1

ThomasdeSanctaMaria

LibroLlamadoArtedeTañer

(1565)

Chapters13-19

TranslatedbySionM.Honea

2

Introduction

ThomasdeSanctaMaria’s(orTomásdeSantaMaria)Artedetañerfantasiaisaparticularlyrelevantadditiontothisanthologyofimportantexcerptsrelatedtoperformancepractice.Chapters13through19ofPart1,thosetranslatedhere,representsourcesfortwomajortechniquesinhistoricalperformance.InregardtothefirstitcouldnotbebettersaidthanbytheauthorsofthearticleonSantaMariainGrove:

“Chapters13to19constitutetheearliestdetailedtreatmentofkeyboardtechnique,includinghandposition,touch,articulation,fingering(asurprisinglyprogressiveapproachusingallfivefingers),thetwoornaments,redobleandquiebro,andtheuseof‘pointed’,ordottedstyle.”

ThereaderofthepassagemayeasilypassoverthesecondreasonforSanctaMaria’sinclusionhere,whichtheauthorscall“theuseofthe‘pointed’ordottedstyle.”SanctaMariapresentsthesecondearliestdescriptionofthetechniqueknownasnotesinégales,anditisaveryinterestingdescription,givingthreedifferentmannersofexecutionforwhatisusuallypresentedinmoderntextsassimplifiedtotheone“swing”rhythm.

TheauthorsoftheGrovearticlealsopointoutaratheramazingqualityofSanctaMaria’stext,aqualityquiterareatthistime.Hisproseisalmostexclusivelymeticulouslyintelligibleatatimewhennovernacularhadyetdevelopedasignificantabilityfor“self-reflection”onitsownpotentialclarity.Itisfarmorecommontofindauthors’explanationsassuminginthereaderanunderstandingofthephenomenonexplainedinordertounderstandtheexplanation!Speakingasoneunfamiliarwithmorethanundergraduatekeyboardtechnique—andthatdecadesago—IcannotentirelyagreewiththeGroveauthors’slightlytaintedpraiseofSanctaMaria,“[His]textisfilledwithpedanticrepetitionandelaborationontheobvious–doubtlesstheproductofascholasticeducation–buttheworkismasterfulforitsclarityandsystematicorganizationandseemswhollyoriginal.”Afterlaboringthroughsomanyinarticulateandincomprehensiblepassagesinthecourseofproducingthetranslationsinthisseries,IfoundSanctaMaria’scompulsivenessrefreshing.IbelievethatevenIcouldfollowhisinstructionsinpractice.Ido,however,admitthedangerforatranslatorthatliesinthetext,itssheerrepetitivenesseasilycausesatendencyto“glazeover”andlosetrackofwhichhandsandwhichfingersthistime,or“didn’tIalreadytranslatethat?”

Ishouldalertthereaderatthistimetothefactthatthereareactuallytwochapters19,whichIhavelabeledaccordingly.Inadditiontochapters13throughboth19’s,Ihaveincludedapartialtranslationofchapterfive,specificallytheportiononthecompas,thetactus.Ifoundthathisdiscussionaidedmyownunderstandingandsoincludeditforthereader.AsafurtheraidtothereaderIhaveidentifiedallthemusicalexamplesinthetextalphabetically,makingitmucheasiertofindthemforconsultation.

InthepreparationofthistranslationIhaveutilizedDenisStevens’facsimileeditionpublishedbyGreggInternational(1972)forthetext.IhavealsooccasionallyconsultedthetranslationbyAlmonteHowellandWarrenHultberg,TheArtofPlayingtheFantasia(LatinAmericanLiteraryReviewPress,

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1991).Asismypractice,though,mytranslationwasproducedentirelyindependently.OnthoseoccasionswhenIcomparedtheHowell/HultbergtexttomyownIalwaysfoundthatthemsatisfactorilysimilar.TheHowell/Hultbergtextis,however,asmootherEnglishtranslationwithoutanylossoffidelity.AgainthisisbecauseIconsciouslychoosetoleavemoreoftheoriginalperceptibleinmyown.

