Post on 13-Feb-2018
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 1/15
406
67
JOIIANN
ES TTN
CTOR I S
eve
nly into two parts.
8
Concerning
th
e parts of minims in either prolation in
subduple
proportion or where
th
e tenor doubl
es
its time, which amounts to
the
same
thing; or concerning
th
e parts of
th
e
br
eve in imperfect tempus and
minar
pro
lation in cantus ad m ium
9
or
in
duple
proportion, which are also
the same thing; or in singing
th
e parts of longs in
th
e same te mpus
and
prola
tion in imperfect minor
mod
e but in quadruple proportion; or in singing the
part
s of maxims in the same tempus, prolation, and minar mode and in impe r
fect majar mode in octuple proportion: when a consonance is placed over thc
first or other prut of such not es sung according to the aforementioned modes,
proportions, and quantities, then a dissonance of equal or lesser note valuc
may
be
placed on what follows.
If
t:wo of
th
ese notes on the same pitch,
jo
i
ncd
or separate, stand toge ther before sorne perfect quantity, a dissonance is somo
times permitted on the first part of the first of these. However, when a descenl
is made into sorne perf
ec
t quantity through one or more of these aforemen·
tioned notes, any of these frequent ly perm its a syncopated dissonance
on ils
first part.
CIIAPTER 29:
THAT
MANY CoMPOSE RS NEVER EMPLOY A
DISSON ANC E
THE L E NG T
H OF
I iALF
T
ll
E NO T E
VALUE TIIAT
DIRE C TS
THE METER
OF
TH
E
SO
NG
BUT
RATll E R EMPLOY
SHORTER D I SSON AN CES.
Many composers avoid dissonances so c
aref
ully that they never extend
thcn
over a full half
of the
no te value
that
dir
ec
ts
the
me
ter
but only over a third,
fourth , or sma
ller part
of it. In
my
opinion these composers shoul
cl
be imi
tated
•
CHAPTER 3 1: WHY
SM A
LL D ISSO NAN CES M AY BE
USED
BY
M US ICIA NS.
Nev
erth eless, in
th
e manners clescribed above small dissonances may sonw
tim
es
be used by
mu
sicians ,
ju
st as reas
on
ed
rh
etorical
fi
gu
res
are
u
se
d
hy
orators for the sake of embellishment and e ffect. For a song is e mbellisl
wd
when it ascends or descends from one consonance to another by appropriall•
8. That i
s,
we must extend the mies o[ Chapter 23 to other note va lues, in mensurations that di
vi
tlt•
th
em
in
two, that might be brought by the use o f
pr
oportion signs to take over the mininú 111
semibreve's usual role
of
carrying the beat. Thn s in subd uple proportion or whcre the trntn
doubles its
ti
me
crescit
in
duplo)
thc minim carrics the b
ea
t, in duple proportion the breve, In
qnadruple proportion th c long, and in octuple proportion the maxim. Ti nctoris's m u sic cxamph·
applies all these proportions to the te nor parl only so that, for example, in the sect ion showin)l
octuple proportion tl1e te nor
·s
maxims have
tl1
e same duration as semibreves in tl1e o
tl1
er voict•s
9. That is, cut time
oral/a b eve.
Liber de arte contrapuncti
407
tncans
and
by syncopations, which sometim
es
cannot be
mad
e ·without
di
sso
unnces. Th
ese
small dissonances
do
not pr
ese
nt themselves so strongly
to th
e
I Ur
when
th
ey are
placed over
th
e last parts of no tes
in th
e tenor as th
ey do
when placed over the first. . . . {
.,
C II APTE R 32: ÜN THE ARRANG E
MENT OF
A NY
DISSONANCE.
Any djssonance should b e arran
ged
so that, whether ascending
or
descend
lng, it comes after
th
e consonance n
earest
to it, as for example a second after
n nnison
ora
third, a fourth after a third
ora
fifth, a seventh after a fifth oran
octave, and so on. And any dissonance should be
foUow
ed by a conso
nan
ce that
ls only one or, very rarel
y,
two steps removed from
jt
. ..
10
That is, dissonances should be approached and left by step and most often with oblique motion
between the parts. For exccptions to
tl1i
s ru le in li nctori
s·s
music exa mples see Sachs, ··court
tcrpoint.
6 8 Bartolomé Ramis de Pareia
The
Musica practica
of
Barto
lomé Ramis (or Ramos)
de
Pareia was pri
nt
ed in
Bologna in 1482. Of the life of its author we know little. That he carne from
Baeza, near Madrid, and lectured in
Bo
logna, after having previously lectured
In Sa lamanca, is set forth in his book. Other sources tell us that he left Bo logna
sometime after 1484 and went to
Rom
e, where he was
sti
ll living in 1491.
From
his pupi l Giovanni Spata
ro
we also lea rn that Ram is with held parts of his book
from
th
e printer with a view to lecturing on
th
em publi
cly¡
as we have
it
, then,
the Musica practica is only a fragment. A compl etion of the work, in a campan
ion
treatise called usica theori
ca,
was written at least in part but never pub
llshed.
Among other innovations in usica practica Ramis challenges the solmi za
tion
practices passed down
from th
e Middle
Ages
and associated especially
with Guido of Arezzo. In place of the Guidonian sys tem of six sy llables matched
to the notes of a hexachord, Ram is propases eight n
ew
sy
ll
a
bl
es matched to the
octave. This does away with most of the mutations, or shifts of syllable (and
hcnce hexachord) on a single pitch, ca lled
for
by
th
e Guidonian system.
Alth ough Rami s's syllables were never widely adopted, his system in general
\lands behind modern fixed
do
approaches.
The increasing comp lexities of solmi zation resulted from the increasingly fre-
que
nt
use of half-steps in positions where they were not natura
lly
found in
th
e
three Guidonian hexachords (whi ch started only on the notes C, F and G).
li inging
th
ese new half-steps in the old sys tem required a proliferation of
mi
fa
mutations and hence a pro liferation of new hexachords. (For exampl e, to sing
,\ ci d whe re a-c- d is written requires the syllables ut
mi
fa rather than r
e
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 2/15
408
68
BAR
T O LO M É R AM 1S DE PA R E 1A
fa-sol
and a
ss igns ut
to a non-Guido
ni
an position on a.)
Rami
s a utlines
th
ese
difficulties
in
his discu
ss
ian af musica
fi
cta
FROM usica practica
(1482)
TR A
C
TATE
1
CHAPTE R
4: SUBTLE
A PP
LI
CAT
ON
O F
THE G VEN
FI G
URE
FOR
T I
E PHA C
TI
CE OF
SI
NGE HS
By making use
af
a te
tr
achord Guido, pe rhaps a be
tt
er
monk th
an a
mu
si
cian, included all th
ese
twenty le
tt
ers
1
when he developed
th
e hexac
hard
. And
he was
mo
ved to create such a hexachord in this way b
eca
use
nurnb
er six is
called perfec t by ma
th
e maticians, for its aliquot parts, namely 1, 2, 3, when
a
dd
ed toge
th
er make six, and each string of
th
e hexachord r
ece
ives a namc
from the first s
ix
syllabl
es
af s
ix
lines of
th
e hy
mn
of St. Ja hn the Baptist,
namely: Ut queant axis. Resonare flbris.
Mir
a gesta rum . Famuli tuorum . Solve
polluti.
Labü
reaturn. Sancte Johannes.
H we have examined correctly
th
e Rrst syllable afte r each period we wi
ll
ex
tr
act
these
s
ix
vocables:
ut
·re,
mi
f
sol la
a
nd
when
put
in a successive
a rder eac
h is a whole tone from the next ex
cept f
becau
se
it is a
se
mi tone
from mi. So two whole tones will be
ab
ove and two below the semitone.
And
with the first le
tt
er g, which is called r the syllable
ut
is writte n, forming a
unit
called gamma
ut
;
2
from le tter a and syllable re a
unit
is formed which is
called
a re;
also frorn le
tt
er
b and
syllable
mi co
m
es b mi
fi:om le
tt
er
e
and
sy
ll
ablc
fa,
comes
e f a
from
d
a
nd sol d sol and
from
e and la e la.
In ard
er to follow the B
oet
hian doctrine, w
hi
ch divides
th
e e
ntir
e tonal
se
ries by tetrachord
s,
3
when Guido
co
m
es
to the fourtl1 place, namely
e fa,
he
aga
in
cr
ea
es another hexachord ,
an
other of
fsprin
g as
it
were.
But
if
h
e syllablc
ut is joined to e
f th
e entire a
rr
angement is called e
f a
ut,
an
d it continues
wi th
d sol re
and
e la
mi, where the first hexachord e
nd
s. S
inc
e
f
however,
follows in the o
rd
er of le tters,
th
e syllable ut is also joined to
th
e
second
te tra
cho
rd
's
f
which is the fourth tone of
th
e seco
nd
te
tr
achord. And so when
f
f l
occ
ur
s ut will r
ece
ive such a name by being joined to it, with g sol ·re and a [ 1
TEXT: B
ro
t olomé Ram is de Pareia,
Musica pmctica
ed. Clement A. Miller (A merican Institute of
Musico logy, 1993), pp. 55-57, 64-66, 74-75, and 93-94. Rep
ri
nted by penni ssion. Translation by
Cleme
nt
A Mllle
r
1 have made sorne minor alte ra
ti
ons in Miller's translation by comparing it with
the facsimile o f the original edition (Bologna, 1482) published in Madrid, 1983.
l
Tlaat is, the pitcb-letters f (gamma), re
pr
esenting our C, to e two oc taves and a major si:xth
above it; this span is the med ieval or Cuido
ni
an gamut of pitches.
2. The source, by cont raction, of our wo
rd
gamut
."
3. De lnstitutúme
mu
si
a 1.
20.
Musica practica
mi
following. And so
tl1
at he would not
see
m ignorant of
th
e similitude of the
o
ut
er limits o f
th
e
oc
tave
4
he ag
a.in
begins to fo rm a hexacho
rd
. And sincc in
the a
for
ementioned two te trachords , that is, the
sec¡ond
and third,
we
place
two syllables, namely a
nd
re wi th letter g, by adding to tl1e m the unit is
named g sol re ut a
nd
it is followed by a la mi re where
th
e second h exachord
is
cd
mpleted.
And
where two ton
es
, namelyf mi
ar
e joined toge ther, wi th the
flrst as
b
a a
nd th
e seco
nd
as s
qu
are
mí
we
recognize that the one is highcr
than the other, just as the le
tt
ers
and
syllables are shown to be unequa1
5
An cl
lhus
th
e whole tone is
cli
vi
ded int
o twa semitones, a
nd
is fo
ll
owe
cl
by e
so l
jr
t
ut
for
ju
st as the seco
nd
hexachord is join ecl to the flrst in tl1e same place ,
the en tire unit is narned in this
wa
y, that is,
e
sol f ut
and
is followed by
d
la
sol
re
th
en e la mi f
f ut
g
sol
re ut
a
la
mi
re
and
b
a square
ju
st as
befo e.
Hexachords can be multiplied indefinitely according to the cx te
nt
of lhe
ins
trum
e
nt
,
but
sin
ce
an end
mu
st be reached s
omew
here in all
kn
owle
cl
ge,
lhe hexachord s now stop repea ting and therefore a notl1er ut is not placed vvith
e
so
l
fa,
but
we move to
d fa
so
l
whe re
we
leave the sixth hexachord, whilc thc
sev
enth
e
nd
s on tl1e syllable
e la.
And so he
se
t
cl
own seven h
cx
achords
6
because of seven differe
nt
tones, as
it
had
see rn
ed to him,
ju
s s
th
e fo ll
ow
ing
4.
That
is
,
r
to g. [Tr
.)
5.
Th
is is the distinction in pi tch bet
wee
n f
of
the third hexachord (our b-nat) and
mi
of
thc
lou rth (our b-natural).
6. The fu ll Cuidonian hcxach
or
dal systcm.
givi
ng pitch names by lcttcr and solmizalion syllables,
may be represente
cl
as fo
ll
ows:
ll exachorcl: 2 3 4 5 6 7
Pitch
(low to
hi
gh):
f (G)
ut
A
re
B
mi
e
fa ul
l
sol re
e
la mi
f
f[t
ut
g
sol re ut
a la
mi
re
b
fa
mi
e' sol fa lll
d
la sol re
o'
la
mi
r·
fa
ul
g
sol re nl
a
la rn re
b
fa
i
e"
sol
fa
d
la sol
e
la
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 3/15
410
68 3 A RT 0 L 0 M É R A M 1S O E P A R E 1A
figu re will show. Do you see thc tr ue fig
ur
e of Guido? Ind eed he himself docs
not , but he s hows it th rough joints of the fin ge rs in this way.
7
7. Tite text
on
the palm of the hand i
s:
'' We h
av<:> show
n t
hat lh
c h
cst
way to n
ot
alc
IIIU
Sic is wllh
lc
tt
e rs al
one;
nothing is casier lhan lcnrning how lo sing with lhe
lfl
if
t
he
y have h
ce
n
pra
cl
kl'd
fora
l three months.'' f
Tr
.]
u :;iCfl
ractica
411
C
II
P
TER 7:
A l \ A CCU RAT E W
Y
OF CONNEC
NG
A
VO
I
CE
W l
TII
A N
1NSTRUME
T
In o
rd
er, however,
to
memo rize the
sound
s, one is
produ
ccd wilh a
difTere
nt
na m
e;
th
is
was cust
oma
1y among ea rly
write
r
s. Odo
said
in
thc
Enehi
l iadis:
110e, noanann
e,
am
e,
agis,
which
ha
ve no m
ea
ning.
8
Somc
u
secl tri, ¡Jro ,
r/1• fiOS
trite,
acl
,
which indica ted t he bases
of
the
mod
es, about which
WC
wi
ll
at the
proper place.
