. Anthoine Boesset, Dans ce temple oil ma passion, measure 9. $ m ge de ge - de This particular ornament is consistently incorporated into normal notation by the composer; however, performers may also spontaneously add it. The final type of ornament discussed is the doublement du gosier or animer. Bacilly treats it as another optional embellishment, like the accent, but in spite of this, it was one of the most widely used ornaments. The animer involves a rapid and almost imperceptible repetition of the written note. It may be combined with other agrements: 29Henry Prunieres, "De l'interpretation des agrements du chant aux xviie et xviiie siecles," Revue musicale 13 (May 1932), 331. 30#>/rf, 95. 25 Example 10. Boesset, Dans ce temple, measures 5-7, verses 1 and 2. • V • • ^mm o ^ f - M M ^ ^ ^ ii ^ ^ # m 1/ u I w w w m m 0' ~uV\ V m t) LJ ••Ml me mit de - dans J'a - dor - ois vous After having explained the major agrements, Bacilly turns to diminutions or passages. This Italian practice, extending from the Renaissance, had become essential in Bacilly's time. Much of his chapter is spent discussing the aesthetics of diminutions, showing good and bad examples, rather than explaining them. His main concern is text expression, not mere divisions. Earlier composers were not as careful of word accent, and Bacilly uses Lambert's diminutions as a example of proper setting. When the accents of the verses do not line up, one must adjust the ornaments to accommodate for this problem. Another point Bacilly makes is that dotted rhythms, so often used in diminutions, should not be exaggerated or jerky (such as the double dotting technique). Since he gives no specific examples as to the realization of diminutions, the best way to understand is by comparing the first and second stanzas (the simple and the double). The general shape of the melodic line is preserved, but a great number of scale passages, trills and agrements embellish it. Caswell expands on this concept: Since the second verse was always accompanied by the same harmonic patterns set by the first, the composer's concern must have been to compose diminutions which decorated the melodic line, interpreted the plaintive qualities of the text and demonstrated the skill of the singer, but which in addition did not conflict with the harmonies of the first-verse setting. 31 31Caswell, 'The Development," 113. 26 The skillful application of diminutions, according to Bacilly, can greatly add to the beauty and meaning of an air de cour. As alluded to earlier, Bacilly believes proper word stress is essential in the utilization of agrements. The last section of the treatise focuses on this basic principle: "Any syllable normally accented in conversational French becomes long in declamation, and all unaccented syllables are either short or long depending on context and symmetry."32 In its application: a long agrement should be used on a long syllable, a short one on a short syllable which is treated as a long, and no agrement on a plain short syllable. Bacilly states that on every long syllable approached from above, some ornament should be performed. If from below, use a port de voix. In a diminution, almost every syllable may be ornamented, but more florid patterns should be used on long syllables. Sometimes, to retain a system of alternating long and short syllables, an insignificant syllable will be treated as a long. "The length of a syllable in its musical setting is relative to the length of the syllables preceding and following it."33 Bacilly's entire aesthetic philosophy of ornamentation is expressed by Caswell in this way: Bacilly conceives of vocal ornamentation not as a technique for vocal display, not for melodic or harmonic coloration per se. In his view agrfrnents are primarily a device for stressing the length of the long syllables inherent in a system of quantitative accentuation.34 These concepts-the French terminology, the aesthetic principles, the specific instructions and the importance of word stress-contained in Remarques curieuses 32Austin Caswell, "Remaraues curieuses sur l'art de bien chanter," journal of the American Musicological Society 20/1 (Spring 1967), 117. 33Ibid, 119. ^Ibid, 120. 27 affected the course of French vocal ornamentation for nearly the entire Baroque period. Although the treatises of Millet and Bacilly were published only two years apart, they have many differences. Millet represents the provincial view, and that of the first half of the century in Paris. The solo air de cour of his time was performed with voice and lute. His terminology refers to the position of an ornament with relation to the main note. The treatise is filled with musical examples whose interpretation is tied to the hexachord system. What Italian influence Millet felt may have come from his own region. Finally, his use of diminutions is very free and unmeasured. Bacilly, however, was a Parisian concerned with the latest vogue-the solo air de cour (or air serieux) with voice and basso con tinuo. His terminology names performance types, and refers only to musical examples published in another source. Bacilly takes great care to explain the aesthetics of applying agrements, while Millet does not even mention this topic. Bacilly's Italian influence came through Nyert, and was the fashion of the time. His diminutions are more measured and restricted by the rules of their origin. Nonetheless, there are similarities between the two authors. Both felt that the art of proper singing ("Vart de bien chanter") relied on ornamentation, and indeed, both used the phrase in their titles. Both believed poetic stress to be very important, but Bacilly is the only one to fully explain it. Diminutions were an integral part of both discussions, but only Millet gives concrete examples comparing the simple and the double. These striking differences and similarities of these treatises help to provide the reader with a clearer picture of French 28 ornamentation in the seventeenth century. Following is a comparison of the names of the ornaments discussed by Millet and Bacilly. They are ordered according to the system developed by Putnam Aldrich in The Principal Agrements of the Seventeenth and Eighteenth Century: A Study in Musical Ornamentation. Figure 1. Comparison of Aldrich's system of terminology with those terms employed by Millet and Bacilly. Aldrich Millet Bacilly inferior appogiatura avant-son port de voix superior appogiatura avant-son N/A multiple appogiatura roulade passage superior oscillation tremblement cadence or tremblement tremolo avant-son or reste-du-son animer (repetition of same note) (depending on placement) (not given) reste-du-son accent florid passage roulade passage Conclusion Jean Millet's L'Art de bien chanter (1666) and B6nigne de Bacilly's Remarques curieuses sur Vart de bien chanter (1668) are the sole surviving treatises that explain French vocal ornamentation in the seventeenth century. By comparing the two treatises, one can see the similarities and differences in practice between the first and second halves of the century. The freer air of Millef s time descended from the chansons and vaudevilles of the sixteenth century, and reflect the unmeasured