Beautiful pieces to learn and practice diminution, improvisation & ornementation. Essential to recorder players, lutenists, flautists, cornett players & violin, viola da gamba players, singers… ¤ Très belles pièces pour travailler les diminutions et les improvisations. Traité indispensable pour les flûtistes (à bec et traverso Renaissance), violistes, cornettistes, violonistes, chanteurs…
Full title: Ricercate, passaggi et cadentie per potersi essercitar terminatamente con ogni sorte d’Istrumento: & anco diversi passaggi per la semplice voce.
Original edition restored by Atelier Philidor ¤ Instrumentation: recorder, flute, violin, viola da gamba, cornett, lute, voice ¤ Edition | Source: Facsimile (2015) | Vincenzi & Amadino, Venetia, 1585 ¤ Pages | Format: 1 book, 28 pages | Format 21 x 29.7 cm ¤ Notation | Clefs: G2, C1 ¤ Original text in Italian ¤ Ref: BI102
Digital copy available. Contact me to receive a free pdf copy. ¤ Disponible en version numérique. Contactez-moi pour recevoir le fac-similé gratuitement en format pdf.
Printed copy of this facsimile is also available on demand, prepared and shipped by the music bookstore aux notes d’Orphée (Montpellier, France). ¤ La version imprimée de ce fac-similé est aussi disponible sur demande, préparée et expédiée par la librairie musicale aux notes d’Orphée (Montpellier, France).
From Silvestro Ganassi’s treatise in 1535 we have instruction and examples of how musicians of renaissance and early baroque decorated their music with improvised ornaments. Michael Praetorius spoke warmly of musicians’ “sundry good and merry pranks with little runs/leaps”. Until the last decade of the 16th century the emphasis is on divisions, also known as diminutions, passaggi (in Italian) or glosas (by Ortiz) – a way to decorate a simple cadence or interval with extra shorter notes. These start as simple passing notes, progress to step-wise additions and in the most complicated cases are rapid passages of equal valued notes – virtuosic flourishes. There are rules for designing them, to make sure that the original structure of the music is left intact. Towards the end of this period the divisions detailed in the treatises contain more dotted and other uneven rhythms and leaps of more than one step at a time. Starting with Archilei (1589), the treatises bring in a new set of expressive devices called graces alongside the divisions. These have a lot more rhythmic interest and are filled with affect as composers took much more interest in text portrayal. It starts with the trillo and cascate, and by the time we reach Francesco Rognoni (1620) we are also told about fashionable ornaments: portar la voce, accento, tremolo, gruppo, esclamatione and intonatio.
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