Ot
he rs wrotc only le
tt
ers of the alph
abe
t , namcly:
a,
/
1 e, d,
e,
f
g, as Grcg01y, Augustin
c,
Amb rose ,
and
Be rnard;
but
C uido used
111,
r
e, rni
, fa,
so
l,
la
,
as we said ea rlier. Altho ugh he dicl not do this out of
u(·cessity, sin
ce
he also sh
owcd
a
ll
his ex
amp
les with lette rs, his
fo
llowers a
f't
er
wa
rds aclhered so much to his syllab les that thcy thought the m c ntirc ly ncccs
Nnry to music, a n idea which must be scorned.
We, therefore, who havc labore
cl
a long time in ni ght ly lucubrations and
vigi ls to see k the truth of this
art
, arrange new syllables for individu al strings
11 11
d
show the ton
es
of lhe c
nlir
e se ries,
O SO th
at
0
11 the lowest pitch
ps
al
is
\
lln
g,
on the next li
, 011
t he third
tu
r 0
11
the fourth on the fifth oo , on the
\1\lh ces, on the seventh
i
s, and on thc c ighth
ta
s. And thu s the con nect io11 of
li te syllables
v.
ri ll be
psa
ll
ilur per voces
islas,
11
for thc cntire sed es consists of
t•tght sy
ll
ables. We arnnge the m from low
e
to high
e
since thcy tcach how to
\ lng with perfect io11. Thc rc fore they beg in on le tte r
e
bccausc thc musical
\t•
ric's begins on that lc tter, and the firsl semitone of hvo is indudcd in thc
ln terval
r r
and thc second soun
cls
bctwee
11
the two
s
s. So the Rrst is
e
Jo r
tnr
But sin ce lhe second sem it
o11e
sometimes is formecl from le tter
a
to b and
son1ctimes from q o high e on acco unt of the synemme
11
on and dieze ugme non
l
t•
l rachord s,
12
beeau se thr ce se miton
es
are loca ted
se
parate ly there, thr
cc
pl
ttccs are indicated b y le ttc r
s,
that is,
ces,
·
s
,
tas.
So with th
esc
sy
ll
ablcs mak
ltt
g souncls e quivale
n :
to the strings of' an instrument we easily wi
ll
be ab le lo
ltu
nno nize the natural instnrme
nt
of' voice •vith an instrument maclc by art.
But
wc
wish to r i
se
an
oc
tave highe r we wi
ll
place
psal
on the same so und as lhc
ll t octave. The n one wi
ll
have a
cli
ssy
ll
abic e, na
rn
el
y, ta
s-ps
al
,
13
a
nd
'
co
ntinuc
wilh
d li
a
ncl
with
e tur
ami the rest
justas be
f
ore.
Thi s must
also
he uonc in
1111
low octave, because, as
wc
o
ft
e 11 have said, a t
one
reappea rs a ftc r an
oc
tave,
li Thcsc
wo
rd
s
occ
ur
in
mc
dicva l t reali
scs
from the ninth
centur
y onward. For th
cir
rc
lalion
lo
lh
t•
m
odes
see Mich
el
ll
nglo,
/..
es
a i r e ~
(
P<tris: Sodété f r a n
de
mu
s i
co
logic,
1971),
pp
.
'S3
90;
also
Th
c Psalmodic Formula
Neannoe a11d lts
Origin, Tl
1e M11
si
rn
l
Q rwrl¡•rfy 28
( 1 12):
p.
93. [Tr.]
11 This version is hascd 0
11
a
11
clcventh
-ce ntur
y hymn.
[T
r.]
10 A sN
i
es
lh
at Hamis cx
pand
cd
:md
shif
tc
d
from
thc Guidonian
ga
mul tu l hc
thr cc oc
ta
ves from
<:
toe .
ll is su
ng
1hro11gh lh cse syllahlcs.
1" '1 lul is. thc conj
u11
c
ti
on of tl1o c- 1 lctmchortl w
itl1
thc te
lra
chord
on
r synncn1onon ')
)'i
l'lds b-flat,
wh
i
lc
l
hc
dis
jnn
ction or the
c-
f
tc
tra
t:
hord fr
om
the l
cl
rac h
ord
s
tar
ting 011 g
("dieze
ngmcnon ) yiclds b-nalu ra
l. Th
e COII
<.:c
ptiou
and
lcn
ni
nology, if not lho spccillc pilch
cs
ussociale
cl \ \ ~ t h
thcm, are fr
om
B
oc
lhius, De
in
sl itulione
mu
sica
l. 20.
11 l'his is the o nly mntation thal rc r11 a
in
s
in
Ramis's syslem.
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 4/15
412 68 B A R
TO O
M
É RAM
.1S O E
PAR
E
J
A
and whenever we ascend or descend more than an octave we repeat a tone;
tbus the teaching is correct only by using these eight
sy
llables.
14
TRACTATE 2
C TI
APTER 2:
A N EX P LANATJON
OF
M USJC C TA.
In o
rd
er to have a full er understancling
of
these signs and notes
15
we will
investigate sorne tlúngs ab
out
them in greater detail. For sorne signs are accus
tomed to be placed in songs through wbich unequal rufferences of
int
ervals
ar
e
heard; one of tl1ese is written
as
round the other as square The 6rst sign is
called soft
or
round b
th
e second
sq
uare or hard Square a
nd
round b are
named from the nature of the s ign, but soft b
or
hard are so named becausc,
wben those singing vvith the letters of Gregory make a senútone from
a
to
b,
they cal it soft b. For when a leap is made in arsis and thesis, the voice softens
l4
.
ln
2.7 Ramis suppHed
a
picture of his altemal
ive
to thc Guidonian hand:
kr.•
conunj
m t n ~
do t
o IDrd
n.r
pcr . , . , l c ~ t ~ : j . , n a . r t . d o dl
celo
Oft
C•p:
I<Mc o
\
pr<
15. 2.1 discusses the notation
of
pitch wilh staves and clefs.
Musica practica 413
more in a senútone than in a whole tone,
as
for example from
a
to so ft b and
from a to hard, square
q
So also movement by a semiditone is softer than by a
di one,
as
g to soft b and g to hard, square likewis? a fourth is softer than a
tri one, asf to soft band f to very hard, square .,
From these examples the e rror is clear of ce rtain singe rs who say soft b or
sc¡uare They err in two ways: 6rst, because tl1ey sing with Guido's
sy
llables
and not Gregory's letters, thus saying neither soft b or hard, square
q
but fa or
11tí; second, they do not make the co rrect relationship, for when they say square
lhcy should co
rr
esponcling
ly
say round and when they say soft b they should
say ha
rcl
and
tl1
en the relationship will be correct. This was the custom among
those singing with the letters of Gregoty in ea
rl
y times; to them these letters
are tbe proper names, justas synemmenon
or
diezeugrnenon are proper to the
Creeks. In our terminology the correct names in singing
will
be bis
in
the
<·onjunct tetrachord and
s
q in the di
sj
unct tetrachord; indeed, the syllables
1naking a whole tone or scmitone are common in al respects.
But elsewhere singers write wholc tones or semitones with these signs not
only on paramese,l
6
f
or
tlley say
tl1at
whereve
rfa
is found witl1out
m
tllen m
Jllust be u
se
d,
as
in b
mi. Th
e same occurs when
mi
is found
wi
thoutfa.
Many
ca
l this musica 6cta; of them Phi lipetus,
17
speaking rashl
y,
says thi
s:
•nusica ficta
is
a s
in
gle procedur
e. But
he did not know tllat it shou l
cl
occ
ur
at
lt•ast in two ways, for makingfa frorn
mi is
rufferent than making
mi
frorn
fa
(ns
""
ill
be sh
ovvn
a little late r
),
since
th
c tones do
not
co
rr
espond in the way
in
which tlley are natu rally situatecl.
Th
ere for
e,
whenfa is to be made
fr
o rn mi
thcy write with sueh a sign, n
ame
ly, ro
und
k
but
when mi is macle from
fa
they
write the sign, namely, square q r else ·
Thus, accorrung to them soft bis locatecl in
fiv
e places, namely, on b
mi e
la
1
11i
,
the first
a
la
mi
re high e la 1ni and the second a
la
mi re. In these placcs
wt• will say fa by lowe ring it a semitone from its miginal place. Bul we use
q
or
on
e
a
ut f fa ut e sol
fa
ut hi gh f
fa
t· and e
so
l fa; in those places we will
'Y by
rai si
ng it a semitone from its o
ri
ginal position. They also call these
procedures conjunctions, for just
as
when hi te synemmenon is
put
after mese
\() lhat the whole tone of mese and paramese is to be ruvicled into two semi
Iones,
18
any whole tone located elsewhere sho
ulcl
be divided in the same way.
l'h
cy add further that any of these conjunctions forms a hexachord, just
as
the
others t
hat
were formecl
ea
rli
er; thus, jus
ta
s after
f
fa
ttt
where
r Lt
is said, g
sol
r .
ut
follows where
u.t
is aga
in
placed,
as
already stated ,
so
it occurs in each of
tl ll' position
s.
19
And they de fine a conjunction
in
this
way:
A conjun ction is
1 . Vor Ramis, the pit
ch
b.
1
1. The re fere nce is probably to Philippe de Vitry; see his Ars n t m p ~ t n 2.
J,
in
E.
de Co us
a k e r
ed
.,
Scriptonnn de
musiCllmedii aevi . . . 1101 {1 seri
es 4
vo ls. , Paris: A. Durand, 1864
76), vol. 3, p . 26.
IH That is, when the conjunct tctrac
hord
f- b-
Hat
calls lor the interval a- b lo be divided .
In
other
words, each mutation of w i to fa or fa to mi creates a hexachord beginning, respec
ti
vely, a perfect fourth or major third bcneatl1 the pitch on which the mutalion occurs.
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 5/15
414 68
B A R T O L O M
É
R A M 1 S D E P A R E 1 A
making a whole tone from a semitone and a semitone from a whole tone,
al
so
a ditone from a semiditone and a semiditone from a ditone, and likewise with
the other species. Here they speak corr
ec
tly, because these conjunct he
xa
chords occur in the manner
of
diezeugmenon a
nd
synemmenon tetrachords.
C
HAPTER
7: REPROVIN G
TIIE
F OLLOWERS O F
GU IDO AND
SUOWlNG
A CCURATELY
THE TRUTil OF THE
M
ATTER.
Having observed and examined the diversity of music, it now remains to h< •
shown how whole tones may become semitones and the reverse. Regarding
this it should be known, as John of Villanova
20
says, that a rising song desiros
the voice to be strengthened, and a descending song to become soft. Then h<·
says that if a melody sound s
a e
d and does not return to e, although
re fa sol
should be said, as the order indicates, yet ut mi fa ought to be said, because ti
e
is
not tl1e interval of a s emiditone but of a ditone;
21
or
if
tl1e melody is pro ·
nounced according to the otl1er syllables, namely
re
fa the ditone may be said
to be understood. Again, if a melody m
ay
be formed as g
f
g and it does not
return tof a semi one is understood, even though
sol
fa
sol
or
re
ut
re may b< ·
said.
Th
e same thing always holds true in form ing synemmenon, when after a
note placed on m i another note fo
ll
ows it on mese, whe tl1er it will h aVI
come from lower letters to synemmenon or will
ha
ve reached it
by
descendiug
from higher letters, especially if it
will
have repeated
the
same pi tch many
times.
22
It
is
also true if the melody will have made this movement d b e d e d
d
and in its octaves;
e
is a whole tone and e
d
is a semitone formed
twicc•
and so eith
er
whole tones will replace semitones mentally
ora
mutation wi
ll
be made
of mi
into
re
which is a syllable
of
conjunctions.
23
The same John also says a semiditone is made from a ditone in this
way:
if u
melody may say
la fa sol sol
without returning to
fa
either a semiditone will b11
mentally und erstood or a mutation may be made of
la
into
sol
so that
lasolml
fa fa
may be said; in this way a diligent reader will be able to judge oth(lr
syll
ables arranged in this manner. Such notes should be indicated
v r
ith this
sign, namely or . For greater clari
ty,
therefore, anyone who wishes to compos t•
a song should zealously turn his attention to these things . ..
20. Perhaps Ramis has Jehan d es Murs
in
mind, though
J
cannot explain his association
of
Johun
with Villanova; t
he
views that fo llow resemble Jehan s in his Ars
discantus
(see
Co
ussemakt•t ,
Scri
ptomm vol. 3, pp. 71 - 73).
21. That is, the interval is not a minor but a majar third. In modem te rminology the e is alte red lu
c-sharp, but note that f
or
Ramis the interval a-<: represents either our
a-<: or
our
a-<:-s
l
nu
JI
depending on the melodic context in which it is found and the syllables used to sing it.
22. That is, descending from b toa requires b-fl at to be sung.
23. That is, a hexachord will be begun on a ; in modern te rms, the c swill be raised to c-sharps.
On
th
e Nature of lL the Tones
of
Figured Song
415
69
Pietro Aaron
Born about
1480
n Florence,
Pi
etro
Aa
ron or Aron)
was
cantor at the Cathedra1
of lmola fo r a number of years until around 1522. Then he moved to Ven i
ce,
where he seems to have remained until 1536. In that year he became a monk
of the order of the Bea rers of the Cross and e
nt
ered the monastery of San Leo
nar
do
at Ber
ga
mo. He
di
ed about
1550.
Aaron
s
published
work
s on music theory compr i
se
the
Libri
/11
de institutione
harmonica
(1516), the Tosca
ne
ll
o in musica
(1523, with later revi
se
d edit ions),
the
Tr
eati
se
on the Nature a
nd Re
cog
niti
on
of Al
the
Tones of
Figured Song
(Trattato del a natura e cog
niti
one di tutti g
li
tuoni di canto figurato, 1525),
the
1
ucidario in musi
ca (1545), and the
Compendio/o di molti dubbi
ca. 1549-
50).
The chapters from the Tr
attato
given here take thei r
ge
n
era
l approach to
identify ing modes from the
fo
urteenth-century
Lucidarium of
Marchetto
of
Padua and are anticipated
in
sorne particul
ars
in trea tises
of
Tinct
or
is. Neverthe
less, they pre
se
nt the first sys tematic attempt to apply the modal theory of medi
eva
l plainsong to polyphonic repertories. In their numerous citations of
indi
vi
dual pieces, they a l
so
ref lec t Aaron s famil iarity with the printed co llec
tions of polyphony, especia lly those of Petrucci, that appea red in the first
decades of the sixteenth centur
y.