style of that time. Bacilly and Lambert were 29 more forward looking in their use of basso continyo and specific aesthetic rules for applying ornamentation. Through the works of both authors, the lost conventions of agrements are clearly explained and placed in the essential context they held in the early Baroque. CHAPTER V A TRANSLATION OF JEAN MILLET'S L'ART DE BIEN CHANTER (1666) To better understand the following treatise, a few points should be taken into consideration. Millet's examples are mostly unmetered, and no meter has been added to them in this translation. The compositions at the end of the treatise, however, have been metrically arranged to aid in their comprehension. Similarly, when applied to an air de cour, the ornaments would have been performed quite freely, with time taken for the more important agrements. As a result, the notation must be seen as approximate and variable in terms of tempo. These important elements have been changed: 1) mezzo soprano, soprano and F clefs have been replaced with modern treble and bass clefs; 2) the music has been rebeamed to replace slurring where possible (Millef s slurring is not consistent); 3) bar lines and meter have been added to the airs; and, 4) the two-part airs, originally in partbook format, have been grouped together. Also, please note that Millet's compositions generally consist of a basic melody and bass line for the first stanza (known as the simple), and a second stanza with written diminutions (the double). Bar lines have been added for ease of reading, and as a result, the word accents do not correspond to these measures. In the originals, bar lines were used only at the end of lines of poetry. Finally, any footnotes that exist throughout the treatise are mine, and not those of Albert Cohen, editor of the facsimile. 30 31 Figure 1. Title page of Millet's L'art de bien chanter (1666). H < .9 32 m The Beautiful Method or The Art of Proper Singing By J. Millet, Chanoine Sur-chantre in the Employ of the Metropolitan Church of Besangon See at the end a few Airs composed by The Author 1666 Lyon Jean Gregoire, publisher, rue Merciere at the sign of the famous MDCLXVI 33 v TO MADAME MADAME THE BARONESS OF SOYE Madame, At the same time that I propose to offer to the public the art of proper singing, I no longer believe I am free in the choice of someone to whom I must dedicate it. For whether I follow my inclination, or whether I consider the nature of this small work, I still find myself always equally obligated to v i offer it to you. Yes, Madame, / I am inclined to give the public this small testimony of the great respect that I owe to your merit and your illustrious house, the deep feeling I have for your generous friendship and that of Monsieur the baron of Soye and his brothers who have deigned to honor me for a long time. And in addition, the nature of the work makes me believe that it is due you; since this lovely manner by which it teaches how to charm the ear innocently is nothing but a very simple expression of the movements and accords by which your voice and your lute formed this incomparable harmony that has delighted me so many times, and which I had the good fortune to hear. Also, I believe it is not an exaggeration when I say, Madame, that you could perform the same fabulous wonders of Antiquity attributed to the Sirens, with this difference nevertheless that the melody of their song was deadly to those who allowed themselves to be caught, and the admirers at your concerts receive nothing worse than to see themselves too soon deprived of such a charming pleasure. Again it seems to me that this same Antiquity has only been too stingy in the praise that it gives to Telefilles and 34 to the Stratoniques, since they have been less happy than you, Madame, in having received from nature the advantages that you have perfected through vii the most agreeable art in the world in its use, / the most infallible in its principles, and most admirable in its purposes; since it is true that music has the secret not only to tame and train the wildest animals, and soothe the most carried-away passions of man: but also as we have learned, according to the Holy Scriptures, to let one feel the power over the devils. Finally, Madame, I cannot suppress it, I have joy in praising the perfection that you have acquired in this marvelous art; but when I consider so many other excellent qualities, and so many heroic virtues that are the cause of admiration everywhere, I see myself constrained to admit that a subject so rich and so lofty, deserves a more delicate and less sterile pen than mine, and that I must assure you I am, Madame, Your very humble and very obedient servant Millet. 35 To the Reader viii You will be astonished no doubt at the discovery of a few new terms which I believed I must make use of in this small work, easily persuading myself that you have never heard them: the Avant-Son, the Reste du Son, Sauts, Elans and others in the manner I produce them. However, it seems to me that it would be difficult to find something more expressive. I know that the ordinary terms of those who teach the method of singing are Traits de gorge, Portements de voix, Agrements, Passages, Roulades and others which mean almost the same thing and do not completely make known the different positions that they can occupy. But now that which I call the Avant- Son is properly this portement de voix or roulade which precedes the principal note and the Reste du Son is parallel to a portement de voix or roulade which follows this same note; the Roulades and the passages in my opinion are only different in name, except that if one wants a small assemblage of notes to be called a passage and a larger one a Roulade; but just as there are large and small Roulades, and that I introduce four of them, some of which can sometimes replace the Avant-Son, and others that of the Reste du Son, others the two together, and others the whole principal note: I believe, it is useless to bring in all these differences. As for the ornamentation, I consider it as the effects of all that, when it is observed and it is done in a beautiful manner. Reader, this is what I had to tell you regarding these new terms. 36 The Beautiful Method or the Art of Proper Singing In order to grasp a beautiful method in singing and do justice to the portements de voix; it is necessary to note three things, to know the Avant- Son, the Reste du Son and the Roulade. The Avant-Son The Avant-Son is nothing other than a rapid movement of the sound, sustained sometimes to the same degree of the note on which it is set, or to the degrees which touch the same note. This Avant-Son is marked by a sixteenth note or an eighth note and sometimes by a quarter note immediately before the principal note.35 Examples: The Avant-Son The Avant-Son The Avant-Son on the same note on the lower degree on the higher degree • n • B- f u ut, re e, mi i. fa a, so ol. mi i, u ut. The Avant-Son usually occurs on the same note, that is, on the principal 2 note, / when one begins a song, adds what is left out: or when one jumps from composed intervals to another, or still after a pause. 