history i renaissance better wayyy · luys de narvÁez (ca. 1500-1555) cancion del imperador du...

History

I. Renaissance The Vocal Influence

!1

History Renaissance

1. What pieces from the Renaissance period have you played before?

- Please be specific if possible about edition, who transcribed it, etc.

2. What recordings of Renaissance pieces have you listened to?

- Please give specific details about recording artist and provide a link to the recording if possible.

3. What overall details of the Renaissance period are you aware of?

- Are there any major historical details of the period that stand out to you? Are you aware of any of the artwork, science, history, etc. of the period?

4. What performance conventions are you aware of concerning this style of music?

- Is there information relating to dynamics, tempo, tone color, etc. that you’ve learned about this style? If so, where did it come from?

!2

Renaissance Period 1400-1600

There are many gorgeous guitar pieces that were composed in the Renaissance period. But where did they come from and what inspired their creation?

Music from this period was composed so long ago that it’s easy to feel disconnected to the style.

The aim of this is to get you acquainted with the basic principles of the Renaissance musical style, so that you aren’t left in the dark should you ever wish to play or teach someone who plays music from this period.

This will be done through the lens of well-known pieces, discovering their context and hearing an “authentic” rendition of them by listening to the instruments of the era - the modern classical guitar was not yet invented!

Borrowing: As you’ll see, borrowing was a very important part of Renaissance music. Composers borrowed from each other a lot and it’s very useful to know what the source of inspiration was. This was especially the case for vocal music.

Instrumental music was heavily influenced by vocal music, and composers often ‘intabulated’ (arranged) vocal pieces or borrowed material directly from them. Music for plucked instruments was notated via tablature, hence the name intabulation.

Emotion: There is often a misconception that Renaissance music is not emotional and played with little variety of dynamics, phrasing, articulation, etc. This is completely wrong and can be proved by simply looking at the texts that composers were using for vocal music. The texts were full of emotion, contrast and life - instrumental pieces were very often inspired by that.

Variations Variation was a significant procedure and included the use of a repeating bass line called a ‘ground bass’. The popular piece ‘Greensleeves’, which was composed in this period, uses such a ground bass.

The most important guitar-related composers were: Spain: Luis de Narvaez and Alonso Mudarra Italy: Luis de Milan England: John Dowland

!3

Cancion del Emperador by Luys de Narvaez (ca. 1500-1555) - This gorgeous piece borrows a melody from Josquin’s chanson (secular song) ‘Mille Regretz’ (1000 regrets). - Can you find the melody in Narvaez’s adaption?

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Edited by Nancho Alvarez http://tomasluisdevictoria.org

Original “Mille Regretz” chanson: click here to listen

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-1-www.delcamp.net

Luys de NARVÁEZ (ca. 1500-1555)

CANCION DEL IMPERADOR du troisième livre de "Los seys libros del Delphin de música de cifra para tañer vihuela" (Valladolid, 1538)

Adaptation pour guitare de Jean-François Delcamp Narvaez’s adaptation: click here to listen

Download Full Score: click here

http://www.danielnistico.net/uploads/3/9/9/1/39910899/luys_de_narvaez_cancion_del_imperador.pdf

https://youtu.be/dyg-iRFsZV4

https://youtu.be/3GBwbt6hK6c

https://youtu.be/3GBwbt6hK6c

http://www.danielnistico.net/uploads/3/9/9/1/39910899/luys_de_narvaez_cancion_del_imperador.pdf

https://youtu.be/dyg-iRFsZV4

!4

Why is this information important for you to know?

Takeaway: Words are very powerful for creating emotion in our playing. Say this text out loud before playing or listening to Narvaez’s adaptation and it will surely affect how you perceive the music. Say this text to your students and them get them to play the piece. That will completely transform how the student interprets the piece overall.

Balance of the parts: An important feature of the Chanson is that the top voice often contained the melody. This signified a shift in polyphonic vocal music, as previously it was the bass voice that carried melodies.

Text Painting: Knowing the text and title of the original source will influence your interpretation. Here is the translated text (from French to English)

A thousand regrets at deserting you and leaving behind your loving face, I feel so much sadness and such painful distress, that it seems to me my days will soon dwindle away.

Takeaway: Balance. This is an underestimated aspect of guitar playing. The borrowed melody in the top voice of Narvaez’s adaptation must be brought out clearly. One method for working on this is to sing the melody and play the other voices.

Takeaway: It’s very useful to practice each voice individually so that you’re aware of the conversation that occurs between the different lines. You should strive to shape each line as though you were singing it, rising and falling according to the melody’s contour. This method can serve you well when teaching this piece, as it provides a lot of materials and ideas to focus on in depth, making you stand out as a teacher.

Practice the voices: A chanson (song) contained a set number of voices that were independent lines. ‘Cancion del Emperador’ also contains a set number of voices that function independently. How many voices are there in Narvaez’s adaptation?

!5

Task 1

- Identify the Mille Regretz melody in Narvaez’s adaptation. Circle it in

the score (on pg. 2) and share it.

- Practice the voices individually. What does this process reveal to you?

Record your work.

- Briefly discuss how knowing the original version and text inform your

interpretation?

!6

Lachrimae Pavan by John Dowland (1563-1626) - Dowland was a lutenist who wrote many works for solo lute and for voice with lute accompaniment. - Many of his lute pieces were reworked as songs for lute and voice (or vice versa) - This piece was reworked for voice and lute, called “Flow my Tears” - A Pavan is a dance in slow duple time with an accent on the 3rd beat. The form is A A’ B B’ C C’ (basically written out

variations of each section)

Copyright © staffordgitar 2013

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Flow my tearsLachrimae

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arr. Ming-Jui Liu (2015)

- 1 -

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*The original key is in A Minor. G Minor is good for Baritone (Capo I).**Capo III (or II) for the original key.