FHOM
Tr
eatise on the Nature
and
Recognition
of ll
the Tones
o.f
Figured Song
(1525)
AN EXPLANATION
OF THE FJ
NAL.S
OF ALL
TII E TONES
J sl as it is a credit and an honor to any artificer to comprehend and to know
' d lo have a precise understanding of the parts and reasonings of his art , so it
11
\T:
Th
e original edition (Ven ce,
15
25). Translation by Oliver
Stnm
k. Refere nces to pmctical
,., .nnples and ce•1ain parcntheses
of
the o riginal are given
as
author s notes. The many cxamples
11111
i\aron cites
ar
e listed bclow in alph
abe
lic
al
order, with his attribution
s, th
e indications
of
thc
l l l l l to which he assigns thcm, and re lcrences to lhe follow ing <:Ontemporary edilions in which
lltl wo rks appear:
ll
amwnice musices Od/r eC I IOl A (RISM 150]
),
Con ti B (RISM 1502
2
),
Misse
/ old de
La
Rue (RISM L718; 1503). Motettl C ( RISM 1504
1
) ,
Missrman josquír1liber secundrts
tiUSM J670; 1505), Mot ettí a cillque libro primo (lUSM 1508
1
),
Missarttm jos
qr1in
líber tertlrts
Ol lSM
]
673; 151
,
1)
, Motetti de la coro
rta.
Libro
primo (H ISM 1514
1
,
Motelti de
In coro
nn libro
ll t lllldo (RISM 1519
1
),
Mole/ti de la corona. Libm tcrtio (RISM 1519
2
) , Motetti libm primo
(lliSM 1521
3
).
j A l audience
UA lcz regretz
IIaync
Ag
rico
la
Odhecaton
93
Odhecaton
57
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 6/15
416 69
P1 ET RO A A R O
'\
is a disgrace
ancl
a re
pro
ach to him not to know
and
to be in error
among thc
articles of bis faculty.
Th
ere fore, when 1 examined
and
considered the exeel
len
ee an
d
grandeur
of man
y,
many authors, ancient and modero, there is
no
manner of
doubt that
clid not assail me in
wa rcll
y as TreA
ec
ted on this nncle rtak
ing
, esp
ec ia
lly sin
ce
1 knew the matter to be most difficult, sublime, a
nd
Ioft)'
5 Alma rede rnptoris
Josq uin
Co
rona
7 1\scende ns C hristus
1
ylacrc C
or
ona
1
8 Beata Dei
i l r L
Anon Motetti C
1
12 Beata Dei genitrix Mouton Corona J
3 Bencdic auima mea Anon
Corona
II
6
Bmn e tte Stokhc m Od hecaton 5
8 C est possible Anon Odhccaton 72
2
Ce
n"cst pas
J.a
Ruc Canli B
-
Ce
la sans plus
Josquin
Odh
ec
aton
61
6
Ce
leste bencficium Moulon Corona 1
1
C langat plebs
fl
ores
Regis
Motet ti aS
7
Co
mmc
nt pe
ult J
osq
uin Can li B
J
Co
ngregali sun t Mouton
Co
rona Jl
2
D'ung aultre ame r Orto
Canli B
2 D'ung a
ultr
e a me r
ll
:t)11C
2 De tous biens playne
ll
aync Odheca ton 20
8 Disant adieu rmldame Anon Odheca t
on
89
8 E d
e n
revenez vous
Co mpe rc
C>1nt
i B
8 E la la
In
A non
Cant
i B
6
Egregie Christi
l évin
Corona J
1
Fors se
ul
eme nt La Huc Canti B
1 Ca
u
de
Barbara
Moulon
Corona l
LCaude Virgo l csta
8
ll
éb s hélas Ninot
Ca
nti B
LHél
as
qu '
1
est amon gré
Japart
O
dh
eca ton 30
5 ll é las que pourra devenir Caron Odhecaton 13
- l lé las m'amour Anon
5 .llluminare Je
ru
sal em Mouton Corona
lT
3 1 te r
ve
ni
at
pro
rege
Jaco lin
Coro
na II
nost ro
7 Je cuide s i ce te
mp
s
Anon
Odhecaton
2
1
Jc déspite tous
Brumel Canli B
6 Je nc de mande 13usnois OcU1ecaton 42
8 )e s uis am ie Arron
Ca
uli B
l Ju
clica
me Deus Caeu Co rona JI
1
t:homme armé
J
osqu
in
Can li B
8 Ne l oserai je di e Anon Odhccaton
29
- La dicup laisanl Anon
1
La plus d
es
plus Josquin Odh
ec
alon
64
5
La r
eg
rc t
éc Il
ayuc Canli B
3 Laetatus su m Eustachio Corona 1
- Le servite
ur
Anon
Od hcca tou
35
7
Madam
e hélas Anon Od heca ton 66
3 Malheur me bat
Ock
cg
hc
rn Odhe
caton
63
7 Mes pe usées Compc rc Odhecaton 59
3 Michacl archangele Jacolin Corona ll
3 Mi
se
re re
Josquin
Corona l l l
On
the Natnre o
fAfllh
e
Tones
of
Fi
gw·ed Song
417
lo explai
n. None the
less I inte nd lo relate it to you, most gracious r
ea
der, nol
in a presum ptuo us or haughty style,
but speak
ing hurnanely a
nd
at yo
ur
f
ee
t.
A
nd
knowing it to be exacling and slrange, 1 jml
ge
tqat it was aband
oned
by
the
ccle
brat
ed musicians a lreacly re fe
rr
ed to not throug h ig_noran
ee but rn
ercly
hecause it
proved ot
her
wise tr
onblesorne and exaeting at the time.
For
it is
clcar that no
writ
ers of o
ur age
have explained
ho
w the rnany diffe rent
rn
odes
are to be recognized, alt hough to
th
ei r grea te r credit they have tr
eate
d of mal
lNs whi
ch
cannot be readily
und
crslood. 1, there fore, not moved by ambition
of any k
ind
,
but
as a hurnblc rnan , have unde rtaken this t
as
k, hoping that in
hrrrnanity and kindliness rny re
ad
e rs w·ll all excuse w
hat
ever e
rror
s 1 may rnakc.
1 slrow brie fly w
hat
1 kn ow lo be necessary, for 1
see
that many are decc ived
1
Missa Ave maris stclla Josq rr iu
Mi ssan un 11
1 Missa D'ung aull rf'
am r
r
Josquirr
:V
Iissaru rn lf
- Missa de Beata Virginr Josquin
Mi
ssarum
111
.5. i Missa de Beata Virgirlf'
La
Hu
t• Missae
2 M ssa
1
c rculcs dux
l cr
-
Jo
sq
or
in
Missanun 11
mr iae
7 ~ l i s s a Ut sol
Moorl
oor
i 1\•it
ti
t ;1d Virginem
Anon
Motelli C
8
Mon ma
ri nl
a difl:am(
e
Orto
Canti B
i
Mul
li
sunt vocati
Zaudto
ICiovanni de l Lago]
11
rnor
ge rn
glraf
A1ron
Ca
nli 13
1 Nohilis prog<'nic
Fc vin
Corona
J
1 Nom
in
e q ui Domini ae r
Corona
JI
3 Nunca fué
peaaa
mayor
Auon
Odhecaton 4
(lO
adnairab
il
e co
mr
ncr- Josquin
Mote lli 1
cinm
4 O Maria rognn
aus
le
Anon
M
otc
lti C
HO
vr
nns banl
jo
squin
Odhccaton
i8
l'c¡;
ca
la m
ea Do111in
c
Moulon
Corona
J I
1
Pou r
qu
oy ful
forie
c<·llc
Anon
Ca
nti 13
c rnprise
1 l o
or
r :url si rnon
Bu
sno
is
5 Quarramus cum pas-
Moutoor
Mote lti 1
loribus
1
Ho
gamus te Virgo Maria Jacotiu
Coron;t ll
(
)S
ancta Trinitas
é
in
Coron;t l
11
Si dcdero
Agricola
Od
lrrca
ton
56
2 Si
rn
ic
ulx
Co
ru
p
cre
Odlwcnlon
.5
1
5
Sr
sumpse ro
Obreclrl
Canti B
5 Stabal ma tcr
Josqniu
Corona
IIJ
i T
em
pus mcum
l•"
•v
in Coro
ora
1
2 Vi rgo ce l
es
li
Co rnpc
rc
Can ti
13
r; Vos
l re b
crge
ronc llc
Co
mp(·rc
Odhecaton 41
1V
ul
nerasti cor
ll lt l l l l l F
év
n
Co ron;1 r
l'ur
ta
rcful analysis of t
ir
e chaptrrs lranslarr>d l1 cre
sc
c ll a rolcl Powcrs, "ls Mod c· Hcal? J>icl ro
•\ nm , the Octrmary Systcn1. ami Polyplrnny,"
Bosler Jo trhuch ji"ir tislorisc r• .16
(1
1102 :
9-52, and Cristle Collius Jordd, "l
k
ding /\ron rcacl ing P
et
rncci: Thc Mrrsic Exarnplcs o
l
ilrr
•
Tmllato
dr
lift a ura
el coguilirnw
rli tu ll gl i
tu
1
i
(1525)."
Enrly Mu
si r; 1 ii;ton¡ 14 (1995):
1
1
1 .';2. 1
lr
avc madc sevrml ch:mges ior Strun k s chart by comparison wilh Judd"s Tables .
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 7/15
418
69
P 1E T H O A
AH
O
1'\
about the true underslanding, and rcgarding lhis I hope in sorne measure Lo
satisfy them.
First I intend to explain what is meant by "final" and what by '·species" and
wh cther the final is always ncccssaty and ralional f
or
the recognihon of tlw
tone or whether
th
e tones are somctimes to be recognized from their specics.
Then I shall show what part the s ingcr oug
ht
to examine and how composers
oug
ht
to proceed in th eir composihons in accordancc with their intcnhons,
touching also on certain other secrcts which
wi ll
surely afford yo
no littl(•
deligh
t.
l
sa
y,
then, that the Anal bein g diverso, that is, regular or irregular, it fo ll
ows
that each tone has a similarly dive rse form. From this it follows that
at
on e timf•
the Anal govems and at another tim e thc spccics. "Final" I define in thi s way :
a
fin
al is s imply a magisterial cnding
in
music, introduced
in
o
rd
er that tlw
tone rnay be recognized.
Mu
sicians co
nclucl
c sucl1 an cnding r
egul
arly
or
irrcg
ularly
in
order that th c
na
ture and form of cach tone may be the better unckr
stood. Thus
th
e positions D sol r
e,
E la w F fa
11/
, a
ncl G
sol re u l havc be{'ll
constituted regular
final
s or endi
ng
stcps for the Rrst a
nd
second, thircl and
fourth , Rfth and sixth, ancl sevcnth and cighth tones, while the sleps Garnn1a
A
mi
,
e a A
la mi
r
e, B.fa
and e so l fa
ul
are calle
cl
irregul
al'
.
In accordance vith this unde rstandiug, the final remains necessary, rationnl .
ancl governing
to
eve¡y tone on thc abovc-namcd reg
ula
r steps.
The speeies, then,
wi
ll
govcrn som
et
im
es r
eg
ularly
ancl so
mctimes irrcgu
larl
y. S
pecies" is simply the arrangemenl of
th
e sounds of
th
e genus, vtu·ied iu
definite prescribecl ways, as shown in
th
c
cx
ample.
• 11
o o
1
l o
11 :
o o : . .
11
o o o
. . 11
Tite sew
ml
diape
nt
e Thc third d iape
nt
e
and
d i l c s ~ r o n
and d i t e
o o
Th
e lourth
a p c n t ~ >
and
diat
essaron
l
follow s, th en, that the final is also neccssary in the above-named irregul :u
posilions, namely A la mi re, B
fa
and e sol
fa .
Ilere we shall considt·r
it in two ways: first, with respect to confinali ty; second, with respect to tht•
differenees of the Saeculonun .
1
Thus, if a composi
ti
on
2
encls in thc
po
siliou
ca
ll
ed A
la
mi
re
and there is no flat in the signature, the
fina
l w
ill
be commou
to the llrst and second tones wilh rcspecl to conRnality and also to the thi1d
V> ith respect to diflerencc, providccl-
as
yo u w
ill
understand from what ((¡l
l . Th e confiuals
of
thc eig ht tones are. fcJr Aarou, lhc pitchcs a
fifth
above ora fourth below) tlu·
cstablished llnals. Jle scems nol
lo
l
mvc
tii<Ht¡\hl
it
c c s ~ ; to lisl the diff
erE>
ncCs . Thesl' 1111•
thc variable foruudas used lo <
ttd
thc
<·i
ght ps al111 associatcd w
it
h th e eight moci
E>s
ofc
huul
th
cc
uy; see Powers, " ls Mocle Heal
?
, p.
25.
Aaron c
all
s them "
th
e clirle rences of
th
c Sat •t·u
lorum" because the last word of tite Lcsscr o g y tlmt cnd s psahu reci lations is sat:cttlomm
2.
J
speak always of
ma
sses , 0lels. c;tuzoni, fro ttolc, slnunbo tti ,
ma
drigali. son elli , and capltoll
I u.l
On the Nature of
llth
e Tones ofFig
ur
ed Son
g
419
lows - that the pro
cesso
in thc compos ition be suited and appropriate lo confl
ll
,ility or difference.
3
But if thc comp os ition has a Aat in the signature, the final
will
be in
my
opinion neither necessruy nor rational respect to conllnalit
y,
li1r it is clear that the form will cliffer from its previou\ state . For this reason ,
\ IICh compositions are to be judgecl by their species. The sam e will obviously
11pply to co mp os itions ending on B
fa
e so l fa ut, ancl all other steps on
which the species m
ay
occur
Therefore, the cognition de rived from species is necessmy undcrstanding
1111d not arbitnuy to rnu sic. Firsl, b
cc
ause this cognition is by dcfinition truc and
tll 'ccss
my.