35 The different lengths of the Avant-Son in performance are probably short (sixteenth), moderate (eighth) and lone (quarter), rather than the long appogiatura that was common later in the 17th century. 37 Example: If the song begins on a fa, one can perform the AvantSon on mi. Example: $ * fa a fa a. At leaps of compound intervals, one sometimes takes the Avant-Son of a half-step higher or a half-step lower than the principal note, Example: A half-step higher A half-step lower • re e, la a. mi i, mi i. mi i, fa a. re e, fa a. When several notes are found immediately on the same degree, the Avant-Son is then taken sometimes to a higher degree than the principal note, sometimes to a lower degree. Example: la a- la a- la a- la a- la a. la. Ia, la, la, la. At a major or minor third, the Avant-Son is taken to the lower degree 38 than the principal note, when this third rises, such as ut-mi or re-fa and when it descends, / such as sol-mi, fa-re or mi-ut, for then it is taken on the degree higher than the principal note. Example: The Avant-Son rising from a lower degree 1 ut' mi i- re, fa a. mi, so ol. lie Avant-Son descending from a higher degree £ 5 §===§ H sol, mi i. fa, re e. fa, re e. mi u ut. There are some who take the Avant-Son from high, when one rises a major third, such as ut-mi, but I do not find this way either properly sweet or acceptable, here is an example: ^j. £ Ut, mi If a fa followed this mi immediately, this Avant-Son could be acceptable. Example: $ * ut, mi i. fa a. The Avant-Son is sometimes taken low when one descends one or two 39 thirds, or in a cadence. Example: _ZZ ^ .bJ J) _2Z w TT O c W | la, fa a, re e. Cadence la, fa a, mi i i, re e, re. Those who believe that the Avant-Son can be done from two notes, confusing it with the Reste du Son and the Roulade / call the three together port or portement de voix. As for me, I am not of this opinion and I believe that as soon as there are several notes in front of the principal one, it is a Roulade and not an Avant-Son, as in this example: 1 a ±3* & iy 1 sol. fa. la. re, fa, mi. The Reste du Son The Reste du Son is nothing but a little harmony that one must perform after the principal note has been begun, in the same way a string plucked on a lute or spinet [continues to vibrate]. There are two types of Reste du Son, the one which is performed at the end of the song on the last note of the cadence, or on a note which immediately precedes a pause, be it long or short. The other is performed indifferently on the principal notes in the course of the song. The first must be almost imperceptible to the ear: it is a softened sound 40 that one must allow to die at the same time that one produces it, this is why I 5 point it out with a thirty-second note, / as in this example:36 [1 1 h/ 1— —Q ^ ut. fa, sol. I have noticed that when one does the Reste du Son on a mi, it is composed sometimes of two notes, and it is of the beautiful method when it is done appropriately and with softening of the voice in making it die out. Example: r-0 S JL : ™ —0- •) mn mi. mi. The other Reste du Son which is performed in the course of the song, is sometimes quick, sometimes slow, according to the value of the notes; it is done after a principal note, I mean accented in the simple. This Reste du Son is composed now of one note, now of two, according to the will of the one who sings, in a few passages only, because there are places in the song where it must be done on just one note or it must be composed of two; it is seen also in places where one can do it indifferently with one or two notes. Example: ^ treadse^' tW° examPles the Reste Son are on'>' shown as examples and never used in the airs that follow the 41 1 note 1 note . 2 notes 5 ifi 'IIWIJJIJ" 1 J " o 1 fa, ut. sol, la. sol. fa. fa, mi. 2 notes * p. W & *-•-*- sol, ut. Ut, sol. Ut, fa. 1 note The same with 2 notes 52 fL7 fa, sol. fa, sol. 1 note The same with 2 notes $ 122 i m mi, fa. mi, fa. mi, fa. The Roulade The Roulade is an assemblage of several well-arranged notes which are begun one after another, according to the principles of the art, and form an agreeable harmony in the song. There are an infinite number of types of Roulades because of the diverse mix of notes and as each nation has a particular way of singing, Roulades which are a part of the beauty of singing when they are well done, are also unpleasant when they do not have the exact measure that they must have, whether they be too many, whether of an excessive length making 42 them boring: I will speak here only of Roulades which are of the proper 7 usage which I / distinguish into four types. The first is that which replaces the Avant-Son. The second is that which replaces the Reste du Son. The third comprises the whole principal note. And the fourth, which is composed of the three others, is done on cadences, on long notes, on composed intervals and on a few other places in the song. The first which replaces the Avant-Son is composed of two up to five or six notes; it is always in front of the principal note.37 Example: jk 2 notes 3 notes 4 notes znasz ¥ 22 fa. la fa. la re IjboI. 5 notes 6 notes J I'1 la fa. la fa. la fam. The second Roulade which is used instead of the Reste du Son is done after the principal note; it comprises from three notes up to seven or eight, as in the following examples: 3 notes 4 notes 35 $ & fa sol fa mi fa mi 8 37 In these shorter examples, the principal note is the one he is ornamenting. 43 5 notes 6 notes $ H la sol. fa mi 7 notes 8 notes IE m TT -p ••fJ-Gr' -e to Hut fa mi The third Roulade which includes all of the note extends from 2 notes up to 8. Examples of 2 notes: PS 4e? ~J iJibj ^ la fasol. la fa re sol. 3 notes 4 notes 5 notes <|> J J J SS ~U frot y %sia sol fa mi la fa re sol fa fa re 6 notes 7 notes 8 notes 1 $ 31 H ^1 ii re sol fa sol fa sol fa 44 9 Other examples of 8 notes: -o- ZZ $ mw o sol fa sol la fa mi The fourth Roulade includes sometimes the Avant-Son and the Reste du Son, other times the whole principal note, yet at other times all three together; it is composed of 5 or 6 notes up to 12 or 15, according to the length of the cadence or of the note on which it is performed, as you can notice in the examples that I will give of cadences, or send you back to the example of Roulades which include the Avant-Son and the Reste du Son on the same note. Example: IE n IE O H $ IJjPo 3E -O- m i to fa sol sol fa mi I was forgetting to tell you that among Roulades, one sometimes mixes in Elans, which give them an unparalleled grace: these are leaps or composed intervals separated by 2, 3, 4, even 5 degrees. Examples: 3 degrees 2t $ qy\\o ||^ fa mi sol fa sol fa 45 4 degrees 5 degrees IT $ -O- i sol fa mi la lit. 10 To these three principal necessary things to sing well about which I just told you, that is, the Avant-Son, Reste du Son and Roulade, one also adds the trill, which is done on long notes, especially on the penultimate notes of each cadence. And to speak truly, it is an effect unparalleled in singing, but since it occurs naturally and that there are people who would not know how to obtain it through any practice of singing whatever they may do. I will not continue to talk about this and will send you to the individuals to whom