ItisacuriousevidenceofthesmallworldthatIactuallyplayedaminisculeroleintheproductionoftheHowell/HultbergtranslationbyvirtueofthefactthatasthenheadofrarebooksatSibleyMusicLibraryIfacilitatedthelateprofessorHultberginobtainingamicrofilmcopyoftheLibrary’soriginalofSanctaMaria,oneofonlyfourcopiesintheUnitedStatesasreportedinRISM.

Lastbutnotatallleast,IwouldliketothankKangwaMundendewhoinfall2014kindlyproducedformetheentiresetofmusicalexamplesnecessaryforthisexcerpt.UnfortunatelyIwasunabletogetbacktomyrevisionofthetextuntilsummer2016,bywhichtimeIhad—inawayabsolutelymystifyingtome—lostaboutone-thirdoftheexamples.MylaborinhavingtoreproducethemanewrendersmeallthemoregratefulforKangwa’sefforts.Shouldtheexamplesincorporateanyerrors,thereadermaysafelyattributethemtome.

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ThomasdeSanctaMaria,LibrollamadoArtedeTañerfantasia(1565)

BookCalledArtofPlayingFantasia:

AswellforkeyedinstrumentsasforViheulaandeveryinstrument

Onwhichonemayplayinthreeorfourpartsandmore.

PartOne

Chapter5:OnTwoInstructionsforSingingPolyphonyinaBriefTime

[Part1,7r]1Itisadefiniteandestablishedthingthatpolyphonyisasimportantandnecessary

fortheplayer,evenforunderstandingwhatheplays,asforcomposingworksandmakingthemostof

them,withoutwhichitisimpossibleforanyonetobeperfectinthisart,becausejustasforalawyerto

beproficientinhisabilityitisproperandnecessaryforhimtoreadmanylearnedauthorsinorderdaily

toincreaseandknownewthings,sofortheplayeritisimportantandnecessaryinordertobeperfectin

thisabilitythathepracticecomposingpolyphonicworksafter[7v]selectcomposerssothatdailyheis

goingtobeenrichedbyknowingnewandexcellentthingswhenittranspiresthathecomposes

polyphonicworks.Itislikeafountandspringfromwhicharisesandproceedsalltheperfectionsthatit

ispossibletohaveinaconsummateplayer,andbecauseuptillnowforlackoffundamentalsonekeeps

spendingmuchtimeinlearningpolyphony,wewillgiveheretwoverybriefandcompendiousrulesby

meansofwhichinaveryshorttimeandquiteeasilyonecanknowandunderstand[polyphony]

completely,ofwhichthefirstwilltreatofthetactus2andthesecondofthenotesofthepolyphony.

Astothetactus,whichisakindoffoundationforpolyphonybecauseit[polyphony]always

dependsonit[tactus],3itisimportanttonotethatthekeyandregulationofallmusic—singingaswellas

1Thebookisfoliatednotpaginated,sothenumbersrefertotheparticularfolioandr=recto,v=verso.2IhavechosentotranslateSanctaMaria’sterm,compas,asthestandardtermusedatthetime,tactus.SanctaMariaseemsoccasionallytousecompasadditionallyinoneofitsothermeanings,rhythm,beat,measure,pulse,etc.,forwhichreasonitisevenmoredesirabletohaveaspecifictermforthepresentpurpose.3Thetactus,asS.M.willexplain,establishestheregularityofrhythmicmovement,whichisobviouslyvitalforpolyphony.

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playing—isthetactusandthehalf-tactus,4concerningwhichhewhowouldknowhowtomakeuseof

themwellwillobtain5agoodfoundationforsingingandplayingwell,becausethetactusisasureguide

inallmensurablemusic,whichbecauseofitscertaintywesayitisthe“bit”6[i.e.,thecontrollingfactor]

ofmusicbecauseitrestrainsusfromsingingorplayingfoolishlyandwithoutorderbutrather

conformingtoreason,byweightandmeasure,7andbypreceptsandrulesofmusic.Thus,thetactusis

withjusttitlecalledthegovernorbywhichallmusicisarrangedandruled,singingaswellasplaying,

providingitwithallgraceandbeing.Forthisreasonitseemsreasonableandconvenienttotreatthis