Besides this, understanding that is neccssaty has so mething essential
1
H
l11t it; but the cognition
of
species is essential and therefore necemu
y.
llt
•sicles t:his, that which de mands necessa1y cognition is per se; b11t th e cogni
lloll of
species
is
cogn
iti
on
perse
and therefore necessmy. Nor is it an objection
1hnt we are for the
n1ost
part accuslomed to base our cognition
of
m
u
sic on the
f111al, for I reply that this has been for the sake
of
readier underslandi ng, inas-
llltlch
as those things that are al
th
e e
ncl
are customarily more closely observed
lhan those that are at lhe beginning a
ncl
in the middlc.
And that our conclusion is tru •, wc may demonstrate with thesc and otlwr
11i
11ilar m
g
uments.
\iV
e say that man is de
fin
ed asan animal rational and mortal;
11 certain that rational ancl mortal are two differences for
kn
owi ng what man
h · of Lhese, one is final and considerad according to the e nd of man, na
rn
cly
111ortal
- the
ot
her is formal and considered according to the speci
lc
and for-
111111 being of livin g
rnan
, namely rational;
th
e latte r makes the essence of man
l11 •llN
know11
than
th
e forrncr, whi ch cousiders him according to
hi
s cnd,
ll ltlllely that man is mortal, for thi s is common both to rnan and to th e othcr
ulillla ls. Thus the cognition of thc cnd is not cognition per se and thcrc fore
11e11 nlways necessmy. And thi s is demonstrated by certain compositions whi ch,
lmving the ordinmy and regular Rna l, but lacki g the asce
nt
ami dcscenl
of
r l l l l <
of its species, are not saicl to be
of
any tone but (
as wa
s shown in Chaptcr
1 of the first book of another work of mine,
De institrrtione
harmonica are
lllt '
l't'l
y called Canti euplumiaci.
1 As Aaron exp lains in e hapler 8, s
ui
tablc ancl approprialc pmc
es
so lums largely
0
11
th
c choice of
Jl
l<l(1C
r steps for medial cadcnccs. 1n e haptcrs 9 lo 12 tltese are saicl lo
be
as lo ll
ows
: for thc
flt
sl
tone-
D, F, e,
anda
: l
or
the sccond -
A.
C, D,
r
e , a
nd
a; for
th
e thirci- E,
r
G, nnd
1
l()
r thc fourth
- e
D, E, F. G, and a; for thc fifth-
F,
a, aud e; for the
sixt
h
-C .
D, 1', a, and
1¡ li1 the sevenlh- e e, and
el; for
thc eighth- D, F, C. and
c. Processo
(
l .a
tin ¡¡m
cess
u
s
¡, 11 d
iffl
c
ul
t but importan tenn in Medieval :tnd Henai ssance
di
scuss ions of utod e, and 1 havc
1
lu
M' II to m,u·k this com plex:ity lhroughoul Aaron 's chaplcrs here hy leaving it un ttauslatcd. For
\111011
,
processo signifies
in
parl the rauge
or
co
tu pass of
a
give
n tenor
nt
cl
ody.
But
it al
so
11111
110t s
less quautifiable ele mcnts: thc way the melody m
ovcs
through ils ran
ge,
tite pitch
l i l l l l ~ it emphasizcs, thc medial catle ttliul points it gr
avi
latcs toward,
<tn
d others. 11 1 th is way
tiiC
11111 11 culs to the hearl of Medieval a
mi
Hcnai ss;
H1CC
co nceplions ofmodc, whiclt did nol involve
1t>lllvd
scales so muc h as
ma
un crs of expl
or
ing and cx ploiliug part
icu
lar scgmculs cxtracted
from
tlt1 •Cuidouian gamut of pitchcs.
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 8/15
420
69 P I E
TH
O AAHON
2
ow
THE S l
NG E
H Ou c u T TO J u o c
TIIE TO
:\l E
The tenor being the firm and sta
bl
e part, the pa
tt
, that
is
, that holds and
co
mpr
ehends the whole concentus
of th
e harmony, thc singer must
jud
gc tlJ< •
tone by means
of
this p
ar
t only. For we see that when a tenor and its cantus
are far apart it ca
us
es, not pleasure,
but
Little sweetness to those who hcar il,
something which mises from
th
e distancc that lies between the cantus and tlw
contrabassu
s. Th
e tenor be
in
g for
th
is rcason better suited to
th
e natural pro
cessi
and more easily handle
cl
, every
co
mposition
4
is
in
my
opinion to be
juclgc
·d
by i
ts
tenor. For in the tenor
th
e natural form is more r
eaclil
y considered
titan
in
th
e soprano,
wh
erc, sho
ul
d
yo
u wish to form
th
e seventh tone,
yo
u would
need to find its cliatessaron through the accidental course.
5
Thus we prescriiH·
this manner ancl order for all compositions written at the composer's pl easun•,
whether upon a plainsong or without regard for one , also for compositions for
five,
six
, seven, and more voices, in wh ich it is usual to wtite a first and
prind
pal tenor. Each of the added parts will be governed by the nature of the te
n01
.
and by means of the tenor the tone w
ill
be recognized unless the
itse
lf
, which is primary and principal to such a recognition, be in s
orn
e ol
h<·•
part.
6
3. WA YS O F RE
COG
Z I
NC
T II E T O ' E OF D I FF E R ENT
P O S T J O N S
Re flecting alone for days ami days, I
rc
c
all
cd ccrtain projects often
in
111)
mind. Wherefore, gracious reader, had not
yo
ur gentle aspe
ct
and my
cagc
·r
wis
h for the des
ir
e
cl
end constrained me, l should more
li
ghtly havc lowcn·tl
the sails at the hm·d-won port.
But
since I think that
you
by no means bl
anH'
d
it,
I
wish
to
pursue
th
e e
nt
erprise b
egun
, not for those wbo turn a thing
owr
and over, but solely for those unfamiliar lovith this fm·e. Thus, having reaclwd
this point, 1am l
ef
t som
ew
hat in doubt. Yet 1 intend rather to go on
4.
Wh
et
he
r
Int
roit, Kyri
e,
Gloria,
Gra
dual, Allcluia,
Cr edo
,
OfT
crtory, Sanc lus, Ag
nus
Dei, Pusl
commun
ion, R
esp ond
,
Deo
gratias, P
sa
lm, 1Iy
mn
,
Ma
gnilicat, mote l,
ca
nzon
e,
froltola, h t•l
ge retiP, s
tramhot
to, madrigal, or capitolo.
[A
u.)
5. We see , in
ot
h
er
words, that when a tenor and ils c an us belong to the
same
ton a nd n l l ~ \
lhis is the case, the ca n u s can have no b
ca
ring on the tonality of the com posilion-
th
ey will
11
far
apart
a
nd th
e r
es
ulting t
ex
l
ur
e wi
ll be
disagreeable, p
ar
licularly in
vi
ew o f the dispm
ih
be t
ween
t
he cantu
s and th e con
traba
ssus.
Thu
s thc usua
llhingwi
ll be to make Lhe teno r
au
llwu
ti
c ;md the ca
ntu
s pl
aga
, o r vice versa, leaving the ten
or
as lhe
so
le
detenninin
g fact
or
. /\ ' Ido
from thi
s,
"in view of the inconvenie n
ce
of lhe upw ard range," thP can us will scldom ascend lu
thc
oc
lavc above the final in thc seven
lh
tone or (sec chap .
5
below) in the t ransposed t
lu
11l
Aa
r
on
's "
ac
cide n
ta
l co
ur
se" rc f
crs
lo pilch
es
ab
ove
the G uidonian gam
ut
.
6
Cf. Joh
annes
Tincto
ri
s,
Liber de Olll
rtl ¡1r
oprietate l O
O
l l l l l
24:
"Wh en
SOillC lll:lSS
or dul l
son
or
any othe r composition you picase is made up of various parts, belonging to difft·IHII
tones, if'you
ask
without qualifl cation lo what tone such a composition bclo ngs, the pc rson 111ko •1
ong
ht
to r
ep ly
witho
ut
quulification acco rding to
h
e qnali ty o
f
t
l1
c t
eno
r, for in every
COI11JIIl'l
lion this is
the pr
incipal p
ar
t and thc basis
of
t
hr
wholc rclationship . But
if
it be asked sp
ec
ifit·ulh
to
what tone
somc
single
pa
rt of snch :l'
eo
mposi li
on
belongs, the person asked w ill
re
ply s pt ·t lll
ca lly, 'To sueh and sueh a t
one
.
On th
e
Natur
e
of
ll the Tones of Figured Song
421
w
ith yo
u, seeking a rule by means of w
hi
ch
yo
u may
ani
ve at a
cl
ear under
.tnud
in
g
of
each
of
the tones in question.
In
so far as cornpos
iti
ons e
ncl in
the
po
sitions D sol re, E ln rni, F fa ut, and
e:
sol re ut ,
th
ey are
to
be
jud
gcd acco
rclin
g to thei1 fina,ls , and by means
of
tl
lt'
sc their true and proper species
7
w
ill
be recognized. These are the steps
1 tll<
•d
r
eg
ular to
th
e
fir
st, sccond, third, fourth , fifth , s
ixth
, seventh, and eighth
IIIII
PS
, and on these steps the
fin
al
wi ll
be necessary, rational, ancl govern
in g.
1
t•t me explain this to you more fully. First consider those compositions th at
l
ll
l
V(
th
eir
final
on
D
sol re
and that at
th
e beginning
or
in
tb
cir coursc procced
w1lh the species oí the thircl, fourth , fifth, sixth, seventh , or eighth tone; a
ll
llu •sc
are
in
my opinion to
be
juclged only fr
orn
their proper and regular
fina
l,
I 'Vtl
ll tlt
ough they contain contradiclory and unsuitable
processi,
for no other
I111H ' has a diífercnce ending on this step. Andas to those e nd
in
g on E la mí,
IIH
•sc· are
in
my op
ini
on subject
in th
e same way only
to th
eir own form . Such
111111positions are best said to belong to mixed tones toni comrnisti .
8
llut those compositions th at end in tl1e position ca
ll
ed F fa ut are
in
my
nplnion subj ect not only to th eir own fina l and species but also to th e natnre
llld
f'orm
or th e first and fo
UJth
tones,
in
view or the difference which thcsc
lo1 ws sometimes
ex
hibit on this step. Understand, howevcr, that this is when
ll
•y proceed
in
the way suited to th e first and fourth tones, for otherwise they
11111 remain o[ the fifth or sixth .
Cc
rtain oth ers end on G sol re ttt ; these are in
111
y opinion subject to thc scvcnth and eighth tones and also to
th
e
flr
st, second,
lhild, and fourth , as you willnndcrstand
fr
om what follows.9
< C rtain other compos
iti
ons cncl on
th
e irregular ste
ps
A la mi re, n
a
qwi,
uul C so
l fa ttt ; th
esc wc sh
all
consider accorcling to their processo, thcir spe-
1 1 • · ~
and the differcnces oí the Saeculorum, for
th
ese considerations w
ill
gov-
•
111
lhcm and yield the truc recognition of' the tone.
Ct'rlain oth er comp os ilions encl on D la sol re, E la mi , F fa ut , and C sol re
111 ,
10
th
ese steps are
of
thc sarnc n
al11
re
as
the r
eg
ul
ar
steps previously namc
d.
C ·rt
ai
n o
tl
1er compos
iti
ons, although they end r
eg
ularl
y,
have a
Oat
signa-
11111
'; these are to be judged according to their species (excepting those ending
1111
1) sol re and F fa
ut
, etc.), for the
final wi ll
now be neithcr necessaJy nor
1
ion
al
to
thc recognition
of
the tone.
e
t•rtain other compositions
pr
ocee
cl
at the beginning and
in
lheir coursc
\\
lll1
th
e species suite
cl
toa
given tone but end \vith species that contradict it;
Nun t
l'
ly, from D
so
l
m
to thc first
/1
la mi re a nd from then
ee
to D la
so
l re, from r la mi lo 13
fo
i
and
fr
om
th
e nce to high
E la mi,
from
F fa ut
to C
sol fa ttl
an d fr
om
th
en
ce
to
hi
gh
F
/
11
111,
and f'rom low C
sol re 111
lo
D
la
sol re and from th
c n
ce
to the seco
nd
G
so
l re 111 . [A
n.]
1 1
1
Joh
:m
nes Tinct
nr
is, 1e
rml
o
nttll
tJW icae d
ifj
mllorium 18: 'A tonus commixtu s is onc w
hi
ch,
11
11
1
the ntic, is mixed wit h a lone olh
cr
th:
11
ils plag
a
, if plaga
.
wi th a tone othc r than its
ll
lllho•nl ic."
1
\11
1o
n clocs n
ot
r
cf
e r again lo t
he
possibility o f cndings on
Fin
the first and foorth tones
or on
1,
t t ~ diff'crcnce)
in
thc first , scco
nd
, a
nd
fourth; l
or lh
e
endi
ng on C in t he thircl , sce chap.
5
lu, low. ·
111
l 1 ., :In
oc
tave above the regular finals D
so
l re etc.
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 9/15
422
69
P I ETHO AARON
these
are to
be ju d
ged
according to Lhe species a
nd
differences previously
mentioned, excepting (as was noted above) those encing on the r
eg
ular finals .
Ce rtain other compositions have an irr
eg
ular e
nd and
an inharmonious pro-
cesso
with
out
any
complete
diapente by m
ca
ns of which
their true
form might
be recognized;
these are
to be
judg
ed by m
ea
ns of sorne speci
es
of diatessarou
or by t heir own flnals. .