nature has given it, in order for you, if you can, try to imitate them, and besides I do not think that one can teach it by any example; I shall, however, give you an example as much as it is possible for me, to satisfy your curiosity. Example: sol fa sol. 11 Portements de voix on musical intervals, from simple ones to composed ones; in which one sees a harmonious mixture of the Avant-Son, Reste du Son and the Roulade. The Simple Intervals First of all, since it is necessary to intone ut, re, mi, fa, sol, la. 46 Example of the Avant-Son on the same degree as that of the principal note: •H F— H * frh rl S r— r •} J-** &— -id 9- I V *- —*2 u re< s y ^ °l' la. la, sol, fa, mi, re, ut. Example of the Avant-Son taken on the degree of the preceding note: ^ ^ ^ ^ ^ u1' ie- m'- sol, la, la, sol, fa, mi, re, at. The Avant-Son and Reste du Son mixed. Example: ut, re. mi, fa, sol, la, la, sol, fa, mi, re, ut. One can speak in descending in this way. la, sol, fa, mi, re, ut 12 Example of the Reste du Son of 2 notes: 47 S £ ut re mi fa sol la, I m A Mixing of the Roulade with the other two types. Example: S=c5 * ut re mi fa sol la, I§ 1 la sol fa mi re ut. Another mixture, doubled: JJJIJA 0 w 0jti ut re mi fa sosol la, ^ la sol m I ra mi re ut. 48 To rise from ut to re: $_ 0 ut re, ut re, ut re, ut re, 13 tijVj/J'fiyt T ut re, ut re, ut re,. ut re, When the principal notes are of lesser value than a measure, one spends less time on it or performs a Roulade that comprises the whole note. Example: 5 i o W *5 jO I ut re, ut re, ut re, ut re. What I have just pointed out on the notes ut-re, can be performed on the notes fa-sol, transposing up a fourth and the sharp which is on F-ut-fa,38 will be mi on B-fa-^mi. To rise from re to mi: $ur re mi, re mi, re mi, re mi, re mi, 38 The customary order of Cuidonian hexaxhord names is not observed by Millet - for example, F-ut-fa is usually F- fa-ut and A-mi-la-re is usually A-la-mi-re. (Millet's order is maintained in the translation.) 49 ^ £ * I re mi > re mi, re mi, re mi, re mi, m * 419 -d—* re TRV^Ltxnjj mi, re mi, re mi, 14 & d*9\P 1 b •**4y I • * #1 ^ re mi, re mi, re mi, re mi. One can perform the same portements de voix on the notes sol-la as on the notes re-mi, observing what I have said about about the sharp. To rise from mi to fa: i I mi fa' mi fa' mi fa, mi fa, mi fa, $ i ^• f y 1 0i9 Si mi fa, mi fa, mi fa, mi fa, mi fa, mi fa, mi fa, mi fa, mi fa. 50 To go from fa to sol: s— :s —SS -y-j -t his \ i rV- -y-; fe== —t W 4^ ^= -4* &i fa sol, fa sol, fa sol, fa sol, fa sol, k ft- l^ll fi fa sol, fa sol, fa 15 sol, fa sol s <7jjfH! *JJm* ® 0 «Uf a jjfUy, ^_UJi fa sol, fa sol, fa so #l fa sol, fa sol, fa sol. To rise from sol to la: I h 1 i-JV>I Jjj Jl»| J- sol la, sol la, sol la, sol la, sol a, i c|) jJJJp*! 4rjJ n Iu. S °I la, sol la, sol a, sol la, £? mm $so l la. sol, la, sol la, sol la, m Blag 0 J 0 m $ m m sol a, sol la, sol la, sol la. 51 To descend from la to sol: 'a s°l' 'a sol, la sol, la sol, la sol> ,a' sol, la sol, la sol, la sol, la sol la sol, la sol, la sol> la sol, la sol, sol, la sol, la sol la 52 To descend from sol to fa: *jF= V N *- s SL / LJ J y —o— yl —f -*h -t 3 sol fa, sol fa, sol fa, sol fa, I I | j^jJJ J I J sol fa, sol fa, sol fa, sol fa, sol fa, + + sol fa. sol fa, sol fa, sol fa, sol fa, sol 17 To descend from fa to mi: s PS" >F =h rs— —« \l 1 V ffl ,) ^—1 v-* vy <> o 4==2 y- y W i 4^ ^4 iV ss^ = -T- —s r-ff5- y- sc -v- W- F^h ^— "V #• •hB-I fa mi, fa mi, fa mi, fa mi, fa mi, + y Ai h ifUJWA & fa mi, fa mi, fa mi, fa mi, SfSSI f Nil fffll .HitH11 HtlTlffl h 1 1 1 & *3 i3**o i • 4s *d *ij *si3**o fa mi, fa mi, fa mi, fa mi, fa mi, fa mi, 53 g m —# m m md * i # d 9 i i fa mi, fa mi, fa mi. Notice that if you take the Avant-Son from mi on the degree of A-mi-la-re, it must be very short. Example:^ fa mi. To descend from mi to re: 1 Vfr~ SSp k ^-ass= ' y ° o ^ iijy y 18 mi re, mi re, mi re, mi Hre, mi re, 3^5 mi re, mi re, mi re, + 5 I ~o~ $ F*tWW*-? mi re, mi re. See the article here above to descend from la to sol, which is intoned the same way as from mi to re. To descend from re to ut, I refer you to the article on sol to fa, which is much like re-ut. When after the ut degree re sol ut, it follows a fa on F-ut-fa, with a sharp 39Millet's use of A-la-mi-re indicates that he was considering the mi as a mutation to a hexachord where the E would be the sixth scale step. 54 for because then the notes which precede on the degree of B-fa^-mi, must be by B-mol. Example:^ 5 XT » o $ sounl " far " la sol fa la To climb the simple intervals which comprise a major third, that is, ut-re-mi n Z2 fa fa $f a sol la, 29 utremi, fa sol a, fa sol a, fa sol a, fa sol la, fc-i ! s ! 5 —s 8 s —f r •Ff 9tJ*Y 9 y LJj•4 -*j~ w i 4; fa sol a, fa sol la, fa sol ra, a FH=F kr11 \ p 1 * #1 * ci J4JJ. f?- —'^jj< fa sol a, fa sol la, fa sol a, fa sol la, fa sol a, mm s s= v ^— 5= S : -J J h# # —J Up -4-4 -J d ^5 -f —' LJ t d £ fa sol la, fa sol la. To transpose to G-re-sol-ut, it is necessary to perform a sharp on F-ut-fa, 40 See footnote #39. 55 which gives the half-step. Example:^! transposed 5 ut re, ut re. To climb the simple intervals which comprise the minor third, when the half-step is the last, as in re-mi-fa: \> i? \> t t \, i ij, $ JCE -O- 43*fp-\ & re mi fa, re mi fa, re mi fa, re mi fa, t t t \>\> \> \> \> 20 s i re mi fa, mi fa, 41 If his transposed example is correct then it appears that he momentarily misread the clef, otherwise the transposition down a 4tn should have been up a step: isp- V P 56 To climb the minor third when the half-step is first as in mi-fa-sol: s— \ V- m =*= 1 1 ff" mi fa sol, mi fa sol, mi fa sol, mi fa sol, 5 W W 0 o w 0 d + + 4 • dm 4 tj ' & mi fa sol, mi fa sol, mi fa sol. To descend the simple intervals, which comprise the major third, that is, la-sol-fa or mi-re-ut: h— =fM !§= 1 M- vCI y " o o I -4j M W-1 la sol fa, la sol fa, la sol fa, la sol fa, & I 0 J 0 s m 22 la sol fa, la sol fa. la sol fa, n la sol, fa, la sol fa, la sol fa. See the cadences here for la-sol-fa. 57 To descend the minor third when the half-step is last as in sol-fa-mi: 5 y— s— a- ! \l 1 ,) 9 0 —o—5—r ^-L P-f & sol fa mi, sol fa mi, sol fa mi, sol fa mi, sol fa mi sol fa mi, £ I 0 S $ • d* & J#* d * sol fa mi, sol fa mi, sol fa mi, : : see >F= pp PP • = ^= H-fa 4—s rV- _ m ) / • • • J < 4Jy* ptit tf o 11 sol fa mi sol fa mi, sol fa mi. To descend the minor third when the half-step is first, as in fa-mi-re: s a= ——1^~" 1 J?o o JJ \ s— •f 22 mi re, fa mi re, fa mi i re, fa i -J—- -W— P-—SSi f^hrwfnk fM Sr-S fa mi re, fa mi re fa mi re, f;a int i re, 58 O Si ~o~ fa mi re, fa mi re, la mi re, OR 5 D" I jjly ji# O mi re, mi re. fa mi re, fa See the cadences here for fa-mi-re. To climb and descend simple intervals which comprise the fourth and the fifth, I refer you again to the examples below, in order to avoid repetition, you will be able to use them by taking ut-re in one place and mi-fa in another, according to what you find harmonious in singing. Composed Intervals To rise a major third, as in ut-mi or fa-la: 1H fa la, fa la, fa ia, fa la, fa * nxy fa la, fa la, fa la, fa la, S p*i i J] fa la, fa la, fa la, fa la. 59 To rise the minor third re-fa: 4**" I J . JIJ I JJFEI ^4)1 1J re fa, re fa, re fa, re fa, re fa, re fa, &5 5 S re fa, re fa, re fa, re fa, s a paa | 11 1 —J^^jj y # h-J t-LJ/J *t±4 [J J fLy J •" J -# L # To rise the minor third mi-sol: -o- 5E O- $ ii sol, mi sol. mi sol, mi sol, mi sol, 24 * t? 14j mi sol, mi sol, mi sol, mi sol, I \ S J £ mi sol, mi sol, mi sol, mi sol. To descend the major third: I J I V- " ..