subjecthereatthebeginningbeforeenteringupon[thesubjectof]polyphony,forwhichknowledgeit

mustbeunderstoodthatthetactusisthemeasureoftimeadoptedinthechoirwiththeintentionthat

thevoicesjointogetherinconsonanceatthesametime.Orthetactusisthequantityinthedurationof

timethatthereisfromthebeatthatstrikesdowntothenextfollowingdownward[stroke].8Itmustbe

notedthatineachtactusnomorethanonebeatisstruckdown,onwhich[downward]beatthetactus

begins,insuchawaythateachtimethatabeatisstruckdownwardtherebeginsanewtactus.

Thetactuswithwhichallpracticalmusicismeasured,bothforsingingandplaying,wasderived

fromthemeasure(compas)withwhichonemeasuresanddefines9thequantitytowhosesimilaritythe

4Atthistimeasthebasic“beat”ortactushasgraduallyslowedithasbecomecommonforauthorstosubdividethetactusintotwounits,whichalsofacilitatesdiscussionofconducting.Dowland’s(1609)translationofOrnithoparchus’Micrologus,actuallyprovidestheEnglishtermsemitactusforthisrhythmicunit.AftersomedeliberationIhavechosenthesimpleEnglishoverthefullyLatinate.5Conjecturetiendraforterna.6Thepartofthebridleinthehorse’smouth.7Themetaphorisclear,=withprecision.8S.M.herereferstotheconductor’sbeat,inwhicheachdownwardstrokeindicatesthebeginningofatactus.Theusualdescriptionsarethatthetactusisbeatenwithanup-downmotion,thecompletionofwhichtwopartsmakesonecompletetactus.ThisratherconfusingcircumlocutionmaybebecauseS.M.writesatatimewhenthestandardtactusofasemibreveisslowingstillfurthersoastobebeginningtobeperceivedasameasurecomprisingseveralindividualbeats.9Thisisaconjecture,butareasonablysafeoneforiniuelà,frominhibir,inoriginLatininhibere.Thecommonlossofhprovidesconsiderableconfusionwiththeolderorthographicuseofuasv,pronouncedasb,thusyieldinginhibe(thirdpersonsingularpresent).Thelàisthefemininepronoun“it”inreferencetofemininemusica.EarlierSpanish,likeItalian,unliketoday,couldattachtheconjunctivepronountofiniteverbswhenininitialposition.Itcanalsobeobservedinanycircumstanceinwhichtheauthorfelttheverbwasemphaticforsomereason,asisarguablythecasehere.

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tactus(compas)ofthepracticalmusicmeasuresthetimethatisspentinthenotesofpolyphony,andfor

thisreasonpolyphonyiscalledmensuralsong,whichmeanssongthatismeasuredorcanbemeasured

[i.e.,quantified]forwhosemeasurementthetactus(compas)wasinvented,uponwhichallpractical

musicisfounded.10Fromthisitfollowsthatallmusic,bothsungandplayed,issubjectandboundtothe

tactusandnotthetactustomusic,byreasonofbeingruledandgoverned[8r]byit,andofthis

beginnerswhoprofessthisartoughttobeveryaware.11

Thetactusisdividedandsplitintotwoequalparts,itmustbeknown,intotwohalf-tactus,12

whichareitsintegralpartsofwhichitiscomposed,whichdivisionandsplitmakesthebeatthatstrikes

upward,justlikeonedividesacontinuousquantityintotwoequalparts,onedividesandsplitsatapoint

inthemiddle,soalsoinmusicfordividingandsplittingthetactusintotwohalf-tactusonedividesand

splitswithabeatthatstrikesup,sothatthetactusalwaysstrikesdownandthehalf-tactusup.Sothe

half-tactusisthequantityormeasureordurationoftimethatthereisfromthedownwardbeattothe

upward,orfromtheupwardtothedownward.Takenotethatnomoretimeisspentinthedownward

stroketotheupward,whichisthehalf-tactus,thanfromtheupwardtothedownward,whichisthe

otherhalf-tactus,ofwhichdemonstrationismakebymarkingtwopointswithameasureonawallfrom

hightolow,inwhichoneseesclearlythatithasnomorequantityordistancefromthelowpointtothe

highthanfromthehightothelow.