On
e will also flnd compositions arbitrarily
wr
itten wit
hout
r
eg a
rcl to f
or
m or
r
eg
ular manner, comparab le indced to players
of
the game caU
ecl
alleta, who
agr
ee
u
pon
a ce
rt
ain goal at which thcy wi
ll
take rcfu
ge
and , chasing
one
aflc r
an
ot
he r, run back to that place or goal
and
are safe;
of
the composers of sud•
works as these we say that they
turn
airnlcssly round and round, progressing
and
digressing beyond the nature a
nd Lh
e primary arder that th
ey
have in mind
until, by some trick, they arrive at an e nd
of
their
ovm
Such harmonies
or
compositions can in my opinion be judge cl only by means of the
fi
nal, ancl tlwu
only when they encl witho
ut
a flal signature.
In certain other compositions this signature appears only in the contrabassus,
in othcrs
on
ly in
thc
tenor; such an arran
gement
is in our opinion neitlw r
permissible nor su
it
a
bl
e in a harmony or
co
mposition unless it is usecl delibcr
ate
ly
and
introcluce
cl
with a1t.
11
Certain other compositions have a flat signat
ur
e on low E la mi, the
fl1·sl
A
la mi
re,
B fa qmi,
and
high E
f
mi; whether they encl regularly or
irr
egularly.
these are in my opinion
to be judg
e
cl
according to the species, not accorclin
).
to the finaJ.l
2
4.
AN EXPLANATION OF T U E t
ST AND
SECOND TO
NES
Eve
.y
compo
sition in which the tenor e
nds
on D so
l
re is unhesitalingly lo
be assigncd to the Rrst or seco
nd
tone, thc more readily if
th
e soprano e nds 011
D la sol 1e with the r
eg
ul
ar
ancl rational Rna.l , clearly showing the naturnl
form.
13
Th
e same is also
tru
c of cet
tain ot
hcr compositions
wi
th a Hat signa
tun •:
the nature
of
these remains unchanged, in my opinion, for
on
ly the diatessaro11,
1
L
As
by t
he
excellenl }
ose¡
u n in the Palrcm of his
M a ~ s of
Our Lady and in a sim
il
ar way by llu
~ n e Alexande r [Agrícola) in many of his compositions. [Au.]
A
pub lished in vol. 42 of
> o ~
Chonverk, the Credo of Josc¡uirú
Mi
ssa de Bea/a Vit-gine has no signatures whatever. Bul i1
clear from Aaron's commenl and fromthc composition itse
lf
hat the Teno r secundus,
fo ll
owlul(
thc Tenor in canon at thc fifth bclow, should havc the signatme one flat.
12. For examplc, Cela sans plus" by Josquin, "Peccata mea Domine'' by Jean Mouton (in tlu
Mot etti de
la
corona), Le serviteur," "ll élas m'nmour," La dicuplaisant ," &c. [Au.] Cf. Johun
ncs 'llnc loris, Uber de uatum et propdetate tonomm 24: "l f some one were lo say to 1111 ',
spcaking in general, 'Tincto ris ,
1
ask yon lo what tone thc chanson e
servi eur o n g ~ 1
would
rep
l
y,
'
Gene
ra
ll
y speaking, lo
th
e first tone ir
regul
ar,' since the·tenor,
or
principal purt.
of this chanson belongs to this tone. Bul ifhe wcre Lo
as
k sp
cc
ifi
cally to what tone the snp<• rh"
or conlratenor belongs,
1
wonld reply spccifically th<ll the onc and tbc olher belong lo 11
1
secund tone irregular. But thcrc is no 0
11
0 who donbts thal a spccific question about thc 1
011111
is lo be answercd as W<IS the general ono."
13. As in thc motets "Hogamus le virgo Maria" by Jacol in , "Judica me Deus" by A. Caen, C o n ~
ati snnt''
ancl
"Beata Dei ge11itrix hy Jcan Moulon. and "C iangat plebs flores" by Hcgis. [
An
1
On
the Natu:re of f\ll the
Tones of
Figured Song
423
forrned by the interval A la mi
re
to D la sol
re,
is altered. Seeing then that the
diapente
ptimary
and natural to the tone is left
int
act, such compositions
are
nlso to assign.ed to the first tone.
14
{
And 1f sometimes, as has become the custom,
the
cmlJlloser prolongs his
work, amusing him
se
lf with additional progressions , you
vvill, in
my opinion,
tiC'Cd to consider wh
ethe
r
the
final ,
as
alter
ed by the
composer, is suited
to and
lu
keeping
or out of
keeping with
hj
s composition, f
or if
reason guides him in
what
is
suit
ed to the
tone he will at least
see
to
it
that sorne
one part
(namel
y,
lh c
te
n
or or
cantus) sustains
th
e final, while the others proceecl as
required
by
1he tone, regul
ar
or irreg
ul
ar, with pleasing
and
appropria
te
progressions like
lh ose shown bel
ow,
or in so
rn
e more varied rnanner according to his pleas
ur
e
nnd J isposition.
0PTIONAL
EN
DINC
FOR Tll l
:
FtHST ANO SECOND
TONES:
But since sorne will say, pe rhaps, tha t the position D sol re is
commo
n also
lo he second tone, 1 shall te ll you
that
in Rgured music you will very seldom
rlud a
tenor
\ovith the processo and downward range suitecl
and
appropriate to
llw second tone encled in this
way. Neverthe
less, a composer may wish to pro-
c•c·c•cl
in accordance with the
natur
e
of the
seco
nd ton
e;
he
will t
hen
take care
lo proceecl
at
t
he beg in
ning
and
in the
co
urse of his composition wi
th some
ltlgard for its
prop
er for
rn, as
observed
and compre
hen
ded in th
e psalms
and
ll1<• Magníficat, where he is rest ricted
and
subj
ect to
the
manne
r and a
rd
er
proper to the second tone.
Certain
ot
her compositions
end
on the s tep G
sol
re
ut;
·with a Aat signatu re,
llu•se are in my opinion only to be unclerstood as of the
Rr
st
or
second tone,
••ven though this is the step
ord
i
nmy and
regular
to th
e seventh
and
eighth .
l• nr this sig nature (or figure) alte rs the fonn or
st
ru
cture proper
ancl natural
to
IIH·
scve
nth and
eighth tones; at the
same
time, having acquired the species
l11 · onging to the first and second, the final becomes inactive
and on
this step is
lt•
t
arbitra1y a
nd
as it
wer
e regul
ar
per se, not suited to the seventh
and
eighth
Iones but necessary to the fi rst and second .
15
Ccrtain o
th
er composi
ti
ons, encl
in
g on this
same
step, are saicl to be of the
11 As in the motet "Nomine qui Domini" by A. Caen, "Po ur quoy fut fuie cette emprise," &c.
lAu.]
In
Th
is is
dernonstrated by the
fo
ll
owing
rn
asscs and motets, which are
of
the flrst tone in v.i
ew of
lhcir ¡¡rocesso, structure, and cou1plete diapason: Ave mmis stella and D'u.ng aultre 111twr by
Jnsquin, No
biJ
is progenie" Rnd "Vul nerasti cor meum" by Févin, &c. [Au. j
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 10/15
424
69 PI AA RON
second tone; these are reacüly recognized by th
ei
r extended clownward range.
16
Ancl if this consideration see ms to you not always to the
purpo
se, do
not
be
surprised, for comp osers sometimes observe the
p
rocesso of a given tone at the
b
eg
inning
and
i.n the
co
ur
se
of a composition, e nding then in accord ance with
the dill'erence of tbe plainsong, as you ,..,¡]] und erstand from what follows.
Ce rtain other tenors c nd on A la
mi r
e; here you will need to consider and
examine whether their
pr
ocesso is suited ancl ra tional to such an ending, fo r if
a tenor encls
irreg
ularly
iJl
the nrst or
seco
nd ton
e,
not pro
ceedin
g with
it
s
pr
oper form, it may eas
il
y not belong to it, even
th
ough this step is one
of
it
s
irr
egular
fin
als
and
an ending o f
.it
s Saecul
orum or
differen
ce
. As y
ou
wi
ll
unclerstand fr
om what
follows, this is b
ecau
se the third
and
fourth tones also
use this s tep as a diffe rence. For thi s r cason , then, you wi
ll
assign such a te
no
r
to the first or seconcl tone only whcn yo u find the
pr
oper form.
17
Ce
rt
ain other c
omp
ositions e nd on D la sol
re;
these are in my opinion to b<•
assigned in the same way to the first and second tones, for
it
is cl
ea
rly evidenl
that from D
la sol
re to its diapason is the
pr
oper form of the first diape
nt
e and
diatessaron, namely r
e--la
and re-sol. When they ascend as far as the fifth or
sixth step, a
nd
esp
ec
ially when they ascend still further, they
-
vill be of the first
tone.
18
But
when they lack this extension to the upper limit of the diape nte,
proceeding rather iJ1 the lowe r reg ister, they w
il
l be of the second tone
and
not
of the first. This opinion of mine is suppo rted by thc venerable Father Zanetto,
a
mu
sici an of Veni
ce
.
19
5. A N E XP L ANA TT ON OF TI I E T 111110 ANO F OU HT TT T ON ES
Th e few who fish th
ese
wat ers are in the
habil
of saying that every composi
tion ending in the position E
la
mi is to be assigned to the fourth tone. Thcy
forge t that this ste p is comm on also t·o the third, and in so doing seem to
m<'
to involve themselves in no li ttle difnculty.
See
ing that the differen
ce
oftcn
ends on this s tep in the fourth tone, many, thinking only of the ending
of
its
Saec
ul
o
rum
,
judge
a composition to bclong to it.
Thu
s
th
e greatest c
onfu
sion
may easil
y arise. t is accordingly ncccssa1y to cons
id
er
at
vá1ious times tlw
final, the upwa
rd and
clownwarcl range, the
processo
.the intonations, and llw
J6
For example, ''
Vi
rgo
cc
lcsti" by l
..oyscl
Comperc, "l) u ng a
ult
re a mer" and "De tous b
ie
us
playne" by Hayne, "Ce n'est pas" by Pien
·c
de
La
Ruc, and "D'ung au
lt
re amer" by Orto. [
Au
.l
17. As
in
La plus de p
lu
s" by Josqu
in
, wh
ic
h is
of
Lhc fi rst tone
in view
of the course
of
its diapcuh•
and its upward range, or in "Si miculx" by Loyscl Compere, which is of thc sccond, as i l l l ~ t
readily evident. [Au.]
18.
W
he
thcr with a Rat signalure.
as iu
''Pourlanl si mon" by
An
taine B
us
noi
s,
"Caudc virgo,"
11
motet by Costan
zo
F
es
la, "L:homm e armé"
et sic de
singuli
s
by Josquin , and "
TJ
é
la
s qu'il esl i\
mon gré" by Japart; or without, as
in
"Fors sculcmcnl" by Pien·e de La
Ru
e, ")e déspite Lou, .
by Bru
rne
l,
an
d "Gaude Barbara" by Jcan Moulo
n.
[Ao1. ]
19.
Fur
cx
am
pl
e, t he
mass
l
erculo•s dux Ferraria
e
<
:omposed by Josquin, and many o
lh
er
whiclo1 sha
ll
nol enu
me
mle, s
in
cc you w
ill
rcadily undcrsta
nd
them from
th
eir s
imil
arily
In
this one. [A
u.
] "Father Zanetto"
is
thc nooosic theo
ri
sl and coonposer Giovanni del Lago; . 11 1
Bonnic Blackbum, Edwa rd Lowi nsky, and Clcmenl Miller, A Con
·espon
dence
o
RenaisUIIII I
M 11sicimv;
(Oxford: C
la
rcndon Prcss, 1
99
1
,
p.
129. 11.
10.
On the Nalure of All the Tones of Figured Song
425
diffe rences, which, since they are of dif'ferent sorts , end naturally in different
ways.
20
{)JYflONAL
E N
Ol i :C
FO il TI I
E
Tllr
HD
Al \0 F'OUHT ll T
OI\
ES:{
:
1 1 1
1 1
. J
1
1
1 1
J
1 1
J
j
.;
""•
:
1
1
1
Ce rtain other compositions e nding in th e pps ition G sol re ut are
sa
id to be
nf' the thircl tone, even though this is the step ordinaJy and regular to the
st•vcnth and eighth . You will need to give your most careful consideration to
1hC'se and, above all, to their
p
rocesso for unless they have the form a
ncl
orde r
due and appropriate to the third tone, with this final they will never be assigned
lo it, but rather to the seventh or e ighth . But where the natural form is found ,
th
<•y
"vill always be assigned to the third tone, ancl not to the seventh or eighth ,
u view of the ir form and diflere nce.
21
Thi s opinion is like\vise supported by
th
<•
venerable Father Zane lto, Vcn e tian mu sician.
You will also fincl certai n othe r compos itions e nding on
A la
m
r
e; when
l11
esc obser
ve
the a
ppr
opri ate
processo
th
ey
will
be
assigned to the third tone.
22
llul when they have a n
at
signa
ture,
they are in my opinion to be assigncd
lo
lhc• lhird
ton
e the more readil
y,
even though
al
the beginning and in their
m urse they fail to proceed in the clu e ancl appropriate way, for it is evi
cl
e
nt
that
111(
regular struc
tur
e of thc lonc
23
wi
ll pr
evail.
But
because
of
thc inconvc
nlou
ce
of the ir upward range, few such pieccs will be found, unlcss writtc n fo r
o
ll'o
al volees or voc í ? utate.
24
So co
mp
ositions of this s
ort
are to be assigned
lo thc third or fo urth tone in vi
ew
of their sp
ec
ies a
nd
downwa
rd
range, not
ht•eause of their c}ifference or processo.
Thu
s il may be ¡nfe rrecl that, in view
11l their extended downwarcl they will in prefere n
ce
be assigned to thc
lo111rlh tone.
25
11
i n a ~
in
the motet "
Mi
chacl archangclc" hy Jaco
ti
n, the
fi
rst parl is
in my
opin
io
n
of
thc
Irreg
ul
ar third tone wh
ile
the sccond cnds
in
thc regular third tone, nol in the fourth; thc sa
on
e
b true of "Malheur me bat" py Ockeghcm, "lnlervcniat pro regc noslro" by Jacotin, al)d
ma
ny
uthcr composition
s,
similar lo these and
ha
ving the regular fi ooal and
lh
e rcqnircd
processo
and
11 pwa rd ranga. [An.]
