Music 1649A/B Lecture Notes - Phrygian Mode, Keyboard Instrument, Josquin Des Prez

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6 Feb 2013

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September 20 Readings/Class Notes – Theory
Second-Species Counterpoint
Possibility of dissonance on weak beats – must be on the weak parts, and
must be passing – approached by step eg. 3-4, 6-7
Octave between two parts is ideal, a 10th maximum if needed
Passing tones on strong beats and neighbouring tones not permitted
Know how to do error detection.
Perfect 5th, Major 6th, 8va to end it.
Phrygian mode – Josquin de Prez
Baroque Period
Beginning of opera
New texture – melody on top, beneath is a basso continuo that provides
support – keyboard instrument, lute – may just be a bass line. The middle
part may not be specifically – may be suggested with numbers under the
basso continuo – instruct the performer as to what chords to provide above
the basso continuo
Agostina Agazzari (1578-1640)
beginning of the 17th century
Basso continuo - Writes about this new style “Of Playing Upon a Bass With
All Instruments” (1607)
supportive of this new way - “A bass, with its signs for the harmonies, is
enough. But if someone were to tell me that, playing the old works, full of
fugues and counterpoints, a Bass is not enough, my answer is that vocal
works of this kind are no longer in use.”
Adriano Banchieri (1568-1634)
Dismissive of the new idea of basso continuous
“We shall soon have two classes of players: organists, that is to say, such as
practice and good playing from score and improvisation, and, on the other
hand, bassists, who, overcome by sheer laziness, are content with simply
playing the bass” “Conclusioni del suono del l'organo” (1609)
Le nuove musiche (1601)
Monody – solo song with simple chordal accompaniment
supporters thought it could explore and express in a different way than
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