Wehavetwodifferenttypesoftactusinpracticalmusic.Intheonetypethetactus,asIsay,is

dividedandsplitintotwoequalparts,andintheothertypeintothreepartsalsoequal.Thisisthe

10Again,the(extreme?)circumlocutiousnatureofthispassageresultsfromthefactsthat(1)S.M.isbeingcommendablyspecificintryingtoreducemusicalphenomenatoconceptsexpressedbyspecificterms,but(2)hasnogoodchoicebuttousethetermcompasinbothageneralandspecificwayasrhythm/beatandtactusrespectively.Musicterminologystillpossessesmanyoftheseambiguousterms,suchastherelatedEnglish“measure,”andtheambiguousGerman“Takt,”aswellasFrench“clef”andEnglish“key.”11ItseemsrathermorelikelythatS.M.meansonlytocommunicatethatrhythmisnotidiosyncraticallyflexibleratherthanthathereferstothefactthatthetactusitselfisnolongeralwaysinvariableinspeed.InItalyataboutthistimethetactusofcformadrigalswastakenmoreslowlythanthatofCformotets.(Houle,MeterinMusic1600-1800,15-16).12Thepluraloftactŭs,afourthdeclensionnoun,istactūs.Thedistinctionisalmostalwaysclearfromcontext.

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tactusoftheproportionthattheycallbyothernametheternary,inwhichofthethreepartsthatit

contains,twoarespentinthedownwardstrokeandtheotherintheupwardstroke.Thisismadeby

singingtwosemibrevesinthestrokethatstrikesdownwardandoneinthatwhichstrikesupward,or

[thereare]twominimsinthedownwardstrokeandoneintheupwardstroke.13

Fourthingsarerequiredinorderperfectlytocomprehendthetactus.Firstistostrikewiththe

handadownwardstrokeandanotherupward,nottake,asIsay,moretimeinthedownwardstroketo

theupwardthanfromtheupwardtothedownward.Althoughtheupwardbeathasnothingtostrike

on,asdoestheonethatstrikesdown,14evensoallthesameitmustbestruckasifitwerestrikingon

somethings,aswemanytimesseethetactustakensilently15withouttappingthehandeitherdownward

orupward,andallthesametostrikewiththehandasifonetappeddownwardandupward;thesetwo

strokescomposeeachtactus.

Thesecondthingisthatwhenthehandstrikesdownwarditremainsstillallthetimethatthe

half-tactuslastswithoutrisinguntilthatpointthatitwouldhavetostrikeupward,andinthesameway

whenitstrikesupwarditremainsstillallthetimethatthehalf-tactuslastswithoutdroppinguntilthe

pointthatitwouldhavetostrikedownward,andbecauseofthisitisnecessarytoraiseandlowerthe

handwiththesameequality,namelythatthereisnomorespeedofmovementinraisingitthanin

loweringit.

Thethird[8v]thingisthatthestrokedownorupandthepoint[inthetactus]thatwouldoccur

withitshouldstrikejointlyatoneandthesametime,insuchawaythatthestrokeshouldstrikeneither

beforenorafterthepoint,northepointneitherbeforenorafterthestroke,untilalltogetheratthe13ThereareacoupleofpeculiarthingsaboutS.M.’sdiscussionofthetactusinregardtodupleandtriplemensuration.Itisasthoughheisuncomfortabletalkingaboutanythingbutaduplesubdivisionofthebreve,thetempuslevel.OnelooksinvaininhisbookforanymensurationsignbeyondcandC,both,tempusimperfectumprolatioimperfecta.Hismentionoftriplaisperfunctory.Finallythereistheunexplainedandoffhandmentionofatactusthatismeasuredinminimsnotsemibreves.Afterthisvirtuallydismissivementionoftriplehereturnstoduple.14ClearlyS.M.assumesthepresenceofalecternthatistobestruckinthethesisofthetactus.15Thephraseisenvago.Nocurrentmeaningofvagosuppliesagoodsense,butS.M.usesitinchapter18torefertoaninitialrest,fromthisIconjecture“silently.”