1
1
l'or exam
pl
e, "Nunca f
oo
é pena
mayo
r,"
&c.
[Au.]
1
'
Jor example, "Miserere mei Dcns'' hy Josqu in . "Laetatus s
nm
"
by
Euslac
hi
o, "
13
cncdic anima
nh'll Dooninum," in which thc firsl parl cnds 0
11
the confina , the second on thc Rnal, and the
tlolrd
on
the diffcrencc,
&c
. [Au . l
1
1 Numcly, mi-mi and mi-la arising froon thc inlcrval A ln mi re to high E
la
mi, to whicl1 is ad ded
i lol oo
pper diatessaron
m -In
[
An .]
' 1
l'hat
is,
for a group of
vo
iccs r
cs
lricted to a simi lar.
in
t
hi
s case hi gh, compnss. Thc onore
¡·o
oo1mon ter
rn
for snch a group isvoci p arí .
J>or exampl e, "O Maria rogamus le" in thc Molelt C and many others which you will readily
• e o g
on the s
am
e pr incipie. [
An .]
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 11/15
426
69 P 1E T H O i
i
HO N
6. AN
EXPLA:\ 'AT I
ON or Tll l :
F r FT
II AND
S IXT
II
T ONES
Spurred on by your afl'ec tion ami with my goa l in sight , 1 turn to the q ues tion
about which you may
ha
ve been in doubt. Th11s, in beginning this
part
of my
explanat ion , 1 ask you to obse rve that compositions ending in the position F fa
ut
are to be assigned to the flfth or sixth tone. On this point 1 shou ld like
lo
re move any remaining uncert ainty, for seeing that such compositions ver)
o ften- indeed, almost always- have the Oat signature and t hat the fo rm o f' tlw
tone is alte red, it would be easy for yo11 to bel icve the eontrary, in view o
f'
ccrtain opinions that I have exprcsscd above.
26
Know, then, that in composi
tions sueh as these the older eomposcrs were mo re co nee rned with be i lity than
with proper
f'
orm ancl correc t stn rctnre. For the flfth and sixth ton es often
req uire the he
lp
of the b-flat , alt hong lr always to use it would be cont rary
lo
the tendene ies of the mediat ions o f t hcse tones as lai
cl
clown by the ancients.
This op inion is likewise snppo rted by the
pr
eviously mentionecl Venetian,
Father Zanetto. For thi s reason , then, the olde r
co
rnpose rs a lterm] the third
diape
nt
e, giving it
th
e natu re of the fourth, in orcler that the tri l
one wh k
h
\vould otherwise occ ur in running through it might not cau
se
inconven ience or
har
s
hn
ess in the
ir
music.
27
ÜJYriO
NAL EN O
I :-IC F OR
TI I
E Fwrrr AN D SrXT
II
T ONES:
Ancl if certain other compositions, c nding on A la 111i
re ar
e to b e assigrwd
to the Rfth t
one
, kn
ow
that
at
thc beginning
and in
their
co
ur
se th
e
se 111u
st
observe a
processo
suitccl to it; lacking th is, the
diff
ere
nee
will have li
tt
le fo r
< l
'
and , as previously explained , they may eas ily be of some
other
to ne. Nevertlw
less, the composer ma)' if he picases obse rve this tone, but what is neeessarv
26. The reader, that is, having becn to fd that
in
thc D and f mO<Ies the flat signaturc does ru>
enecl a
lr
ansforma tion (chap. 3), ami
m ~ n g
sccn th al the exp
lan
alion
of
this given f
or
li
w
1)
modcs (chap. 4) wi ll nol apply to thc F will havc an licipated a difficulty at this poi nl.
27.
This is unifonnly demonslrated in th c lollowing
(.'()m
posi lions
of
thc fifth tone,
o m p o s
i o n ~
which
ca un
ot be otherwise
ass
igncd in v
it"w
of thc ir upward range and
pmcesso:
"Stabal mult•r
dolo rosa" and ''Alma rcdemplo ri
s" by
Josqu
in
, "l lé las que pourra devenir" by Caron, 'Qmwr11
mus cum pastoribus'' and "lll nnrinare illumi narc Jcrusalcm" by Jean Moulon, ami tite Sanell"
and Agnus Dei of' th e
Ma
ss
of
Onr Lad y hy
Pi
crrl' dL·
La
Hne. Those wh
ic
h do not h
u\t
fr
cc¡
ucnl
processo
in this hi
gh
ran
gc
,
fa
ll ing shorl
of
lhe diapente o r
hexac
ho
rd
, are lo
¡
.
assigncd lo thc sixth tone as rcgularly c ncbl, l'or
cx
:
t
mplc, "Bn rneltc'' by Slokhern, "Vost11
bergcronette" by Compcr
e,
"j e ne dcnr:urclc"
by Bu
sr1o i
s,
"AII cz rcgrctz" by 1\grico la, "A lwr
dience" by Jl
ay
ue, ··sancta Tri11itas llltus Deus" ami
"Tc rn
pus mcum est ut rcvcrlar
ad
ctu u
by F
év
in, ''Celeste bcne flcium'' by Jcan Mouto11 , "' Egregie Christi" by f évin. &c. [Att .)
On 1/w N ture of A/1 he '](mes of i g ~ t Song
427
wi
ll be recognized mo re clearly in the psalms ancl the Magn ificat. The sixth
tone we do not concede o n Lhis step , for it has ne ither the form nor thc differ
t'nce.
ee rtain othe r cornpositions ending on B fa ~ m i
a t
sai
O.
to be of t he fifth
tone, hut we do nol app rove Lh is in th e absence of the Aat signatme (or figure
which on th
.is
step produces the proper stm cturc both ascending and clescend
ing. 1 e re, then, the fin al is ralional, ncccssmy, and governing, ancl in this way
thc proper form is rccognizcd.
2
ee
r
ta
in
othcr
compositions,
en
di
ng
on e
sol
fa ut,
are
sa
icl
to be
of
the
flf'th
tone,
bo t
h wit
lt
ami withoul the flal signalure;
2
\J this is solely in vicw
of
Lhc
dif'fer
ence
which the plainsong so mctimes exhihits here. Thc s.xth tone is lack
ing on this step, eve n though it is the confina of the
fl
fth and sixtlr tones
encled, fo r thc step can h ca r no forrn o r cl iffe rence approp riatc Lo il.
7. AN EXPLA:-JAT r
ON
O F TII S I
WE N
T II ANO E r
II T II
T
o:>Jr.s
Cc rtain persons have he ld th
at
the seventh a
nd
eighth tones may e rul rcgrr
lru·ly and irregu la
rl
y on three ste
ps
, narnely
Gamma tti ,
e
fa
ami G
sol re ttt,
1
111d r
eg
ard ing lh
ese
enclings many advancc many
diff
e rent op inions,
cs
pec ia
ll
y
r q ~ a r d
thosc on
Camn
ra and C
fa
.1.
Co
rnp
os
il ions cncling on Lh
cse
steps
tll(')' assign rather to the scventh t
one
Lhan to
Lh
e eighth, ancl this b
ec
au
sc
such
''
c·omposition scldom if eve r dcscends as the plaga fo rrn requires. Jn view of
lhis co nfusion I shall te
ll
you that
I ca
nnol aclrn it such op inions, for it is clear
thal these composilions co nlinuc lo observe the natu ral req uirc rnc nls of Lle
propcr and regular tones. T hose ( nding on Ga rn rna ut, in vicw of' Lhcir acqnirecl
liH·
rn
,
pec
uliar to the seve
nth
ton
e,
I take lo be
of
th is t
one
ancl
not
of' the
11ight h when they are witho11t tho fl at signature,
but
of the fl rsl or second when
have it. But thosc encl ing on C.fa u/ , for the reason given ab ove and also
IHc.:anse they do nol have thc
pr
oper diatessaron , [ assign to thc e ighth tone
rt
nd not lo the scvcnlh .:
10
This opin ion is likewi se hcld hy the previously me n-
1
ont'd musician, Father Zanctto.
Ce rtain oth
er
compos ilious c nd in the position G
sol re ut ;
thesc
ar
e nalu
r,dl
)' and r
eg
ularly to be assigned to Lhc sevcnth lonc
orto
Lhc cighth in vicw
ol
the ir proper final ancl natural form.
3
As dl'monslratcd in the chanson "
La
regrLt6c," composcd by ll ayne. w
hi
ch is
of
tlw
flfth
tone
in
vicw
of
ils spccics. cadenccs, and npward mngc; or
in
"O ad111irabilc connncrciunt" by
jtmpr
in
, whi ch is said lo be of lhe sixt h. arr
CC'
tt<lin olhrrs similar to il , although llwrc are
lt·w of
these. [A .]
") For ex:unple, "Si sumpscro" hy Obrrcht. [
Au
. l
tU
i\1
dcmonstraled in the followiug co
111
posi lions: "Mon mari rrú1 diniunéc" by Orto and lhe
t•han son called "E la la la
":
l'ollowing tlw s:unn principie yon will undersla nd thc res
.
[1\
n. l
l'h us lhc
mass
Ut
sol
by Je
au
Moulon aud l
frc C:lor
ia
of
Our Lady by Picrrc de La n nc are in
o111r opiuion to he a
ss
iguNI In thc sevcnth tone
in
v
ic•w of
their spccics, their
final
.
and
their
••xl¡•ndcd upward rangc; the same applies lo "Multi
su
nt vocali panci ve ro clccti" hy
ll
w vrncra
hl
<
Father Zanetto of Verlicc· ami "Asceudl' ns Christus
in
allum" hy llyb cre.
Bul
"Si drd¡ ro"
hy Alc•xander Agrien a and "C'rst possible que l'honune peut"
will
he of thr Pighth to ne in vicw
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 12/15
428
70 II E I
NH
I C C
L HE N
ÜP TJON L E ND ING FOH TliE SEVENTll ANO E JC
JJTII
T ON ES :
Ce rtain other compositions end in the position C so l fa ut; these are in my
opinion to be assigned in the
same
way to the
seventh ton
e or to the e
ighth
iu
view of tbeir difference and processo the diffe ren
ce
dften ending on this step.
Thus
, if sucb a composltion pro
cee
ds in the
appropriate
way it will most
cc
r
lainly be of tbe s
eve nth
ton e or of tbc eighth in
vi
ew of its final, sti ll mort
1
reasonably
so
if t has the flat signatu r
e,
for this will give it the proper stmcturc,
nam
ely ut so
l
and
re-sol
the form p
ec
uliar to the
seven
tb and e ig
hth ton
es.
32
Following these principies
in yo
ur examinations and re flecting
on
tlw
me thod
se
t forth abov
e,
you \vill have a clear
un d
e rstanding o(
any
oth er con1
position
or
ton e suited and appropriate to Rgured
mu
s
ic
.
of
the
ir
final and their
p
rocesso thc samc is t ruc of "O venus bant" by
Jo
squin, "Disa
nt
adit•u
madame," "Je suis amie," "Myn morghcm ghal'," '' ll élas hé las" by Ninot, "E d 'en revencz vous ·
by Co
mper
e, "Bea ta Dei genitrix," aud many others which you
wi
ll recognize on the sanu•
principie. [Au .]
32.
Thu
s " Mes pensées" by
Comp
cre, "Madame hólas," "Comme
nl
peu lt' by Josquin,
and
"Mittll
ad virginem" can be assignecl on ly lo thc seveuth tone, and also "Je cuide si
ce
temps ; aml
"Ne l'oserai je cUre" will be of the eighth tone a
ncl
not of the seventh, as i
ts
Jorm ancl extendl'cl
downward processo witl show you. ]Acc.]
7
QHeinrich Clarean
Heinrich Glarean (known as Glareanus),
one of
the g reat humanist-scholars of
the sixteenth century, was born in the ca nton of Gla rus in Switzerland in 1488
and died
in
Heiburg in 1563 . A friend of Erasmus of Rotterdam, Glarean was •'
philosopher, theo logian, philologist,
hi
sto rian, poet, and musica l scholar.
Already
in 1512
he was crowned poe t la
ur
eate
by
Emperor Maximilian
l.
Among his works of musical inte rest, the most important is the odecachordon
(lite ra
ll
y, the /n
strumenl
o Tw
e
lv
e
Strings . Here he advocat
ed
a system of
twe lve modes, add ing four new modes to the existing eight: Aeolian, Hypo
aeo lia n, tonian, and Hypoionia n. True to Glarean's humanist background, his
discussion of the modes
in
corporales class ica l learning much more than Aar
on's. Glarean rationalized his twelve-mode system by a scrupulous ana lysis,
Dodecachonlon 429
along anc ient lines, of the perlinent octave species and the ir formation out of
the conjunction of different species of fifth and fourth. He s elected the names
for his new modes alter carefu lly sc rutini zing anc ient authorities and their vary
ing terminologies. Nevertheless, his new modes,
lik
e Aa(on
's,
had an empírica
basis as wel l.
Thi
s is cl
ea
r from
hi
s use of Gregorian cha
nr
•to exemplify the
t
we
lve-mode system (which a lso made a broader
id
eologica l point: Glarean
was a staunch Ca tholic and resisted movements of Protestant reform). Glarean's
cmpiricism is evident also
in
his presenta tion of numerous full compositions by
co
mposers of
hi
s time to
exe
mpl
ify
h
is th
eory and in
hi
s observations
th
at mod
c
rn
polyphonic practi
ce
tend
ed
to the frequent u
se
of the octave species that
we would
ca
ll the major and
natLtr
al minor modes.
Glarean's twelve-mode system was very influential. Za rlin o embraced it
in
his
lslitutioni harmo
ni
chewithout mentioning Glarean and, la
er,
went Glarean
one better by renumbcring his modes from the lonian, beginning on
C,
rathe r
than from
th
c
co
nventional starting-poinl, Dorian-
D.
