A Performer's Guide to Renaissance Music by Jeffery Kite-Powell PDF
By Jeffery Kite-Powell
Revised and extended because it first seemed in 1991, the advisor beneficial properties new chapters on ornamentation and practice session concepts, in addition to up-to-date reference fabrics, net assets, and different new fabric made to be had in basic terms within the final decade.
The advisor is constituted of centred chapters on functionality perform concerns corresponding to vocal and choral track; a number of kinds of ensembles; profiles of particular tools; instrumentation; functionality perform concerns; concept; dance; neighborhood profiles of Renaissance track; and guidance for administrators. The layout addresses the widest attainable viewers for early tune, together with novice performers, musicologists, theorists, and educators.
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Extra resources for A Performer's Guide to Renaissance Music
An important consideration, too, is the quality of the transposition for the accompanying instruments. The tessitura of the piece should also help to determine the key: no instrumentalist wants to play an entire piece at either extreme of the instrument’s range, and the piece would sound odd that way (unless one was seeking a special effect, such as low strings in a mournful piece). Another concern when transposing a piece of music by one octave for another voice range is inversion—a problem when any of the lines go lower than the bass.
Until the singer has been exposed to a sufﬁcient volume of material to develop an instinctive sense, he or she needs rules and guidelines to follow. The best places to ﬁnd these are in treatises and tutors such as Dalla Casa’s Il Vero modo di diminuir (1584) or Bassano’s Ricercate, passaggi, et cadentie (1598), and in written-out examples in other compositions. For instance, one can take a decorated piece and by careful examination “decompose” it to its basic melodic elements, thus ﬁnding ornamental patterns that can be applied in similar places in a similar piece.
Phrasing and Editions In music before Willaert, phrasing often tends to be a subjective decision on the part of the director. My own experience has been that for ﬁfteenthcentury music, especially, ﬁve self-discovered rules of thumb go a long way in helping a vocal ensemble know how to make sense of the many passages where there are few syllables to go with many notes. Rule one is always to lighten, or lift, on the dot of dotted notes; this helps the following smaller notes, or following syncopated note, to be sung audibly yet lightly.
A Performer's Guide to Renaissance Music by Jeffery Kite-Powell