8

sametime,forwhichitisnecessarythateachstroke,thedownwardaswellastheupwardbestrucka

littleforcefullywithenergy,andfurther,bothshouldbestruckequally,thatisthatthedownwardbeat

notbestruckmoreforcefullythantheupwardstroke,northeupwardthanthedownward.16

Thefourththingisthatallthetactusshouldproceedmeasuredandevenbythemeasureofthe

firsttactus,thatisthatthemeasureoftimethatthefirsttactustakes,eachoneoftheothersthat

followstakesthesame,forthereasonthatonetakesnomoretimeinonethanintheother.

Weofferthisadvicetobeginningplayers,thattheykeepthemaincountbythehalf-tactus,

whichasIsayitis,alwaysstrikesupward,andinthiswaytheycannotgowronginplayinginrhythm

withallexactnessthatitrequiresbecausefromexperienceweseethatallthosewhodonotkeepthe

rhythmerrinthehalf-tactus.17

Itismuchtothepointforonewishingtokeepthetactusandhalf-tactuswellinsingingand

playingtotrainmuchinkeepingitsilently18withthehandorfootaccordingtotheconditionsand

circumstancesalreadynoted,andinthisway,then,easilymayonekeepitinsingingandplayingand

especiallyinthecaseofbeginningplayersisitveryimportantandnecessarytomaintainthetactusand

half-tactuswiththefoot,sinceinplayingonecannotkeepitwiththehand.

16Thepointseemstobethatthemovementofthehandshouldpreciselyconformtothedivisionofthetactus.Anyonewhohasperformedunderaconductorwitha“lazyictus”knowshowunsettlingthisdefectcanbe.17S.M.’spointappearstobeonestillvalidtoday,especiallyamongyoungplayers.Itisrelativelyeasytokeepasteadysuccessionofdownbeatscomparedwithplacingcorrectlythesubdivisionwithinthebeat.18OnceagainIfindnosatisfyingmodernsenseof“enseco”“drily”andconjecture,ratherunsatisfyinglygiventheaboveinterpretationof“envago,”assilently.

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[36v]Chapter13:OntheConditionsthatareRequiredforPlaying

WithallPerfectionandRefinement

Inorderforallmusictopossessthatgraceandessencethatouttobeinit,itisnecessaryfor

onetoplaywithalltherefinementthatisrequiredforit,whichraisesitbymanyfactors,19whichgives

itafreshessenceandgrace,but,whenlackingthis,allthatonewouldplay,howevergooditmaybe,will

possess20neithergracenorelegance.Itclearlyconsistsinthedifferencethatthereisintheverysame

workplayedbyaperfectandinterestingoranotherimperfectandcrudeplayer,becausewhenplayed

bytheperfectoneitseemsathingveryintenseandfirst-rate,butplayedbytheimperfectoneitseems

athinglowandcrude,asiftheyweredifferentworks.

Theconditionsthatthusadornmusicarereducedtoeight.Thefirstistoplayintime

(compas).21Thesecondistoplacethehandswell.Thethirdistostrikethekeyswell,thefourthtoplay

withclarityandprecision.Thefifthistomovethehandswellineitherdirection,thatisinascendingto

theuppersideanddescendingtothelowerside.22Thesixthistostrikethefingersappropriately.The

seventhistoplaywithgoodstyle.23Theeighthistomakegoodturnsandtrills.24

Astoplayingintime,whichisthefirstcondition,wehavenomoretoadvisethereaderthanto

takeheedofeverythingwesaidaboveaboutthetactusandhalf-tactus.