In the present excerpt
Gla rean combines a paean to his favorite composer, Josquin Desprez, wi th an
exemplification
by
mea ns of Josquin's works of the mixture of authenti c and
plaga mod¡¡l pa
ir
s.
FROM
Dodecachordon
(1
5-1:7
BOOK 3
C l l PTEH 24: EX MPLES OF T II E P IH ED C O MB l N TI ON S OF TLLE
M OOES T
OCET
II EL\ W ITLI i \N ENCOM I U M OF J OSQU N DF. S PRF.Z
So much for our exampl es of th c twe l
vc
rnodes in that varicd sort of rn usic
llol (at Ieast in our opinion ) inappropriately called mensural , exarnples cited
wilh all possible brevity frorn various a uthors in proof of
tbo
se things that have
\C'P rned to us in need o f proof. It now remains fo r us to give examples of
lhPsc
sa
me
mod
es in
co
mbination ,
1
nol
commonpla
ce
examples, to be sur
e,
hctl
weigh ty
ones
elegan
tl
y illustrating the rnatte r.
And
since in
our
pr
ece di n
g
lu1ot<2 we
ha v
e sufficiently discu
ssed
thc actual nature of these combinations,
wc•
shall re frain fr
om
re-cxamin i
ng
it hc re. All
our
exa
mpl es
will be in th e o
rd
er
in o
ur
last book; thus, having b
eguu
\vith Dotian and Il ypodorian , we
illltll then
add
exampl
es
o f the ot hcr
pa
ired
co
mbinations, bri efly expr ess ing
1111r
op
inion about th
ese
, partly to sh
ow
othe rs a b e
tt
e r way
of
judging and, as
\V< re, to
op
en me n's
eyes, part
ly to makc knov.rn the me
rit
s
of
the in
gc
nious
11 i l : The original
ed
ition ( 13asle,
1
547). Clarca givcs the
c:
:omplcte cn11sical t
cx
ts o f thc seven
o
\.tt
uples discussecl in this chaplcr. Thcse aro omiltc.:d here. Translation by Olivc r Struuk.
l•xa
onpl
es, that is,
in
which the tenor or pr
in
cipal parl has Jhe co mbined
pl
aga and aulhcnlic
2/l-J-5.
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 13/15
430
70
H E I N
RI
C
II
C
LA R E AN
in this art, merits which to certain sufficiently host
il
e j
udg
es
seem
common
place,
but
which to us
see
m considerable
and mo
st worthy
of
admiration.
Now in this class
of
authors
and
in this great crowd of
th
e ingenious
th
ere
stands o
ut
as
by
far
pr
e-e mine
nt in
te
mp
eram e
nt
, co
ns
cientiousness,
and
industry (or I am mistaken in my f
ee
ling) Jodocus
a
Pr
ato, whom people play
fully
V
7TOKoptCT-nKwc;
call in h
is
Belgian mother-tongue Josqu in, as
th
ough
th
ey
were to say "Little Jodocus."
f
his man , besides
th
at native
bent
and
strengthof chara
cter
by
wh
ich
he
was
di
stinguish
ed,
had had an
und
erstanding
of th
e twelve mod
es and
of
th
e truth
of
musical theory,
natur
e could have
broug
ht
forth nothing more maj
es
tic
and
magnifi
cent
in tl
ús
art; so versatile
was lús te
mp
er
am
e
nt in
eve
1y
respect, so
armed
with natural acumen and
force,
th
at
th
ere is nothing
he
could
not
have
don
e in
th
is profession. Bul
moderation was wanting for the most
part and
, with learning,
jud
gme
nt
;
thu
s
in
ce
rtain places
in
hi
s
compo
sitions he did not, as he should have, soberly
re
pr
ess
th
e
vi
ole
nt
impulses
of
his unbridled t
empe
rament. Y
et
l
et
tbis petty
fau
lt
be co
ndoned
in view
of th
e man
's oth
er incomparable gifts.
No one
has more
ef
f
ec
tively ex
pr
essed
the
passio
ns
of the soul in music
th
an
this symphonist,
no one
has m
ore
fe
li
citously b
egun
, no
one
has
been
a
bl
e to
compete
in grace a
nd
f
ac
ility on an
eq
ual footing with him, just as th
ere
is no
Latin
po
et superior
in th
e epic to Maro.
For ju
st as Maro, with
bi
s
natu
ral
facility, was accustomed to
adapt
his poem to bis subject so as to
se
t weighty
matters before the eyes
of
his readers with close-packed spo
nd
ees, fl
ee
ting
o
ne
s with unmixed dactyls,
to
use words suited to his eve ry subj
ec
t, in sh
or
t,
to
und
ertake nothing inappropriatel
y,
3
as Flaccus says of Homer, so our
Jos
quin,
where
his
matter
requires it, now advances with impe
tu
ous and precipi
tate
not
es, now inton
es
his subject in long-drawn tones,
and
, to s
um up
, has
broug
ht
forth nothing that was not delightful to
th
e e
ar and
approved as ingc
nious by
th
e lea rn
ed,
notl1ing, in sho
rt
,
that
was not accept
ab
le
and
pleasing,
even
when it
see
med less eru
dit
e, to those w
ho li
stened to
it
with
jud
gment.
In
most
of
hi
s works he is the
ma
gnifi
cent
virtuoso, as
in
th
e
Missa 1tper voce.v
musicales
and
the Missa ad fugam
in so
rn
e he is the mocker, as
in
the
Missa
La sol fa re mi;
in some be exte
nd
s himself in rivalr
y,
4
as in
th
e
Mi ssa de Bea
ta
Virgine;
a
lt
hough o
th
ers have also freque
nt
ly
at t
e
mpted
all these things, tlwy
have not with
th
e s
am
e felicity
met
with a
co
rr
esponding success
in
thcir
und
ertakings.
This was f
or
us
th
e reason why in thi
s,
the
co
nsummation
of
our work,
w1•
have
by
preference cited exa
mpl
es by this man. And although h
is
talent
beyo
nd
description,
more
eas
il
y admired
th
an
prope
rly
ell:p
lained, he stl
ll
seems pr
eferable to
othe
rs, not only for his talen t,
but
also f
or
his diligencc
In
emending
hi
s works. For those w
ho
have known him say that he
bro
ught
hiN
thin
gs
forth with much hes
ita
ti
on and
with corrections of all sorts, a
nd
t
hat ¡.
,,
3.
Mar
o is Virgil.
Compare
the simil
ar
remarks by Zarlino in no .
37
above,
p.
295.
4. With Anta ine B
ru
mel;
see be
l
ow at
n. 20.
Dodecachorrlon
431
gave no composition to
the
p ublic unless he had k
ept
it by him for severa
yca
rs
, the opposite
of
what we said Jacob O
brec
ht
is re
portcd
to have done .
ll
cnce sorne not inappropriately maintain that the one may justly be comparcd
to Vir
gi
l, the
othe
r to Ovid. But
if
we admit this, tb whom
shaU
we more
fittingly compare Pien·e de
La
Hue, an astoni
sh
ingly delightful composer, than
to llorace, Isaac than pe
rh
aps to
Lu
can , F
év
in than to C l
aucl
ianus, Bru mel to
Stalius? Yet I should seem f
ooli
sh, and rightl
y,
if l
were
to speak
vvith
so little
t n ~ l
of these men,
and perhaps
shouJd dcse1v e to h
ear
that popular saying,
Shoemaker, stick to yo
ur
last " Il en
ce
I p rocccd to t
he
explanation ancl juclg
lng of the examples.
Of
the
fl
rst comb
in
ati.o
n, that of
Dor
ian a
ncl II
ypodorian, J
et our
examplc be
th1•
melocly "Vic
li
mac paschali laudes," on thc Blessed H
esur
rcction
of
C
hr
ist,
.
1s
scl
by
this samc
aut
h
or
Josqnin, a melody th
at
we bavc mcntioned twice
lll'fore and
that
we
ha
ve further citcd asan cxam
pl
e of this contbination
in our
~ < · < · o n d
book.
5
In it,
it will
rightly be
jud
ged iuge uious that the givcn theme
is
l11
•nrd
thu
s divided by
int
ervals among the f
our vo
iccs,
as is
most fitting.
6
In
i
ts
llrsl part , the highest voice, borrowed from sorne well-known song,
7
presents
tlu• ll
ypodorian mode with an add
ed
c itonc bclow. In the following
part
it is
1
orian with an adcled diatessaron above.
1
ere the ending is on the
hi
ghcst
\( I P of
the cliapason,
wbe
reas
just
thc
othe
r way it ought to havc been
on the
low<·sL; this
pa
rt, however, is also bor rowed,
8
aucl on this account he has not
w1shed to alte r it.
The
te
nor
is extended a clitone lower than the Hypoclorian
lmm r
< q
uires, bu t the autho r does this with his usual licensc.
Th
e
borro
wed
rrw
lo
dies
he
co
mbines
vvit
h othe r ancient ones, appropriately in the same
111ode, for melodies in othe r mocles would n
ot
agr
ee
to this c
xt
cnt. At the sarne
tlr1ro, it was not difflcult fo r th is autbor to combine meloclics bclongi.ng to dif
li'l't•nt modes, eve
o
do
so graccfuUy, for he
co
mpos ed scarccly a single mass,
111
il
s rnode what it ma
y,
without b r
in
ging in thc A
eo
lian modo in the
Nice
ne
• v d ,
somcthing that
othe
rs have
at
te
mpt
ed
also,
bul
not
¡¡lways
\-vith
the
~ 1 1 1 1 1 <
success. Each voice has somethi
ng
worthy of n
ot
e, thus
th
e te nor its
t u h i l i t y ,
the bass its wonder
fu
l gravity, although I scar
ce
ly know whcthcr it
plc•usrs everyone that he ascends as he
do
cs in thc bass at thc word "Galilaea."
l
lt
.
1t
this proc
ee
ds
from the wantouness of
hi
s
tcmpe
ramen l we cannot dcn
y;
tl rus
wc must acce
pt
it gracefully as an adcition. The cantus has an ancient
IL
1\or; the seventh note from the eu
cl
is h
ear
d al
on
e, vith all the other voiccs
l'•ll"ing. Yet, .
n
comparison with
Lh
e gen i
us
of the man , all thcsc things are
lt
oll
y unimportant. Le t us go on , titen, to
ot
hcr
ex
amp lc
s.
1 1 1nnd 2.29.
11 ~ ' l n i treats thc plainsong as a wandc ring c
an
us finnus, ~ n g stan7, 1 to t hc
tenor ant
l, in
lnnYn
2, l l lo thc a lto, l 2 to thc bass. l 3
to
thc te nor, ami so forlh.
' 11 thc· sup erius of OckP.ghem's chaus
on
" D'ung :mi
tr
e anocr."
1
ll
w superius
of
ll ay11e's chanson ·· oe tn us hiens playm•."
" tlurl is, without inte rpo latin g thc Cregoria11 Credo, o f llcia
ll
y of M
odc
lV
b11t
assignC'd by
1
l u ~ t •
(2.17)
lo
th ¡• Aeo lia11 mod e.
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 14/15
432
70 II E I N HI C
TI
C LA R E AN
Il
e re, in the
mot
et "De profundis," I wish eve1yo nc to obse1ve closcly what
the beginning is like and with
ho
w much passion a
nd
how much majesty
th
e
compose
r
ha
s given us the opening words; instead of transposing the moclcs
from the ir natural
po
sitions to the higher reg istc r (as is elsewhere the usual
custorn), he has combined
th
e sys tems of
h
e two; at the same time, with aston
ishing and carefu lly s tudied el
ega
nce, he has th rown the phra
se
into viole
nt
dis
ord
er, usur
ping
now the leap of
the
Lydian, now that of
th
e Ion ian, until
at length, by means
of
these most beautiful refine ments, he glides, creeping
unobserved a
nd
without
off
e nding
th
e
ea
r, from Dorian to Plu
yg
ian.
10
Thal
this is difficuit
todo
,
es
pecially in th
ese
two modes,
th
c
Doiian
a
ncl
Phrygian,
we have alr
ea
dy shown.
Th us, contrary
to
the n
atur
e
of th
e modes, he h
as
e
nd
cd
th
e cornbined systems
of
the
Dori
an
and
Hypodorian on E,
th
c
sea
t o f
the
Ph1
ygian . Yet
th
ere are othe r compositions in which he has don e this also
(
nor
is he alone
n
it), eviden tly
fr
om
an
imm
ode
rate love of novel
ty
and an
excessive
eage
mess to win a little glory for be
in
g unusual, a fault to which thc
more
in
ge
ni
ous professors of
tl1
e a
rt
s are in general so much given that, be it
ever so p
ec
uliar to tl1e syrnphonists, th
ey
still s
har
e it in common "vith many
othe
rs.
None
the less the
mot
et re
ma
ins b
etwee
n A andel, resp
ee
ting
the
limits
of the
Dolian
and Hyp odo
ri
an
sys
tems. And although by his unusual procedure
he has sought nothing e lse, he has at least mad c it plain
th
at, through
th
e force
of his te mperarnent, he coul
cl
b
ri
ng it aboul that the char
ge
customari ly
br
oug
ht
against
the
ancient musicians, namel
y,
of
pr
ogressing "
From
Dorian to
Pht) 'gian
,
12
would be brought in vain against him by whom it was so learnedly
accomplished, without the slightest offense to the ear. But enough of this
motet.
13
The seco
nd
combination is that of tbe Hypophrygian
and
Ph
1y
gian modes,
extcnding from B to e.
But
the cornbination rarcly descends in this way
to
B
without descending also
to
A; thus it usually li
e:s
between C and e. Yet
our
Josquin, in
se
tting
th
e Genealogy
of
Christ Our Saviour according to the Evan
ge
lists Matth
ew
and Luke for four voices in harn1ony in tl1is
co
mbination,
desce
nd
s
to
A re
and
asce
nd
s to f, adding here a scmitone
and
there a tone,
LO
.Thc word "phrase" (phm
s
is
)
has for Clarean the spccial mea
ni
ng "
rn
elodic idiorn"; thc "phrast•
of a given mode consists for hirn partly in its tendcncy to cmphasize its nalma l i t h m c t i c
01
harrno
ni
c clivision at the fonrth or fl fth, partly in its nse of cc rlain characte
ri
stic lonc-succ(
S·
sions takcn over from p la insong. Compare 1.13, wh
cre
the leaps eharacteris lic or thc cight
modes of pl
ai
nsong are tliscussed :md
ill
ustra ted; also 2.36.
