By Jeffery Kite-Powell
Revised and improved because it first seemed in 1991, the advisor beneficial properties new chapters on ornamentation and practice session concepts, in addition to up to date reference fabrics, net assets, and different new fabric made on hand basically within the final decade.
The consultant is made from concentrated chapters on functionality perform concerns equivalent to vocal and choral song; a variety of kinds of ensembles; profiles of particular tools; instrumentation; functionality perform matters; idea; dance; local profiles of Renaissance tune; and guidance for administrators. The layout addresses the widest attainable viewers for early tune, together with beginner performers, musicologists, theorists, and educators.
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Additional resources for A Performer's Guide to Renaissance Music
Until the singer has been exposed to a sufﬁcient volume of material to develop an instinctive sense, he or she needs rules and guidelines to follow. The best places to ﬁnd these are in treatises and tutors such as Dalla Casa’s Il Vero modo di diminuir (1584) or Bassano’s Ricercate, passaggi, et cadentie (1598), and in written-out examples in other compositions. For instance, one can take a decorated piece and by careful examination “decompose” it to its basic melodic elements, thus ﬁnding ornamental patterns that can be applied in similar places in a similar piece.
Rule three is to crescendo on long notes, but to sing the subsequent note(s) at the volume level with which the long note began (not the louder volume achieved by the crescendo). Rule four is to observe all punctuation with at least a lightening, if not with a complete break, in the sound. Rule ﬁve is to treat ligatures (notes joined together in mensural notation) as useful guides to articulation. Interpreting them as if they were slur marks, with the second note softer than the ﬁrst, helps give the line a convincing contour.
Another way to approach the issue of just intonation is to perform all notes solmized as mi as “low” notes (thus, B, E, A in the Guidonian hand), all notes solmized as fa as “high” notes (thus, C, F, Bb in the Guidonian hand). Though useful, this method is incomplete, for it leaves out of account the notes G and D. ” Again, this approach cannot be applied to two of the ﬁve whole steps of the scale, namely, the two that are “neutral” (F–G and A–B in the scale without sharps or ﬂats). Nevertheless, this rule of thumb is useful, especially in singing the subsemitonium and ﬁnalis at cadences.
A Performer's Guide to Renaissance Music by Jeffery Kite-Powell