19Thewordisquilates,whosemodernmeaningis“carat.”Ifthisisnotametaphor,thenitsothersenseisunknowntome.20Thewordternahereseemstobeamisprintfortiendraorpossiblyadialecticalformwithretentionofthee-gradevowelandassimilationofthedentalnasal“n”tothevoiceddental“d,”withmetathesisofconsonants.21SeeChapter5onthecompas.Onthisoccasionthetermistranslatedasanaidtounderstandingtheparticularcontext.Itusuallytranslatesastactusbutoccasionallyotherofitsmeaningsseemmoreappropriate.22Giventheentirecontextanditsmanyspatialreferences,itseemsmostlikelythatS.M.isdiscussingpropermovementofthehandsoverthekeyboard,notwithinasingle“part,”theupper(righthand)andlower(lefthand).23Thewordisayre,modernaireandwouldseemnaturaltotranslateas“melodicstyle,”butthefirst(oftwo)Chapter19dealsratherwithrhythmicstyle,especiallyitseemsasthatqualitywouldaffecttheoverallinterpretation.Thus,itseemsbesttousethebroaderterm.24Thetermsareredoblesandquiebrosrespectively.

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Chapter14:OntheMannerofPlacingtheHandswell

[37r]Beforeweenterintothissubjectmatter,wemustknowtheenumerationofthefingers,

whichbeginswiththethumbandendswiththelittlefinger,countingsuccessivelyfromonetofive.In

thiswaywecallthethumbfirstandtheonenexttoitsecond,themiddleonethird,andthenextthat

followsimmediatelyfourthandthelastonefifth.

Thesecondcondition,whichistoplacethehandswell,consistsofthreethings.Thefirstisthat

thehandsbeplacedcurved,25likethepawsofacat,26insuchawaythatbetweenthehandandfingers

thereisnotanyhump,butbeforethebaseofthefingersithastobeverysunkeninsuchawaythatthe

fingersmaybehigherthanthehandandpositionedinanarch,andsothefingersaredrawnmoretaut

inordertostrikeabetterstroke,becausejustastothedegreethatthebowisdrawnmoretaut,sodoes

itstrikeagreaterstroke,soalsothefingerstothedegreethattheyaremoretautdostrikeagreater

strokeonthekeys,andthenthenotessoundmorerobustandmorefullandwithgreaterlife.This

perfectionissogreatandofsuchvalueformusicthatapartfromthebeautyandgracethatsuch

positionproducesinthehands,itimpartsgreatessenceandsplendortoallthatoneplays,makingit

differentanddistinctivefromwhatisplayedwithoutthispositionofthehands.Thesecondthingsisto

keepthehandsverycompacted,whichonedoesbykeepingthefourfingersofbothhandsclose

together,whicharethesecond,third,fourthandfifth,eachtotheother,especiallypressingthesecond

fingertothethird,whichonecandobetterwiththerighthandthanwiththeleft,andthiscontributes

muchinthecaseofplayingwitheleganceandsweetness.Likewisethethumbmustgoverylow,even

muchlowerthantheotherfour.Further,itmustgobentinwardinsuchawaythatthemiddleofthe

fingerfromthejointforwardgoesbelowthepalm.Thelittle,whichisthefifth,mustbecontracted

morethanalltheothersinsuchawaythatalmostreachestothepalm.Itisimpossibletopositionthe

25Thisisaconjecturefortheobscureengaravatadas.26AtthemomentoftranslatingthispassageIhavethebenefitoftwocatslyingasleepwithinarm’sreachandfindabsolutelynohelpintheimage.Acat’spawwhensimplyrelaxedisstraightandcurvedoutwardtenselywhentheclawsareextruded.HowellandHultbergtranslatethispassagealmostidenticallyandoffernofurtherexplantion.

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handswellwithoutkeepingtheaforesaidtwofingersofbothhandscontractedinthismanner,namely

thethumbandlittlefinger,becauseonthosedependsthecompactnessofthehands,andfromhereit

resultsthatkeepingthefingersspreadeachfromtheother,especiallythethumbandlittlefinger,one

cannotplaywellbecausethehandsarehindered,andtheyarewithoutforceandpowerasiftheywere

tied.

Thethirdthingisthatthehandsarepositionedinsuchamannerthatthethree[37v]fingersof

eachhand,whicharethesecond,thirdandfourth,alwaysgooverthekeys,aswellwhenitwere

necessarytostrikethemaswhennot,andbeyondthisthesecondfinger,especiallythatoftheright

hand,mustgoalittlebitmoreraisedorhigherthantheotherthree,whicharethethird,fourthand

fifth.