— la fa, la fa, la fa, la fa, la fa, d = = = RN hi nJ*n 1 /hrf?* _ J 4 _ — ^ ^ ^" 3 60 •JT -*3- la fa, la fa, la fa, la fa, §POJ*L N la fa, la fa, la fa, ia fa, la fa, la fa, la fa, la fa, la fa, TTIIJ A * 0 * m * la fa, la fa, la fa, la fa, 25 u; L I ^ I JJ+H *3 la fa, la fa, la fa, la fa. To descend the minor third sol-mi: HI |J-M|J * * ij S3 *9 sol mi, sol mi, sol mi, sol mi, sol mi, * LII 5 4 74 ' d^J I 4 *'***• sol mi, sol mi, sol mi, sol mi, d ^!B EE = S — tp= — *i= Q m gp s— y- J— 5? j— s 1 H i3 1 fo <5LJ =< zm if si 5 3 — dr sol mi, sol mi, sol mi, w sol mi, sol mi, sol, mi, sol mi, miI *JTTT * J J m h \ I £ sol mi, sol mi, sol mi, sol mi, t*w*m4m * * im i sol mi. sol mi, sol mi. 26 For the minor third when the half-step is first, as in fa-re: i TV o • i5j m tzJ'iijiaiyji^ijp ^ ^ ^ °i $ fa re, fa re, fa re, fa re, fa re, 9 5 I 1 M- * 5 fa re, fa re, fa re, fa re, fa re, m ^ m \ i jjJ-n I w X3 fa re, fa re, fa re, fa re. If after the re, a fa follows on b-fa-fcj mi, the Avant-Son and the Reste du Son 62 which would be on this degree would be on B-molA1 I * fa la fa fa la fa. To rise intervals called fourths: s, ^ 3 - ^ V" -4© w- 1 ^4 4 j-jjJ U-J^ =p — •• B hi S3 u - FTFL 5E to -j • y -J # —G -d J *ZjG> L* *L / # ut fa, ut fa, ut fa sol, 27 mm It 5 ut fa sol, ut fa mi, ut fa mi. 7 -O- 1 W*L ^ I rflJ $• O QF *3 J-Ni? '^y re sol, re sol, re sol, re sol, re sol, 42 The hexachordal shift of re to la in Millet's examples allows the designation of the E[, as a as it would appear in the regular gamut, based on C, e.g.: A 1 -* fc TO «. o " \) -e- o ° ut re mi fa sol la B-mol ut re mi fa sol la B-mol 63 sol, sol, sol, re sol, re sol, re sol. mi la, mi la, mi la, f£=i *F s -j-j Fh 1—• h-J —J • J —« * mi la, mi la, mi la. To descend the same intervals: v- g» M -=ff ,) / ff I 0 -^-0 =£-£^- fff 1#^ -4 •s---i r* J -6- 3 ^7 ^ la mi, la mi, la mi, la mi, la mi, & * £ $ S3 la mi, la mi, la mi, la mi, gj $ *J JJ \jl * I J J m la mi, la mi, la mi, la mi, 28 1 iJ # # J J V # -J J -J J # la mi, la mi, la mi. 64 There are some which descend to re in the Roulade from la to mi. Example: % $ 9 4 la mi. This Roulade is a little harsh because of the tone which precedes the mi, and I do not believe it should be permitted except when a note descends immediately afterward, as in the example: + . + EES © $ la mi ut. la mi ut, + ^+ $ TT sol re, sol re, sol re, sol re, sol re, + I $ t2F sol re. One can use Bb on B-fa-^mi for the Avant-Son on re.43 Example: ^ 0- sol re, sol re, sol re, sol re. 43 See footnote #41. 65 f 29 ut, fa To climb intervals called fifths: \> \> \> JOE * j})l XT ^5- ~ ^7 — * fa fa, fa fa, fa fa, fa fa, fa fa. —fe T"®8 10 1 s f" 2f t \—r f s f= y== ff & s 0 J© i J. tl tJ ut sol, ut sol, ut sol, ut sol mx. 66 -gg- IE s $I T XT re la, re la, wre la, re la, re la, 4 1 1 1 rpe la,. re la, re la, re la, 30 To descend the same interval: + IE tI* >UJ ~rxyyjj 1 $ XT pis +- !: =5 ==s-fc $—1* s F# -^ ff=H rn rtf ^ -4^ -*n -*-#L•#1 - # Wl PO m i* la re, la re, la re, + ±M i ts1 I la re, la re, la re, la re, + , + h ij. S »* J J ^ * ""'O la re, la re ut, la re ut. 67 3i if Aitts o §i^ Vs sol ut, sol Ut, sol ut, sol ut, sol ut, ut, sol \ \ 32 To climb and descend the intervals called sixths Since one does not see any intervals in the beauty of song which include the major sixth as in ut-la, I will not speak to you about it, save the minor [sixth]. There are some who do not allow Roulades to climb to this sixth and content themselves with the Avant-Son: I am of their sentiment when one begins a song, but in the course of [the song] I maintain that it can be done, this is why I will give a few examples here: 68 fa, re fa, fa re, fa 32 E^i | JT3J1 | *3I 5 fa re. sol mi*, 9so l mi, sol mi, J £~T- « « * i,{ji ^ijjn ' ** IjBi ^ sol mi sol mi, sol mi, +. $ * sol mi, sol mi*, 9 sol * *mi. ^ ^ 3 }+" <> J • < ff IJP 1 1 TT T+-4* J^lp Ji i ^hp —I Ik < s la ut, la ut, la ut, + 4- „ * 7 la ut, la tBUt. 69 One ordinarily does not ascend octaves, however, I am giving an example: n n ut sol. To descend octaves: 33 ut, sol >[ u m fa, fa fa, fa t t + if. 5 la mi, la mi* la mi. 70 I re, la It is a good practice to descend to one step lower after these Roulades: but it is necessary after the octave to go up a fourth, otherwise this method is not acceptable. Example: $o - 'flJfllJU 4gUi 34 sol fa. When one begins a song, I think that one must simply use the Avant-Son.. Example: sol ut. 71 Mixing of distant intervals Example of a simple -o- -o- iq: JOE xi _ n o O *>= O " O u e o- - " o o o TT 321 O _ O O- IE m o- -o- -e ~cr ti "O__" cr o- * -o- 3E IE IE rr trc n ~CT" o — o or TT In the double of these intervals, I do not limit myself to the measure, in order that I may have a better way to make you see here the beauty of portements de voix. In order to intone them well and with agreeableness, one must not wait for one to be hastened to breathe: and in order to breathe in a proper way, one 35 can do it at a point / in front of the Reste du Son when it takes up two notes just like one would do in a sixteenth rest, and before the Roulade after the principal note. See the following example, where I place sixteenth rests in a few places in order to take a breath. 72 Example of the double ut mi $ * m $ • * # mi sol mi la, + £ ~^~~a • ^ * si * o la fa la mi la re, + 0*0 i My% sol mi sol re sol Ut, ±- sm ^ TY~ + f£=l 'i *1* Tts"a 5 K «/ + la fa re la fa sol re fa Ut, 73 $ + sol ut 36 When the song is composed of quarter and eighth notes, one uses the Avant-Son and Reste du Son only. Example of the simple: f=0=q V I m I—J s ; m —J mb J • • fi d -J m —m m + !1 M• m-m pB 1 s s ^ K -bub f*i V - •0*-i V ~*T~ rr* P w, ilib y> O'rJ fa sol la fa sol fa mi re mi ut fa re sol mi fa sol la sol fa. =^- p fa sol la fa sol. J j J^J- j)j I ^ J2 la fa mi fa sol sol fa fa. One can use the Roulade which comprises the whole note from la to fa. Example: la fa mi. The Reste du Son is sometimes used instead of the Avant-Son and this method is very sweet, here is an example of it: 74 f s 37 la fa Instead, one can say: ^5 +~0 la fa mi fa re mi ut. When in the simple, there is a series of eighth notes, it is better to double a few of them. Example: n"3 s j p! 5 \in n -TJj F" 10* — < &—LJ-*— * J J i•_^ U m * J1 3^ sol la fa sol mi. re mi fa sol la. ^ 55 -Ss-^- "I ^ ^ -- s • s J 0 9 it J-*L J-J 0 0 * 0 m H9— la fa re mi fa. la sol la fa sol. + $ m 0 a sol la sol fa. 75 Cadences Since the cadence is the most beautiful part of singing and is the cause for all its beauty, it is called the perfection and achievement of harmony: it is to music what beautiful thoughts are to poetry, but also since it is not a question here of the composition of music, I will not point out to you the different / 38 cadences except by the examples that I am going to give you for the portements de voix only: because in order to speak to