Approaches to accompaniment on the baroque guitar c.1590-c.1730

402 Pages·2014·25.3 MB·English

by  Natasha Frances Miles

APPROACHES TO ACCOMPANIMENT ON THE BAROQUE GUITAR c.1590-c.1730

by
NATASHA FRANCES MILES

A thesis submitted to the University of Birmingham
for the degree of DOCTOR OF PHILOSOPHY

Department of Music
College of Arts and Law
The University of Bimingham
October 2013
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ABSTRACT

The five-course guitar was used as an instrument of accompaniment from the mid-sixteenth to
the late-eighteenth century, yet its importance in this role has largely been overlooked in scholarship to
date. While there are some isolated studies of individual sources, this is the first comprehensive study
of the substantial body of extant guidelines with a view to understanding the styles of accompaniment
on the instrument and how their practices developed during this period. This thesis documents the
chronological development of the performance practices in such a way that parallels may be drawn
between these sources and treatises for other instruments of accompaniment. Guitar accompaniments
were, however, also strongly influenced by the performance practices associated with alfabeto chord
symbols. Thus, to enable an understanding of the more idiomatic characteristics of guitar
accompaniment stemming from alfabeto practices, a detailed evaluation of the true sophistication of
the language of alfabeto is provided for the first time. This study provides a complete re-evaluation of
the five-course guitar as an instrument of accompaniment; it challenges the past relegation of the
instrument to ‘light’ or ‘frivolous’ musical repertoires; and it highlights the various approaches that were
adopted in diverse performance contexts.

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In loving memory of Shirley Miles

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ACKNOWLEDGEMENTS

This research has been funded by a Block Grant Partnership Award from the Arts and
Humanities Research Council, without which it would not have been possible. Thanks must go to the
many library staff who made source materials available to me: in particular I am grateful to Cristina
Targa at the Museo internazionale e Biblioteca della Musica di Bologna, Phillipa Grimstone at the
Samuel Pepys Library, Magdalene College Cambridge, and Anne Burns, Librarian for the Lute Society of
America. Mention should also be made of the courteous staff at the Biblioteca Nazionale Centrale and
the Biblioteca Riccardiana in Florence; the Bibliothèque Nationale de France in Paris; The British Library;
The Barber Music Library, Main Library and Special Collections at the University of Birmingham; and the
Special Collection at the University of Glasgow.
I am indebted to my supervisor, Dr Mary O’Neill, for her tireless support and helpful advice
throughout. Thanks also to Jon and Elizabeth Miles, Peter and Margaret Harrison, John and Mhairi Moir,
Paul and Rosemary Kaufman, Sue Johnson, Keith Benson and David Bridge for their collective support
and encouragement. Special mention should also be made of Tim Moon, my school music teacher, who
was the first to introduce me to early music and whose passion for the music of the Baroque inspired
me to study it further at university.