( )

Download Full Score: click here

Listen to solo lute version: click here

Listen to song version: click here

https://youtu.be/Y9HKl8H0PWg

https://youtu.be/Z7mOevjEK7I

https://youtu.be/Y9HKl8H0PWg

https://youtu.be/Z7mOevjEK7I

http://www.danielnistico.net/uploads/3/9/9/1/39910899/lachrimaepavan.pdf

http://www.danielnistico.net/uploads/3/9/9/1/39910899/lachrimaepavan.pdf

!7

Why is this information important for you to know? Divisions: Studying the variations of each section reveals a distinct type of lute ornamentation • Extra notes added at the repeating section, in the form of runs that replace long notes or extend passages. • These notes are individually articulated (no slurs) very lightly with the thumb and index fingers. • This kind of ornamentation and light manner of playing them persists in guitar music until this day.


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Vocal playing: The voice and lute arrangement shows just how important singing is. Sing the melody as beautifully as you can, shaping and phrasing it. Immediately after you sing, play the passage on the guitar and see how it transforms your interpretation. Again, knowing the text will play a key role in shaping your interpretation. Feel free to use the text below as you sing:

Flow, my tears, fall from your springs!Exiled for ever, let me mourn;Where night's black bird her sad infamy sings,There let me live forlorn.

Down vain lights, shine you no more!No nights are dark enough for thoseThat in despair their last fortunes deplore.Light doth but shame disclose.

Never may my woes be relieved,Since pity is fled;And tears and sighs and groans my weary days, my weary daysOf all joys have deprived.

From the highest spire of contentmentMy fortune is thrown;And fear and grief and pain for my deserts, for my desertsAre my hopes, since hope is gone.

Hark! you shadows that in darkness dwell,Learn to contemn lightHappy, happy they that in hellFeel not the world's despite.

!8

Task 2

- Listen through Lachrimae Pavan. Identify and describe each variation

(brief written reflection).

- Practice the divisions as indicated. Record your work.

- Practice the melody on its own and treat it like a vocalist would

sing it. Record your work.

!9

Guardame las Vacas: Variations and Grounds

- Variation forms were common in Renaissance instrumental music. - The method of choice was to use a repeating bass line and/or chord progression called a ground bass - These often have names like ‘Romanesca’ and ‘Passamezzo antico’ - The Spanish tune “Guardame las vacas’ uses a Romanesca bass line. Narvaez wrote variations on this tune, which is

credited as being one of the earliest examples of a notated theme and variations piece. - Greensleeves uses modified versions of both a Passamezzo antico and Romanesca, which are very similar to one

another.

Am C Am E

C G Am E Am

C G Am E

C G Am E Am

Passamezzo Antico Romanesca

1

GreensleavesTraditional

88

1616

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Mutopia-2001/09/13-109This music is part of the Mutopia project, http://www.mutopiaproject.org/It has been typeset and placed in the public domain by Aaron Fontaine.Unrestricted modification and redistribution is permitted and encouraged—copy this music and share it!

Greensleeves

Am C G Am F E

Am C G Am E Am

I: Modified Pazzamezzo Antico

2: Modified Romanesca C G Am E

C G Am E Am

F

!10

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Luys de NARVÁEZ : DIFERENCIAS SOBRE GUARDAME LAS VACAS-1-

www.delcamp.net

Luys de NARVÁEZ (ca. 1500-1555)

DIFERENCIAS SOBRE GUARDAME LAS VACAS "Los seys libros del Delphin de música de cifra para tañer vihuela" (Valladolid, 1538)

Adaptation pour guitare de Jean-François Delcamp

Diferencias (Variations) on Guardame las VacasBy Luis de Narvaez

Romanesca C GAm

E C G

Am E AmVariation 1

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Tercera diferencia

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Luys de NARVÁEZ : DIFERENCIAS SOBRE GUARDAME LAS VACAS-2-

www.delcamp.net

Variation 2

Variation 3

!12

Why is this information important for you to know?

Grounds are common: Many other Renaissance pieces use grounds, so it will serve you well to have some knowledge of them. It’s very useful to play the underlying ground to get a feel of it. Get your student to play the ground while you play the melody and variations.

One of the most popular forms of ground bass was the ‘Folia’, which persisted until the time of Ponce! Here are composers who wrote variations on La Folia through time: • Gaspar Sanz • Mauro Giuliani • Fernando Sor • Daniel Fossa • Manuel Ponce

Chords: Knowing the underlying chord progression is important for how you shape and interpret the piece. Since the bass line repeats itself and creates a unifying element, it’s important to bring out the bass line and make it clear to the listener.

Theme and Variations: Many popular Renaissance pieces tend to use this kind of “theme and variations” form and avoid the “standard” forms like binary, ternary, etc. Knowing this helps you analyze and better comprehend Renaissance pieces. A simple way to work on a piece like this is to break down each variation and describe what is happening (melody, rhythm, texture, overall character of the variation, etc.). How would you describe each variation of Guardame las Vacas?

Listen to solo lute version: click here

Listen to solo lute version that combines Greensleeves and Guardame las Vacas: click here

https://youtu.be/ei--6IiRaSI

https://youtu.be/XFis7egw138

https://youtu.be/XFis7egw138

https://youtu.be/ei--6IiRaSI

!13

Task 3

- Identify and describe each variation in Guardame las Vacas

- Strum the chord progression behind the piece. Record your work.

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