you of Regulars, Irregulars, and those which are constructed on the average interval and of others that the normal [mean] interval forms, it would be necessary to deal with modes and in the counting of 12, research all of the cadences which are found singularly in each mode, which is in my opinion just a repetition of cadences, since it is certain that in every song, speaking generally, there are only two types, all the others being only different except by accident, the one that I name a cadence of b-mol or minor third; the other cadence of fc| qiiarre or the major third: this one of b.mol is formed on all the degrees of the scale where one says Re, and the other of ^quarre takes its beginning on the degrees where one says Ut. Examples: Cadences of b-mol [b rotundum]: —y g~\u c> -KPLAI © jr* ° IJt u ri° i n 76 Cadences of ^ quart e [b quadratum]: o *» l *> ^ ty 3n TT 4U " XT 39 One can diversify these cadences in the double to an infinity of types, here are a few examples. Cadences of b-mol or the minor third: + O- [Xjl -O- * - 4 i sol fa sol, sol fa sol, + tH-^9 1 sol fa sol sol fa sol, sol fa sol, sol fa sol, sol fa sol, sol fa sol, + «L^ * ¥ m iP sol fa sol, sol fa sol, sol fa sol, sol fa sol. + <|> J-|Jo a w J O 1 *4 sol fa sol, sol fa sol, sol fa sol. 77 + + -o- £ fplPS tr re sol fa sol, fa sol, 40 =i '* m— © —m-.< 1 . 0 1 O B- P € J ^ 3^ J*w4 ^ re sol fa sol sol. gy -©- s|ps la fa sol, la fa sol. fa fa sol. + ¥ jN=^ * J He.J o—-h* m fa fa sol. sol mi fa sol. + + a rJ o I 417 I £ J 4 a -f- 1 t-£\ :^== R|H J ^ \ m i* * 1 «» « • [J-* m 9 y&J O 1 —' J o ¥ 4* ^ * P' a + . A P S m * £ V«J "^N ii # - p # — sol la sol, sol la sol. 78 OR -o- nn *7A famjjpr^'rri mi re, fa a mi re, + k +_ & *tr~=—| E fa mi re, fa mi re, fa mi re, 41 I m mi re. 0 m 0 m m fa mi re re, fa mi re re, + + V:^ & IT JOE fa f mi re, sol fa re. 79 Cadences of ^ quarre or the major third: 5 1 4 S § €> a m ID £ rJ ' • " _*' 0 fa mi fa, fa mi fa, 42 + S + $ J j J * j ^=g= fa mi fa, fa mi fa, fa mi fa. hi in hi hji ii rr 11 -hM p 5IE fa mi fa fa, fa sol fa, + JCELIM fe fa sol fa, fa sol fa, fa sol fa. "fePT £ sw w $ azn: ^ 5 J Ad* * J d-*€^i^7 +dj-pt sol fa fa, fa sol fa fa. 80 Other cadences of ^uarre. sol fa, la sol la, la sol fa, i sol ra, la sol fa, la sol fa, 43 S ill, 1 M= 4 r V J • *» € ' * ®E> * o ° , •« ® J =4—*; o sol la sol fa. sol mi fa. & fa la sol fa. sol mi re ut. You can perform cadences in a hundred other ways on those here subtracting or adding a few notes according to the brevity or the length of the cadence, it not being very necessary to absolutely observe the measure. 81 Half Cadences As half cadences are only of two notes which comprise the simple interval only, I refer you to the examples of these intervals I have given above. You can take also a few things on the first note of the examples that I have just given you of cadences. Although you could be satisfied with this research, I will just leave you 44 here a few examples, but succinctly so to not repeat what I have already / pointed out. a I la, sol fa, sol $ !§§§ 5 sol fa, sol fa, sol fa, sol fa, % 53 p JOE sol fa. fa sol fa. 5 £ 5 $ JULI fa sol fa. re sol fa. 82 •« mm 1 -*»— M w _ -^p—: e h#L > mHP - II" ' J—J d • ^ 4ib—^ re sol + fa, re sol fa. IT JOE § 3 $ la sol fa, la sol fa. F=P=-= ==^ SS ESS -a-#— IPT J fljv n NH r T.«* ' ^—a 1 Mb-1 la sol fa. la fa, la fa, 45 5 $ la mi fa. fa, la fa. la + ,1 n.ifin h iy ^ G 33: sol la fa, sol la fa, fer sol la fa. la fa, —0 ^ pp IP mi la fa. I'd mi ut. f y la re ut. 83 Examples of a few other passages: \> V \? pT * o *=y m m C) • " » ^ i mi m mi, fa i. LJ. t 11, ""• -a a ^ S# - J m O • TO *' p^ ( d la fa la. sol re mi fa mi. + + L 9 I * * " XT t3 sol fa re. sol fa mi. 46 i'j st o sol fa mi. sol fa mi. + IE n y r) I V-9 9" #0 1 sol fa re. sol la fa la. <^> J J ^ 1 S * m mi fa sol. ut fa mi. =as & $ o ~W SE re sol la, re sol la. . ^ i J | | | j— ur />JT-TTff Ol R P# o J J •«'*'; «U"i ft*— ~V0 ^—J— ' * J •• J04 * •* ™ IF g la fa sol la la, sol la la. 84 All the examples of cadences that I have reported can be mixed in such a way that taking from a passage of one and adding it to the other, one will diversify them in as many ways that one would like, according the the length or brevity of the cadence and the words. 47 In addition to the cadences of which I am going to speak, there are more which belong to the bass, and to the harmony, but as they are composed of lengthened intervals, I refer you to the examples that I have reported to you, giving them here only seven or eight in order for you to notice how to apply them. qpf to Part fa sol la + -n o— dJdvPjd S 122 ~~€T~ la mi la. ss I, m 5 m g 5 fa ut fa. sol ut fa. All of the Roulades or passages of one note to the other are not all equally 48 beautiful, not equally in use and in effect / this is not possible: also it is the effort 85 and discernment of the singer to use now some, now the others according to the measure. In order to give you an entire knowledge of portements de voix of which I have spoken to you, I am going to produce for you a few airs in different modes where you can notice throughout the ornaments of the proper way of singing: I will not subject myself to narrow observance of the measure in the doubles, i.e., I will keep it only in the simples; this will be enough for you to hold each note in proportion to its value, but as almost all the notes are connected in the double one to another, it is necessary to take a breath on the points as one would do for a sixteenth rest and at the beginning of the words; one can make a rest again on a syllable at the middle of a word, provided that afterward one performs a Reste du Son or Roulade as you can see here below. I begin with an air without words, where I note for you in the double only the principal notes, which replace the words. 86 Example of the simple mm . pij- p S, r ^r- -p—1 ~JL~? - i> • m v_J r J —* [)• ^T" »— B j : r-e m [/ 0 r 0 O ,d ^—f * * J 4 \ \ m 0 - ^ J I* w rj ^ J _J £ J— -J m J & b? ——i—- s m m • Fh kt 1/ -tH —•- -e 87 Double re mi fa mi fa sol la § fa mi la & sol mi at re mi fa sol 1 t£V| f-mJ -o- slffpgffrl f. la la sol fa, la mi sol re PP a fa mi fa mi re re, re re mi fa re sol -t — J? , —1>— Fh ft —fP _ fl,!—H •• —J- • * " f *« T^= 1S i|i' -©- sol, mi fa re mi ut fa mi re re. 50 la 88 O d' s § ~TT $ Cren est fait a ce coup I - ris nous va quit - ter, r~w i 0-0- $ C'en est fait a ce coup I - ris nous va quit - terNousnepou- Nous pou-vons vons $ et no - tre pert' est sans e - ga - le: SE m i H et no - tre pert' est sans e - ga le: ap-pas Beau - ap-pas -6b1- ~zn $ de ce - lieu, Quand fau dra -9*1 0 * n /n 6 ~ZH $ qu'elle sen ail le on pour - ra bien 2_ ?: I I f^L rr'fiiir r r qu'elle sen ail le on pour - ra bien, on pour - ra 9 r\ H vous dir' a - dieu. * m bien vous dir' a - dieu. With this, it's over; Iris will leave us. We cannot stop her, and our loss is without equal. Beauty, grace, appeal, delights of this place, When she has to go away, One will be able to tell you adieu. m Le noeud qui vous u - nit est si fort et si doux, jl 5 J '4y jJ» 1^ -cjternw t mais sans vous etvouHs nfal qu'elle ne va ja FFn + FF % m m \mPmPm K*— w Wfff- =i=? mm =- • au.: 9 lez ja - mais sans el le: Puis que vous 0 1 g \d? S3 la sui-vez i en tout temps en 90 m ^ Pi -i—^ % a A s *- -Vi £ —#L m -d+4 m p p j—< 0—-4 U- 3= : 1 J? L r) \P m rj •—avff . m 9 *F l(g>" *4- m m L^O-- = s-T 4 le, il fail - dra bienvous dir a- dieu vous dir adieu. The knot that ties you is so strong and so sweet That she never goes away without you. And you never go away without her. Since you follow her at all times, in every place, In seeing this beautiful person, It will be necessary to tell you adieu. 