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CONTENTS
List of Examples………………………………………………………………………………………………………………………………………..i
List of Tables………………………………………………………………………..………………………………………………………………….x
Glossary…………………………………………………………………………………………………………………………………………….……xi
Transcription Policy……………………………………………………………………………………………………………………………….xiii
Baroque Guitar Tunings………………………………………………………………………………………………………………………….xv
List of Abbreviations……………………………………………………………………………………………………………………………..xvi
Introduction…………………………………………………………………………………………………………………………………………….1
Chapter 1: The Evolution of Chordal Guitar Notations up to c.1639……………………………..……………………….18
Early Verbal Chord Designations……………………………………………………………………………………………….18
Castilian Cifras………………………………………………………………………………………………………………………….20
Catalan Cifras……………………………………………………………………………………………………………………………24
Alfabeto……………………………………………………………………………………………………………………………………26
Chord Charts…………………………………………………………………………………………………………………………….31
Transposable Chord Shapes………………………………………………………………………………………………………45
Less Stable Chord Symbols………………………………………………………………………………………………………..47
Charts of Equivalent Harmonies………………………………………………………………………………………………..52
The 1620s: Printed Sources……………………………………………………………………………………………………………..54
Dissonant Chord Symbols………………………………………………………………………………………………………….54
The Incorporation of Melody…………………………………………………………………………………………………….60
Tagliate Chords…………………………………………………………………………………………………………………………62
Manuscript Sources…………………………………………………………………………………………………………………………68
Francesco Palumbi…………………………………………………………………………………………………………………….69
Tagliate Chords…………………………………………………………………………………………………………………………70
The 1630s………………………………………………………………………………………………………………………………….......78
Lettere False……………………………………………………………………………………………………………………………..78
Alfabeto Dissonante…………………………………………………………………………………………………………………82
Alfabeto Falso…………………………………………………………………………………………………………………………..92
Chapter 2: Guitar Accompaniment Before 1640…....…..……………………………………………………………………….103
Early Continuo Guidelines……………………………………………………………………………………………………….103
Scale Harmonisations in Alfabeto Notation…………………………………………………………………………….105
The Unsuitability of Alfabeto…………………………………………………………………………………………………..111
The Difficulties of Printing Alfabeto…………………………………………………………………………………………115
The Popular Repertoire…………………………………………………………………………………………………………..120
The Use of Dissonance in Strummed Accompaniment……………………………………………………………130
Ritornelli………………………………………………………………………………………………………………………………………..136
Chapter 3: The 1640s: Accompaniment in the ‘Mixed’ Style……….……………………………………………………….145
Exclusively Strummed Accompaniment………………………………………………………………………………………...148
Scale Harmonisations………………………………………………………………………………………………………………148
Triads and Inversions………………………………………………………………………………………………………………150
The Perfect Cadence……………………………………………………………………………………………………………….152
Guidelines for the Right Hand…………………………………………………………………………………………………155
‘Mixed’ Accompaniment……………………………………………………………………………………………………………….157
Triads and Inversions………………………………………………………………………………………………………………157
Plucked Perfect Cadences……………………………………………………………………………………………………….159
The Tenorising and Phrygian Cadence…………………………………………………………………………………….164
The Imperfect and Plagal Cadence………………………………………………………………………………………….169
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Descending Bass Lines…………………………………………………………………………………………………………….170
Remaining Continuo Figures……………………………………………………………………………………………………171
Guidelines for the Right Hand…………………………………………………………………………………………………172
Velasco (1640)……………………………………………………………………………………………………………………………….176
Chapter 4: The 1650s: Instrumental Accompaniment………………………………………………………………………….190
Marini (1655)…………………………………………………………………………………………………………………………………193
Banfi (1653)…………………………………………………………………………………………………………………………………..199
Granata (1659)………………………………………………………………………………………………………………………………199
Scales………………………………………………………………………………………………………………………………………200
Imperfect Cadences………………………………………………………………………………………………………………..205
Perfect Cadences…………………………………………………………………………………………………………………….206
Divisions………………………………………………………………………………………………………………………………………..209
Sonata for Violin, Guitar and Basso Continuo………………………………………………………………………………..217
Chapter 5: The 1670s: Continuo Playing Outside Italy………….……………………………………………………………..225
Carré (1671)………………………………………………………………………………………………………………………………….227
Corbetta’s Song Accompaniments………………………………………………………………………………………………..232
Texture……………………………………………………………………………………………………………………………………232
Dissonance………………………………………………………………………………………………………………………………233
Song Transcriptions…………………………………………………………………………………………………………………236
Sanz (1674)……………………………………………………………………………………………………………………………………254
Scales………………………………………………………………………………………………………………………………………260
The Perfect Cadence……………………………………………………………………………………………………………….262
The Tenorising Cadence………………………………………………………………………………………………………….263
The Treble Cadence………………………………………………………………………………………………………………..264
Which Notes are Not Accompanied……………..……………………………………………….………………………..265
When the Bass Moves by leap………………………………………………………………………………………………..265
A Bass that Rises a 5th or Falls a 4th…………………………………..……………………………………………………..266
Syncopated Basses Moving by Degrees………………………………………………………………………………….267
Chromatic Basses……………………………………………………………………………………………………………………267
Sample Bass……………………………………………………………………………………………………………………………268
Chapter 6: English and French Sources from the 1680s……………………………………………………………………….273
4-3 Cadences………………………………………………………………………………………………………………………….275
Cadential 6/4 Chords………………………………………………………………………………………………………………278
7-6 Cadences………………………………………………………………………………………………………………………….279
Leading-Note Cadences………………………………………………………………………………………………………….281
V7-I Cadences…………………………………………………………………………………………………………………………284
IV-V-I Cadences……………………………………………………………………………………………………………………..285
Le Cadenze Finali….……………………………………………………………………………………………..….……………..287
Syncopated Basses Moving by Degrees…………….……………………………………………………………………289
Tonal Coherence…………………………………………………………………………………………………………………….293
Non-Cadential Dissonance……………………………………………………………………………………………………..295
Chromatic Basses……………………………………………………………………………………………………………………296
Short Note Value Basses…………………………………………………………………………………………………………298
Sample Accompaniments……………………………………………………………………………………………………….300
Recueil de chansons en tablature et musique……………………………………………………………………………….304
Strummed Accompaniments…………………………………………………………………………………………………..305
Plucked Chords…………………………..…………………………………………………………………………………………..306
Mixed Accompaniments…………..…………………………………………………………………………………………….307
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Preludes……………………………………………………………………………………………………………………….……………….313
Chapter 7: The 1690s: The Guitar in England and the Low Countries……………………………..…………………..317
GB – Cmc Ms. 2591………………………………………………………………………………………….…………………………...318
Nunc dimittis……………………………………………………………..…………………………………………………………..319
Sole Monarch of the World…………………………………………………………………………………………………….322
GB – Lbl Harley Ms. 1270…………………..…………….…………………………………………………………………………..328
Nicolas Derosier…………………………………………………………………………………………………………………………….331
Chapter 8: The Eighteenth Century……………………………………………………………………………………………………..340
Murcia (1714)………………………………………………………………………………………………………………………………..346
Cadences…………………………………………………………………………………………………………………………………346
Common Bass Progressions…………………………………………………………………………………………………….350
Bassetti…………………………….…………………………………………………………………………………………………………..353
Sample Basses……………………………………………………………………………………………………………………………….355
Campion (1716/1730)……………………………………………………………………………………………………………………359
Practical Guidance for Guitarists……………………………………………………………………………………………..364
The Late Eighteenth Century…………………………………………………………………………………………………………370
Conclusion…………………………………………………………………………………………………………………………………………..374
Bibliography………………………………………………………………………………………………………………………………………..379