Th
e l
ea
p
cl1
araete
ri
stic of the Lyd
ian mode is that from a to e; by lonian leap Clarean musl mean Lhat from e to g.
11 . 2.11, where the
prescnt
cxample is also rnentioned .
12.
A7r
o 8op iov
E7rl cppú-ytov
. Thc proverb is also found in Cafori, De lwrnumin nwsicomm insltll
mentomm opus 4.2 , and scems to harken back to Aristo
tl
c's story of Philoxenus attcmpling
l<>
compose a dithyrnmb in Dorian but
being
forced by
lhe
natu
rc
of thc
ge
nre back to Phrygiau.
sec Polit
ics
1342b.
13. Despite the rangc of its t
eno
r, by w
hi
ch Clarean has evidently been rnislcd, J
osc¡u
in's
"
Dt•
profnndis" is clem·ly Hypophryginn, or co rnbined Ph
ryg
ian and
J
lypopluygian;
vf.
Za
rl
ino,
~ 1 1
tutloui lwrmo niche 4.23.
Dodecach
or
d
on
433
and this with his usual license.
14
The first one, according to Mattl1ew, he has
arranged in accordan
ce
with tl1e true final close of the mode, namely
on
E ; we
it h ere. The seco
nd
one , taken from Lnke, he
ha
s forced to end
on
G,
hul without alte ring
the
ph
rase
of thc modes a t
th
e tii{;e,
a9,
d this also with his
usual
lice
nse.
15
Th
e motet has grea t majesly, a
nd
it' is womle rful
that
ti-om
nlaterial so ster
il
e, namel
y,
from a bare catalogue of men, he has
been able
to
l ashion as many dc lights as though it had been some ferti le narrative . Many
nther things might be said, but let so
rn
e o
f
these be left for others to discuss.
The
third comb in
at
ion, tllat
of
Lydian and Tlypolydian, is unn sual in
th
is
our
a ~ e for, as we have often remarked in the forego ing, all cornpositions in
these
Inodes are for
ce
d into
tl
1e Ionian.
16
But
in
our
exa
mp
le, tlle Agnus
Dei
from
ilw
Missa Fortuna despemt ,
the
reader
may
fir
st a
dmir
e tbe way in whicb a
l
.yd
ian has been madc from an I onian, for the
who
le mass is sung
in
the Ionian
mode.
Thi
s is doubt less
du
e to the bass, plun
ge
d inlo the lowesl ciapason.
For
in ot
he r compositions, as often as t11e te
nor
is Ilypoclorian, the bass is usually
l)orian or Aeolian;
ag
ain,
justas
a
Ph
rygian t
enor
often has an A
eo li
an bass
and cantus, here an Ionian bass has a Lydian tenor a
nd
alto.
17
But it is doubtful
whcther t11e
ant
h
or
has d
one
th
is
by design
or
by accident. Aside
fi·o
m this, he
tnlks
nonscnse
v.rilh
his
ca
non,
fo
llowing the custom of t he s
in
gers.
Fo
r
who
t'
\Tcpt
Oe
dipus him
self
would
und
e rstand such a riddle
of
thc sphinx? IIe has
humored
the
cbmmon s
inge
rs, obeying tlie m
axi
m,
AA.w7T€KÍ(ELv 7Tpbc; í:.Tépav
riA.ámE
Ka
;
tl1at is,
um vu
lpe vnlpirwre
tn
qrwque invicem,
as Maste r
Er
asmus
has
le
arne
dly translat
ed
it, or, as the vulgar inelegantly
put
it, "
IIo
wl
witl1
tlle
wolves,
if
you wanlto
ge
t along
witl1
them."w
The
fourth combina tio
ii
is that
of
the Mixolyd.ian ancl its plaga , the
Ilypo-
lllixo
lydian; in
our
a
ge
it is
se
ldo
rn
usecl. Ncverth eless, on
ce
the syrnpbonists
11.
\Verke.r, Motetten
(Amsterdam, 1926), vo
l.
1, pp. 59-69 (Matth
ew
) ami 70-81 (Lukc). Tite
L • nor dcsccnds lo A
in
thc Lnke genealogy only.
1•
On
this cnding
scc
2.36, also no. 69 above (Aaron, chap . 5), p. 425
1
No.
69
ahovc (Aaron. citap. 6), p. 426 .
17 St>e 3.13 on thc "m
ys
tcrious rclationship" of the modes, where the prcsc
nt
exa
111pl
e is also
n1cnt
ioned.
ll
erc, as t
here
, C l
ar
ean cl
ea rl
y has thrce dislinct sorts or re lalionship
in
mind:
l )
iltt• nal
ma
l. relalionship of any authent ic
modelo
tlw plaga mode having the samc final; 2) the
.\¡)('cial rclat
io
nship of Ph ryg ian to Aeolian , as a resnlt of which a l>hrygian c
ompo
silion may
lr:w
t· marked A
eo
lian eharacte
ri
slics or an Aco lkm composition
a
Ph1ygian final cadcncc; as
¡m
t
•x
antple
of
th
is
relalionshi p C larean gives
in
3.19 t he m
otet
"
l u
le
mnt
Dominum menrn''; cf.
Zarlino,
lslitttliotti
lwmwni
c
t
e
4.30; 3) the peculiar re lationship of D-Dorian to 0 -A
eo
lian
(lransposcd Acolian)
ant
l
of
1'-Lydian to F-l onian (lmnsposed lonian), of whieh thc
presen
l
t•xamplc
is
an illnstration.
1"
In Agnus
1
thc bass
is
to invert h
is
part at an clcvcnth lower than writlcn and 111ultiply
th
e
tlnmtions by fo
ur
(douhlc augmcnlation). Pc
tru
ccis cdilions, f'ollowcd by Clarean, hint at th is
In the following dislich, which Clarean heads "thc riddlc of thc sphinx :
In
gra
dtts t
md
en
os
dt•m:ndant
nl.llltipli
canl
es
1Consimilique modo crescant Anti
porles ww (Le t t
hem
tlcscend by
,.J,·ven slcps with mulliplicd rneasure;
th
en
once
more in like manncr incrcasc, lo a ntipodes
l i t
St·l· Dcsiderius Enunus ,
Ada¡t.ia
1.2.28.
7/23/2019 escritos para estudio musicologico renacimiento
http://slidepdf.com/reader/full/escritos-para-estudio-musicologico-renacimiento 15/15
434
70 I
I Hl C ll G L
AHEAN
had p
erce
ived the magnifice
nc
e of th
ese
mocles from ancient exampl
es
of
ec
clesiastical melody, rou
sed
as
it were
with enthusiasm, they tried in a
certa
iu
most praiseworthy rivaby to do their utmost
wi th
the rnelody Et in te
rra pa
x''
on
the Most Blessed Virgin and
Qu
een of
Heav
en, Mary, Mothe r of Jesus
Christ, above all Antaine Br
ume
l and our Josquin Desprez, at a time whc u
both
were
verging toward extreme old age.
20
Brumel, in h is setting, has
spa
re cl
no pains to show the singers his skill, nay, he has strained every fiber of his
te
mp
e
ram
e
nt
to leave behincl for later generations a sp
ec
im
en
of lüs ingenui ty.
Yet, in my opinion at least, Josquin has by f
ar
surpassecl h irn in natural for
C(
and ingenious penetration and has so
bo
rne himself in the contest that
na
lu re,
mother
or
all , as though wislü ng to fonn from the four elements her mosl
pe rfec t creation,
see
rns to me to have brought her utmost pow ers i
nto
play itt
orcle r
that
it might be impossible to invent a be tter music. And thus the major
ity
of
the learned have not h
es
itated to award the first place to th is
co
mpositiuu.
espec
ially Joannes Vannius,
21
whom we have mentionecl in
co
nnec tion with tlu•
Hypornixo lydian rnocle
and
to whose judgment we glaclly subscribe , bo th
b
eca
use he gave it
befar
e us
an
d because he outdid us in
th
is matt
er
by far. At
th e be
ginnin
g,
the te
nor
descends
onc
e to the
Il
ypomixolydian diatessarou,
othenvise the e
nt
ire melody is Mixolydian, not Hypornixolydian. To me, tl
ll
greatest passion seems to have b
ee
n expressed at
th
e
word P
ri
mo
ge nitus" iu
the Grst
part
ol the setting; others
pr
efer the second part.
Bu
t there is
no
pnrl
whatever that does not contain
somet
hing th
at
you may greatly adm ire.
Of
the
Gft
h com bination, that of A
eo
lian ancl
Ilypoaeo
lian, we should nol
again be giving the same exa
mp
le
if
we had b
ee
n able to obtain or di
scow
r
anothe
r
one
anywhere
amon
g the symphonists
of our
age. Alth
ough
in our
previous book
22
we
also proclucecl
other
exa
mp
les
of
the combination, lhis
one
23
was by far the most enlighte ning, as one by many treatecl yet
by
ull
perver
led and lra nsposecl frorn its natural position, even mutilated or altemd
with r
espec
t to its 1:\vo diatessarons above and be low, narnely by Brurnel aud
Josquin in their two so
ce
lebratecl masses of the Vi rgin Ma1y, Mother of God:
for this reason we have
earnes
tly entreated that excellen t man, Master Grcg
01
Meyer, the distinguished organist
of
the cathed ral at Solothurn in Switzerlaud,
to treat
th
e theme worthily, with a ll
th
e
sk
ill at his command, in
it
s nat uml
position and with tbe two diatessarons proper to and born with the body of thc •
melody. In truth, we imagine this me lody to be sorne splendid bird, whosco
bocly is the diapente
re--:ta
and whose
tvm
wings are the d.iatessarons
mi- l
a. Ji1
sew to this bocly wings o
th
er than those with which it was born would be fool
ish, surely, unless
li
ke Aesop s crow
it
was to fly with strange plumage . We hnw
20. The Glorias
of
both Josquir 's and Bnrmel's masses De bea a virgine paraphrase Gloria lX, lm
thc Ylass
orr
the Feast of the Blessed Virgin
M<
ny ;
fo
r the chant see Gradual saorosam•m
mmanae ecclesiae, p. 30•.
21. This is Johannes Wannenlllacher, Swiss choinnasler and
wm
poser.
22. 2.33
2.3.
The G regorian Kyrie "Curn jubilo"
C rad11al
.
. .
rom
an
ae
ec
cles
ia
e, p. 29•).
Dod
ec
achordon
435
prevailed upon him
and
,
in
aJI n c l l toward me ancl readiness to further
liberal stuclies, he has se
nt
us what we wanted; of this we now desire to make
lh e reader a sharer.
vVe
do
not at all hes.itate to insert this composition arnong
those o
f
Josq uin, su
ch
praise has been given to it; opinion of
that
learned man, Mas ter John Alus, canon
of
the
same
catheclral and preacher
of
thc Divine Word, who thinks that it woulcl be no srnaH orn
amen
t to
th
e more
scrious studies, such as theology and sacred letters, if to these
were
addecl a
knowledge
of
languages ancl of the mat hematical d isciplines, and thal among
thcse last it would most befit a
pr
i
est
of I-Io ly
Ch
urch i
f
he knew music.
No
r
was the man mistaken in his
op
inion , for he had become verscd
in
musical
knowle
dg
e. We had his support in this work
when
he lived with us at
Fre
ib
ur
g
ullhe f
oot
of the Black Forest
and
often refreshed us, now p laying t
it
e orgun,
now joining to this
the
singing
of
th ings by Josquin. And so, since he has given
th
c highest praise to this composition of our Gregor, he has easily won our
npproval
and
has been responsible for its coming into men's hands
as
worthy
of
lhe cars
of
the lcarned.
Of the sixth combination , that of
Il
yperaeolian and
Il
ype
rp
hrygian,
we
l1ave
d
c•
libe rately omittecl an exarnple, fo r nonc is
to
be touncl
anyv1
he re and
it
wo
ul
d
I
H
l
ooli
sh to invcnt one,
espec
ia
ll
y with
so
greut a choice of modes; the ten
or
,
loo, would have an outrageous ambi lus, actually exceeding all
th
e re maining
t'Oillbinations of tbe
mod
es by an apotome. As icle from this ,
in our
previous
hook we have given an inve
ntecl
example, less lor imitation t
han
for illustration,
1hat the matter might be
und
erstood,
no
t so th
at
something
oí
thc sort might
w attemptcd by anyone, a thing we find that no one
ha
s attcmptecl
211
Of th e seventh
ancl
last combination, namely of [onian
and
IIypoionüiJ1, ou r
t•xnmple,
P
lanxit
aut
em David,'' is again by Josqu in Desprez, the author ol the
t•xamples of all the
other combinat
ions except the Rfth. Of its beginni
ng
sorne
wlll tlO Joubt exc
hú1n: T
he tnouutcún labureJ and broughLfortl1a mouse "
1ul they will not have considere cl that, throughout the mo tet, thcrc is pre-
t • t v what be fits the mourn er, who is wout at fi r
st
to cry out frcquen
tl
y, then
lo llltmnur to himsclf, turning little by little to sor rowful cornplain ts , thereupon
subside or sometimos, when passion breaks out anew, to raise his vo ice aga:in ,
u l i n g out a
c1y.
All these th ings we
see
rnost beaut ifully observed in Lhis
111
111position, as wi
ll
be
ev
iclent to the a
tt
entive r
ea
der.
Nor
is
th
ere in it any-
tliing unworthy
or
its author; by the gods, he
ha
s eveJywh
cre
ex
pr
cssed the
JIISsion
in a wonder[u l way, thus, at
tl1
c ve•y begiuning of the tenor, at the
worcl "Jonathan ."
1
1 Se•
<
2.3
4.