5 i 0 A - dor ables ri - gueurs et vouschar-mantsmes pris, 42LI : 3 r> 'ir ff i ir's d Ipf 22 w A - dor - ables ri - gueurs et vouschamants mes pris, Quenevous 52 44 ^5 5 0 o- m m Que nevousdoisje pas sortantdes yeux d'l-ris. De fai - re voir i j J j) r' ^ dois je pas sor - tant des yeux d'l - ris. De fai- re 44 The doubles of this air are performed as repetitions of each stanza; they are placed following both simples in the treatise. 91 IE £ i JOE $ aux miens qu'elleest une in fi - del- le, Je vous aime a- pre- * : P —1 ^3 l*=i F—73- —H ^= 4lh-# # ^"1 6 J- O e) Vous ma-vez re- ti de mon a veu - glement Vous m'a - vez re- ti - re re - tire de mon a - veu- gle - 53 Fitk fT>, a * O i mzM de mon a- veu - gle- ment. % ne suis plus a - 5=H (9 1 —p" s f a ^4, L/ J w u_ja L-J —V- ment de mon a - veu - gle - ment. Je ne suis plus a - 92 szT \ TX i "#' o mant Je ne suis plus a - mant. f • 1 a ^ (Q TT 1 mant Je ne suis plus a - mant. Adorable rules, and your charming indifference What do I not owe you coming from Iris' eyes To let me see in mine that she is unfaithful, I love you now more than her. You have taken me away from my blindness. I am no longer in love. I am no longer in love. 03 - -+ § m ^rrrffpl A - dor - a - bles ri - gueurs, et vous char - mants mes pns, + + $ JOE a hjy J3 Quenevousdois je pas sor - tant des yeux d'l-ris + iSgi AfA.it p ft de fai - re voiraux miens qu'elleest u - ne in fi de 4" 2 3GZElE 0Fm 0 ffr i ^"CrJrPr-p Wle Jevous ai - m'a pre-sent plus qu'el le. 54 93 + S Vous m'a - vez re - ti - re de mon a - veu - gle- L t ay |r-j^0- 11 tfTH \\?W-y m ^ j fr tr 1 ~-^A • 0 o—e -- 'PT J-*0 ment de mon a - ve U gle- ment Je + * J —— l + rv %=?• m 1 o tsf ne suis plus a - mant Je ne suis plus a - mant. Adorable rules... You have taken me away... (see above) 03 Pi* £ •#—m 5 £ Quand je par - tis d'au-pres de vous, Je vous promis $ S 1 Quand je par- tis d'au - pres de vous, Je vous promis * 7 #• # - m 0 r—-# '% - a m* P 1/ ™ \p 0~ - - p / quel - ques airs des plus doux, Mais he - las jecrains bien qu'il fail- K W--W m I quel ques airs des plus douxJVIaishe - las jecrains bien qu'il fail - le 55 94 »f\ m -o- IT jtzz: T'i r'pr lem'ende - di re. Lors que l'on eslalsende vos appas, N'alend- TT 3 331 I fill. 1} JfrJ s'ende - di re. Lors que l'on est ab- sent de vos ap - pas, N'at- JUL <> i i i ez rien degay que Ton puis-se pro-dui - re: On souspir i ez: XE tend - ez rien de gay quel'on puis- se pro dui - re: On souipir on r\ m m e- ^ o f o on ge - mit on f. ge- mit on f. mais Ton ne chan - te pas. © W- -ft 3 -e—& xzr ge - mit on f. ge - mit on f. mais l'on ne chan - te pas. When I left your side, I promised you a few sweetest airs, But alas, I fear I'll have to come back on my words. When one is absent from your appeal, Do not expect anything joyful that one can produce: One sighs, one moans on F, but one does not sing. 95 + + J? ;i - 1 mi H-f- Jk^L 1 Pi• i — J-0- iJ 41 o : * ?_5? Lors que pourdes beaux yeux ab -sens.Un tris - te coeur 4 r ^ ^ ci£r1 r i'' ^^ des cris con 56 pardes sons lan - guis-ans, et par des cris con - + y fus ex - pri - me son mar - tyr - re. I'"^l ^vrrf;bnlbnter^ [J* ~il'JM=& De - dans ce mal pi - re que le tre - pas + 4^ i n'ap - pel - lez pas un chant ce + Si5 m m que Ton peut pro - dui re, on sous-pi T*-+- CI *i o =zb tr— F - m r'on &e - mit on sous-pi - ir'o n ge - mit et $ ~o~ Ion ne chan te pas. When for beautiful eyes that are absent, A sad heart by languishing sounds and confused cries Expresses his martyrdom. In this suffering, worse than death, do not ask for a song That one can produce, One sighs, one moans, one sighs, one moans, and one does not sing. 96 + ==1— $ Vous me de-man dez mar-an - te Des # -p •/ # ^ w— a -J -# t s 1— — 0 fj- Vous me de - man - dez A-ma4r - an te Des chan-sons des + 0 m0 $chan-son s des chan sons que vous ap - pren- drez, Tout main- te- 3 2 w chan sons que vous ap - pren drez.Toutmain - te - nanttout main-te- 57 J Lj-r j?i nanttout main - tenant vous en au - rez, E - coutez E - cou- 0~ •P • ^— •r 1 . a ^ m * m =^1# 5 f nant vous en au E - cou-tez s % que je chan tez eel le que je chan te: 97 s + 7J # * P $te , Ell' est fait - te (Til- ne fa - gonQ'un cou-plet fait u - ne chan w te, Ell1 est fait- te d'u-ne fa-9011 Q'un cou - plet fait u- ne chan + *0\ 5; n son Q'un cou plet fait u - ne chan- son. 5E IE son Q'un couplet fait u ne chan - son. You ask me, lover, For songs, songs that you will learn. Right now, right now, you will have them. And listen, listen to the one that I am singing. It is made in such a way that a couplet makes a song, That a couplet makes a song. [These last pages are in Latin, and are not translated.] + * gs $ m g f ve ve - rum cor - pus na turn ' o* f* 6 *- Ft ,/ J J © m Q- 58 ve ve - rum cor pus na 98 + +, ^ 0— 0 _ + 0 &" 5 i 0 O # 1# - w »f' » 1r4 i 3=1 —i *—i n * —"Wj m w ./ 7 6 J— m rj ^ m • turn de Ma-ri-a de Ma - ri - a Vir- gi - ne de Ma- + ^ +ni.^ * J*H» i m '•t 4 m ¥ de Mari - a Ma- ri - a Vir - gi - ne. Cui - us f7\ 0- 0 M - 0 # * O ri - a de Mari - a Vir - gi - ne. Cui - us ^ * ? O d -e 59 la tus per for - a ——1Sa + J • fu 17 —qjM f *- — U-^i il 6 ip- un da flu xit, un da he # J# turn un da flu- xitjun da 99 + 0 m m $ xit cum san - gu>-ne cum san - gui flu jgfea: P flu- xit cum sail - gui - ne cum san - gui- r#> —[ *A *4 ±f" iJj fHw\- ffr n •"H J HS* " 1 ne. o o dul - cis, m -€i u: ~~o~ ne. O dul CIS, s '—r—^ r i ^ ^ - f ? £ 0 dLu l - cis. o + > rr'hfffy FF= F#1 1?7 ft" P < • v- - 7%4 m hr i Je - su 0 o Je su fi - li Ma - ~f~~f • @ =&= """ P " ^=k J.— J 0 Je - su O Je - su fi - li 100 + i»£f^ £ P Vf- $ n - ae, Je - su f): | — ~~~~T -J—*-* F ff o «jj_*rhI u 1 Ma - ri - ae, Je- — *F v # t>—i m m J ; y -* —4 o fi - li Ma ri ae. 9 m 2 TT li Ma ri - ae. 60 su fi 101 i 0-0 r p-0-1 SJ fVa - ni - tas; va-m-tava- ni-1 s va-m - ta tumetom - ni a etom-ni-a va-ni a 0-0 Va-ni-tas va-ni - tas va- ni- ta turn et om-ni - a va - ni - tasetom-m-a va-ni I71 y- u p il m 45 \?6 m a m $ tas prae- ter a ma - re Je- sum prae - ter a ma- re Je - _? w tas prae- ter a ma - re Je sum a ma - re Je :f=jF 5 >£3 XT m $sum . At-ten - de at-ten- de 6 a - ni ma o a - ni- 3 sum. iAt-te n - de at-ten de o a - riima ni O- I I7 t # 43 102 #' # -0—m- • j • 0 0-0 $ $m a in - sig - ni - ta De - i i-ma - gi Je su Chri-sti re 14 m m I 2 i main - sig-ni - ta De - i i - ma - gi ne Je - su Chri sti re-demp-ta re 0-0- I m i* 61 5 5 s F=r=r H demp ta san - gui ne, quid guae ris, ?P# •G 3 I demp - ta san - gui ne, quid quae- ris, quid de - • .» • 22 i 6 5 r i & imfi P? quid de-si - de -ras, quid a mas, quiddi-li gis simundum 7 p $ pr^r ij si deras, quid mas, quid di- li gis simun- dum di- li f It I 103 2 tern i di - ligis, ter ram quaer ns, . va na de - si - de- •>P-\>0 5 »p r iMfj gis,ter - ramquae ris, va - na de si - de-ras a -0—m—0~ 3 \? 