VOLUME 2
List of Figures……………………………………………………………………………………….………………………………………………i
Introduction……………………………………………………………………………………….………………………………………………..1
Appendix 1…………………………………………………………………………………………………………………………………………..3
Alfabeto…………………………………………………………………………………………………………………………………………3
Castilian Cifras……………………………………………………………………………………………………………………………….91
Catalan Cifras…………………………………………………………………………………………………………………………………94
Appendix 2…………………………………………………………………………………………………………………….…………………….102
Nicoláo Doizi de Velasco’s Chord Chart…………………………………………………………………….…………………..102
Velasco’s Circles of Chords…………………………………………………………………………………………………………….110
Appendix 3…………………………………………………………………………………………………………………………………………..113
Henri Grenerin’s Continuo Guidelines…………………………………………………………………………………………..113
Appendix 4…………………………………………………………………………………………………………………………………………..121
Cesare Morelli’s Continuo Guidelines……………………………………………………………………………………………121
Appendix 5…………………………………………………………………………………………………………………………………………..127
Continuo Guidelines Found in GB-Lbl Harley Ms. 1270………………………………………………………………...127

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LIST OF EXAMPLES
Example 1:1 Ruiz de Ribayaz’s Dissonant Chords………………………………………………………………………………………………………..…………23
Example 1:2 Carbonchi’s Sarabanda Spagnola (1640) p. 6…………………………………………………………………………………………………….23
Example 1:3 Catalan Cifras……………………………………………………………………………………………………………………………………………………25
Example 1:4 Variation across Seventeenth- and Eighteenth-Century Alfabeto Chord Charts…………………………….…………….…….32
Example 1:5 a) Chord Q, b) Chord Q Transposed to 5th position…………………………………………………………………………………………….46
Example 1:6 Demonstration of How Transposing Chords can Replace Certain Alfabeto Symbols……………………………………..……47
Example 1:7 (1) The Two Uses of Chord S, (2) S Replacing Con, (3) E Replacing Con………………………………………………………….……48
Example 1:8 Colonna’s Use of Chord *…………………………………………………………………………………………………….………………………......57
Example 1:9 Briceño’s ‘Caravanda llamada del oratorio’ with dissonant chord …………………………………………………………….…..58
Example 1:10 Marini’s New Alfabeto Chords…………………………………………………………………………………………………………………….….59
Example 1:11 a) Chord C, b) Chord C with the Fifth in the Upper Voice, c) Chord H5……………………………………………………………..60
Example 1:12 a) Chords C and H5, b) Desired Passing Note, c) Result in Practice……………………………………………………………..……61
Example 1:13 Extract of a Transcription of ‘Quella bella amor’ from I:Bc Q140 25r and the Corresponding Guitar Arrangement
in Marchetti (1660)……………………………………………………………………………………………………………………………………………………………...61
Example 1:14 Millioni’s Chords B3 and C5…………………………………………………………………………………………………………………………….63
Example 1:15 Millioni’s Tagliate Chords………………………………………………………………………………………………………………………….…..63
Example 1:16 Abatessa’s Tagliate Chords…………………………………………………………………………………………………………………………...64
Example 1:17 The Later Chord Dt………………………………………………………………………………………………………………………………………..65
Example 1:18 Comparison of a Girumetta in D by Millioni (1627) and Pico (1698)……………………………………………………………....66
Example 1:19 (a) Theoretical Cadence in A Featuring Chord Dt…………………………………………………………………………………………...67
Example 1:19 (b) The Use of Dt to Create a Passing Note………………………………………………………………………………………………….…67
Example 1:20 Ricci’s Tagliate Chords (1677)……………………………………………………………………………………………………………………..…68
Example 1:21 Palumbi's Tagliate Chords…………………………………………………………………………………………………………………………..….71
Example 1:22 A Passacaglia from I-Fr Ms. 2804 fol. 33r…………………………………………………………………………………………..………..….72
Example 1:23 Anon, ‘Parole Tagliate’ in F-Pn Res Vmc, MS 59................................................................................................74