Forthegoodpositionofthehands,andevenforplayingwell,itisnecessaryforthearmsfrom

theelbowsgoinwardextendedtowardthebodybutwithoutanystrain,althoughforlongascending

passagesofeighth-notesandsixteenth-noteswiththelefthand,itisnecessarytomovetheleftelbow

awayfromthebody,andlikewiseforlongdescendingpassagesofeighth-notesandsixteenth-noteswith

therighthanditisalsonecessarytomovetherightelbowawayfromthebody.

Chapter15:OntheMethodofStrikingtheKeys

Thethirdcondition,whichistostrikethekeyswell,consistsofsixthings.Thefirstistostrike

thekeyswiththepadsofthefingersinsuchawaythatthenailsdonotcomenearoreasilymake

contactwiththekeys,whichhappens27whenloweringthewristsandonehasextendedthefingersfrom

themiddleofthefingerforward,becausewhenstrikinginthismannertheysoundthenotesfull,sweet

andgentle.Thereasonforthisisbecauseasthefleshissomethingtender,itstrikeswithtenderness

andgentleness.Furthermore,oneplayswithclaritybecauseasthefingersmakeaseatonthekeys,

theyarenotableeithertosliporescapeinanydirection.Onthecontrary,whenonestrikeswiththe

27Namely,theproperpositionhappenswhendoingthefollowing.ThepositionoftheclausemayeasilymisleadthereaderintothinkingthatS.M.isdescribingthewrongposition.

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nailsonecommitstwogreatdefects.Thefirstisthatitsoundsloudonthewoodofthekeysbutthe

noteslittleandalsofaintandspiritless.Theseconddefectisthatoneplayswithoutclearnessand

clumsilyandconsequentlyunpleasantfortheearsbecauseasthefingersdonotmakeaseatonthe

keys,theyslipaway28then,andsothereismadeagreatnoiseonthekeys,andalsoasthenailsare

bony—andbonesandthekeysarehardthings—instrikingtheonewiththeother,theycannotsound

withsweetnessandgentlenessbutratherwithmuchdistasteandunpleasantness,asalreadynoted.

Thesecondthingistostrikethekeyswithastrongimpetus,whichbyothernameisfirmly,and

thenthenotespossessgreatessenceandspirit.

Thethirdthingisthatboththehandsshouldstrikethekeysequally,thatisthattheonehand

doesnotstrikemoreforcefullynormoregentlythantheother,butratherbothequally.Likewiseboth

handsmuststrikesojointlyatthesametimethateveniftheyshouldstrike[38r]manynotesatthe

sametime,aswhenthereisachordofthreeorfournotesormore,allseemlikeasinglesound.

Likewisebewarethatevenifthehandsstrikethekeysgently,forallthat,theymuststrikethemwitha

littleimpetus.Assaidaboveaboutstriking,itisoneofthemostessentialthingsthatthereisforplaying

anythingwhateverwithperfection.

Thefourththingisnottostrikethekeysfromabove,29forwhichitisnecessarytokeepthe

fingersclosetothekeys30andaftereachfingerhasstruckthekeytoraiseitaverylittle,andfurther,the

fingersmuststrikebyfallingstraightdownandinthesamewayrisingstraightupinsuchawaythatthey

hastentoreturntothesamepositionanddispositionthattheywereinbefore.Allofwhichproduces

greatsweetnessandgentlenessinthemusic;andfurther,thenotessoundmuchbutthekeyslittleor

28Luegodeslizanhaziafuera—aparticularlyconfusinglookingphrasebecausethelastthreewordscouldallbefiniteverbforms,thoughthelasttwoareactuallyadverbsmodifyingdeslizan.ApparentlyitwasalsoconfusingtoSpanishreaders,fortheGreggreprint,fromwhichthistranslationisprepared,reproduced,thoughunfortunatelyonlypartially,whatappearstobeaSpanishmarginalglossinahandprobablyoftheeighteenthcentury.29Aswillbecomeclear,bythisS.M.canonlymeannottostrikethekeysfromasignificantdistanceabovebuttokeepthefingerscloseoverthekeys.30Onceagain,S.M.isnotdescribingthefaultbuttheproperpractice.Heseemsby“fromabove”tomeanthatoneshouldnotkeepthefingersliftedfaroffthekeys.