56 62 5 £ m $ra s a - mas ca - du - ca, di - li gis di - li- *> » • itj* # mB mas a - mas ca - du - ca, di - ligis di - li gis tran si ZZ 5 5 \> \> KZ3CE 31 P 1 gis tran - si - tor -1 a: va-nitas va-ni ta- turn, t om - ni P0- m P tor a: va - ni - tas va - ni-ta-tum, etom-ni-a va - ni w I ft I 104 I^CJrjr rj a, etnOm-ni -a va - ni tas. fLVi- de er- go, et MP-* * M- 3 m -O- £ i Vi - de er - go, et ne de tas,et om-ni - a va- ni - tas. s -e- 6 jt It 6 I 9-m- m i ne de-ci-pi-ar- is, at-ten - de, at ten- de, mun k k £ 1+-0-EE^ zt CI pi - a - ris, at-ten - de, at - ten - de,mun 9^ E *^|J- J' 56 63 *1 dus quem di - li gis tran - sit, ter - kram ter - ram quam ' J $ dus quem di - li gis tran - sit, ter - ram ter - ram i t> » 105 at m ris quam quae- ris prae - te JL quam quae- }uam quae- ris prae - te 9:- p aJ p 6 6 I? m m $ m m m WW mm s rit, om ni-a putrescunt, om - ni-a cu- a-ne scunt, om-ni-a in-fi - ci* 1 =9^ » # rit, om - ni- a pu tre-scunt, om-ni -a cu-a-ne-scun om-ni-a in-fi - ci- eSE 5« 1 I tt J 56 64 £ m_» P 0 •#—# unt, om - ni de-fi- ci-unt. A - ma er- go Chris - turnjm., di - li-ge Je- J, _5Lt2L g i unt, om - ni-a de - fi - ci-unt. A-ma er-go Chris turn, di - li - ge Je $ 9-0- & # # i- i 106 M tip i r i sum, se- quere Chris -turn, nam si ter-ram quae - ris ter- ra es #- t sum, se- quae C fins - turn, nam si ter-ram quae- ris ter-ra es si 5 9+ 9-9 1 tl 7 t It 5 si va- na quae-ris si va-na quae-ris va nus es. PE5E§ It* f 5 m 9+ JOE va-naquae - ris si va-naquae - ris va- nus es. IE 61? 76 2, J J 7^^"1 Va ni- tas va-ni ta-tum et om - m - a et om- m - a va- ni tas. 3-J^ _2 [2 i=I * s *• * & W Va ni-tasv^^ii ta-tum et om-m a et om- ni - a va - m tas. £ IIT 65 » # » 107 9-0- 23 I ^ Sus - pi ra sus-pi- ra er go coe - les- ti- a, con- tem ,V > £ S 2 feli 9 Sus - pi- ra sus - pi ra er - go coe- les - ti - a, coe- les- ti- a, con tem N 3 nm 1 i Wgi I, | l> 56 J 1* 1 i ra ap - pe-te bo - na, de ne ter re - stri- a, ve J 0 0 m *• *• $ 3i ne ter re - stri-a, ve ra ap- pe - te bo - na, de - spi m 22 9~& 76 17 l?56 |j 5 m m $ spi - ce ca - du - ca, ae ter na a - spi - ra, ±_ 0 m 0 0 ce ca - du ca, ae - ter na a - spi - ra, mun 3 4 65 76 108 m mun - da de - plo - da na REFERENCE LIST Alderman, Pauline. "Anthoine Boesset and the Air de Cour. " Ph.D. diss., University of Southern California, 1946. Aldrich, Putnam C. "The Principal Agr6ments of the Seventeenth and Eighteenth Century: A Study in Musical Ornamentation." Ph.D. diss., Harvard University, 1942. Anthony, James R. French Baroque Music: From Beaujoyeulx to Rameau. New York: W.W. Norton, 1978. "Lully's airs: French or Italian?" Musical Times 128/1729 (March 1987), 126-29. Baron, John H. "Air de cour," The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie. London: Macmillan, 1980. Bacilly, B6nigne de. Remarques curieuses sur I'art de bien chanter (1668), translated by Austin Caswell. Brooklyn, New York: Institute of Medieval Music, 1969. Bent, Margaret. "Musica Recta and Musica Ficta," Musica Disciplina 26 (1972), 73-100. Caccini, Giulio. Le Nuove musiche. Firenze, 1614. Cannedy, Susan Jane. An Anthology of French Solo Song, Sacred and Secular, 1660-1701. DMA Thesis, University of Texas at Austin, 1986. Caswell, Austin. "The Development of 17th-Century French Vocal Ornamentation and Its Influence Upon Late Baroque Ornamentation Practice." Ph.D. diss., University of Minnesota, 1964. . "Remarques curieuses sur l'art de bien chanter." Journal of the American Musicological Society 20/1 (Spring 1967), 116-20. Cohen, Albert. "L'art de bien chanter (1666) of Jean Millet." Musical Quarterly 55 (1969), 170-79. 109 110 . "Jean Millet 'de Montgesoye' (1618-1684)." Recherches sur la musique franqaise classique 8 (1968), 15-23. . "A Study of Notational and Performance Problems of an Early Air de cour: Je voudrois bien, o Cloris (1629) by Anthoine Boesset." In Notations and Editions: A Book in Honor of Louise Cuyler, edited by Edith Borroff. Dubuque, Iowa: Wm. C. Brown, 1974, 55-68. Collins, Michael. "In defense of the French trill," Journal of the American Musicological Society 26/3 (Fall 1973), 405-39. Donington, Robert. The Interpretation of Early Music. London: Faber and Faber, 1963. Ellsworth, Oliver. "The Coniuncta: A Reappraisal," Journal of Music Theory 17/1 (Spring 1973), 86-109. Fuller, David. "The Performer as Composer," Chapter VI of Performance Practice: Music After 1600, ed. Howard Mayer Brown and Stanley Sadie. New York: W.W. Norton and Company, 1989, 117-146. Gerold, Theodore. L'art du chant en France au XVUe siecle. Paris: Librairie Istra, 1921. MacClintock, Carol Cook. The Solo Song: 1580-1730. New York: W.W. Norton, 1973. Mersenne, Marin. Harmonie universelle. Paris, 1634. Millet, Jean. La belle methode ou L'art de bien chanter (Besangon, 1666), facsimile edition edited by Albert Cohen. New York: Da Capo Press, 1973. Neumann, Frederick. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer Books, 1993. Pernette, Roger. "Jean Millet, chanoine sur-chantre, en l'insigne eglise metropolitaine de Besangon et L'art de bien chanter," Memoires de la Societe d'emulation du Doubs 10 (1968), 3-18. Pruni^res, Henry. "De 1'interpretation des agrements du chant aux xviie et xviiie si^cles." Revue musicale 13 (May 1932), 329-44. Read, Gardner. Music Notation: A Manual of Modern Practice. Boston: Ill Allyn and Bacon, 1969. Reid, Michael Alan. Remarks and Reflections on French Recitative: An Inquiry into Performance Practice Based on the Observations of Benigne de Bacilly, Jean-Leonor de Grimaresi and Jean-Baptiste Dubos. M.M. Thesis, North Texas State University, 1985. Royster, Don Lee. Pierre Guedron and the air de cour. Ph.D. dissertation, Yale University, 1972. Rhyming, Gudrun. "Quelques remarques sur l'art vocal frangais de la seconde moitie du 17e stecle." Revue musicale suisse 122/1 (January/February 1982): 1-7. Schmitz, Hans-Peter. Die Kunst de Verzierung im 18 Jahrhundert. Kassel: Barenreiter, 1955. Seares, Margaret. "Etienne Moulinie and the air de cour (1624-1635)," Studies in Music 19 (1985), 61-79. Sherr, Richard. "Un document sur Guillaume Tessier," Revue de musicologie 54/1 (1973), 105-06. Stevens, Denis,ed. A History of Song. New York: W.W. Norton, 1960. Stoll, Albrecht. Figur und Affekt. Zur hofischen Musik und zur biirgerlichen Musiktheorie der Epoche Richelieus. Ph.D. dissertation, University Frankfurt am Main, 1974. Tunley, David. "Tunings and transpositions in the early 17th-century French lute air - some implications," Early Music 21/2 (May 1993), 203-09. Verchaly, Andre, ed. Airs de cour pour voix et luth (1603-1643). Publications de la Societe Frangaise de Musicologie, 1961. . "La poesie frangaise baroque et sa musique (1580-1645)," Actes des Journees internationales d'Etude du Baroque. Montauban: Association de la faculty de lettres et sciences humaines, 1969. Walker, D.P. "The Influence of Musique mesuree a Vantique, Particularly on the airs de cour of the Early Seventeenth Century." Musica disciplina 2 (1948), 141-63. Whang, Jane Ozenberger. From voix de ville to air de cour: the strophic 112 chanson, c. 1545-1575. Ph.D. dissertation, University of North Carolina, Chapel Hill, 1981.