Example 1:24 ‘Ciaccona’ in I-Fn Fondo Landau-Finaly Ms. 175 (c.1610-20), fol. 16r.................................................................75
Example 1:25 ‘Passacaglia’ in I-Fn Ms. Fondo Landau-Finaly Ms. 175 (c.1610-20) fol.17v ........................................................76
Example 1:26 ‘Ciaccona’ I-Fr Ms. 2849 fol. 135r…………………………………………………………………………………………………………………….76
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Example 1:27 ‘Passacaglia smenuita’ [sic] [sminuita] I-Fr Ms. 2951 fol. 20v...........................................................................76
Example 1:28 ‘Ciacone smenuita’ [sic] [ciaccone sminuite] I-Fr Ms 2951 fol. 10v……………………………………………………………..…77
Example 1:29 ‘Ciaconna’ I-Fr Ms. 2849 fol. 133r……………………………………………………………………………………………………………….…77
Example 1:30 Theoretical Tagliate Chart Applicable up to c.1630……………………………………………………………………………………….77
Example 1:31 Millioni’s ‘Lettere False’ (1636)………………………………………………………………………………………………………………….….79
Example 1:32 Millioni’s Chord +f………………………………………………………………………………………………………………………………….……..79
Example 1:33 Millioni’s Chord Ff………………………………………………………………………………………………………………………………………....80
Example 1:34 ‘Ciaccone con Mutanze’ (1636)……………………………………………………………………………………………………………………...81
Example 1:35 Millioni and Monte’s Alfabeto Straordinario (Transcribed from the 1647 Edition)………………………………..…..…..82
Example 1:36 Foscarini’s Alfabeto Dissonante…………………………………………………………………………………………………………….…......83
Example 1:37 Notations of Chord B9 in (1) 1629 and (2) c.1632…………………………………………………………………………………………..84
Example 1:38 An Alternative Interpretation of Foscarini’s Alfabeto Dissonante………………………………………………………………....84
Example 1:39 Bartolotti’s Use of P+ as an Appoggiatura (in the Penultimate Bar), p. 6……………………………………………………....86
Example 1:40 Excerpt from Foscarini’s Bal[l]etto detto il Bizaro (1640) p. 64.........................................................................87
Example 1:41 Foscarini’s Chord E+ in the Toccatta Musicalle [sic] [toccata musicale] detta la fedelle (1640) p.31.................87
Example 1:42 Foscarini’s Chord E+ in the Capriccio sopra il pasacaglio (1640) p. 35...............................................................88
Example 1:43 Foscarini’s Chord G+ in the Pass ’e mezzo, passeggiato (1640) p. 33.................................................................88
Example 1:44 Foscarini’s Chord G+ in the 2.da parte del passacaglio variato sopra l’D (1640) p. 86.......................................88
Example 1:45 Foscarini’s Chord P+ in the Capriccio della ciacona sul G (1640) p. 59..............................................................89
Example 1:46 Foscarini’s Chord P+ in the Corrente (1640) p. 61…………………………………………………………………………………..……..89
Example 1:47 Foscarini’s Chord F+ in the Fulia con parti variate (1640) p. 34…………………………………………………………………….90
Example 1:48 Alternative Transcription of Foscarini’s Alfabeto Dissonante…………………………………………………………………….…90
Example 1:49 Foscarini’s Chord B+ and Chord C+ (Marked with an *) in the Corrente (1640) p. 43…………………………………….91
Example 1:50 Foscarini’s Chord H+ (Marked with an *) and chord I+ in the Corrente la Granosa (1640) p. 37…………………….91
Example 1:51 Foscarini’s Chord M+ (Marked with an *) in the Corrente (1640) p.27…………………………………………………………..91
Example 1:52 Foscarini’s Chord D+ (Marked with an *) which Creates an Accented Passing Note in the Capriccio sopra la
ciacona (1640) p. 66……………………………………………………………………………………………………………………………………………………………92
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