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none.Onthecontrary,whenonestrikesfromabove,itproducesagreatlackofgraceanddisgustinthe

musicfortheears.Further,thekeyssoundmuchandthenoteslittle.Onecommitsthisdefectby

raisingthefingersmuchafterhavingstruckthekeys.Likewisethetimethatonespendsinraisingthe

fingersmuchandinloweringthemstealspartofthetimethatthenotesoughttobesounding,by

keepingthefingersoverthekeys.31Likewiseforstrikingthekeyswellitisnecessarynottoraisethe

palmsbutratheronlythefingersthatmuststrikethekeys,whilethepalmsremainstill.Beyondthis,

thekeysbothwhiteandblackmustbestruckattheirtiporend.Thisisunderstoodasoutwards.32

Strikingthekeyswellisalsooneofthethingsmostessentialandforemostthatthereisinplaying.

Thefifththingistodepressthekeysallthattheycanwellbelowered,insuchawaythatifthe

instrumentwereamonochord33thestrokes34wouldraisethecordswell,butinsuchawaythatthe

notesdonotleapfromtheirpitchbyraisingthenote,whichiscausedbypressingthefingers

excessively.35Ifitshouldbesomeotherinstrument,thekeysmustbelowereduntiltheymeetwiththe

liningthatisbelowthem.Itmustbeunderstood,ifthekeyscanbelowereduntiltheyjointhelining.36

Thesixththingisthatoncethekeysarestruck,thefingersshouldnotbetensedsomuchupon

them—becauseapartfromthenotesleapingfromthepitchbyraisingthenote,thehandsarehindered

asiftheywerejammed—northefingersberelaxedinsuchawaythatthenotesgrowfaint,butrather

thatthefingersremainonthem[thekeys]withouttensingtoomuchorrelaxingorraisingthemuntil

31Thissenseofthisisquiteobvioustothetranslator,ahornplayer,whohasspentmanyalessontryingtokeepthefingersofbeginningstudentsincontactwiththeinstrument’skeysfortheveryreasonS.M.described450yearsago.Thetraveltimebetweenthefingerandthekey,whenthefingersareoffthekeys,howeverminuteisstillsufficienttodisruptthesynchronicityoftheactionandthesoundproduction,whichparticularlydisruptspassagesoffasternotes.32Theoutsideedgeofthekey.33Themonochordalludedtoisamulti-stringedkeyboardinstrumentandancestoroftheclavichord,notGuido’snon-stringinstrument.34“Toques”maywellbeatechnicaltermforthestrikingmechanism,buttherepresentationoftheactionitselfcommunicatesthesenseaswell.35Excessivepressureonthemechanismpressesitagainstthestring,stretchingthelatterandcausingittogooffpitch.36Presumablysomeinstrumentshadsuchaliningandotherdidnot.

14

thepointthattheymuststrikeotherkeys,insuchawaythatthenotesremainalwaysthesameessence

ofsound.37

[38v]Chapter16:OntheMannerofPlayingwithClarityandDefinitionoftheNotes

Inregardtoplayingwithclarityanddefinitionofnotes,whichisthefourthcondition,letitbe

notedthattwothingsarerequiredforit.Thefirstandprincipalisthatinstrikingthefingersonthekeys,

alwaysthefingerthatwouldstrikefirstrisesbeforetheother[finger]thatimmediatelyfollowsafterit

maystrike,forbothascendinganddescendingalike,alwaysproceedinginthiswaybecauseinanyother

wayonefingerwouldbeovertakenbytheother.Whenonefingerovertakestheother,itfollowsthat

onenoteovertakesandobscurestheother,whichislikestriking[harmonic]seconds,andwhenone

noteovertakesandobscuresanotheritfollowsthatitgoessloppyandunclear,whateveroneplays,and

thenotesmaintainneitherclaritynordefinition.

Thesecondthingthatisrequiredistoraiseupeachfingeraverylittleafterhavingstruckthe

key,butinnowaytowithdrawitawayfromthekeysnorcontractitnordoubleit,whichwouldcausea

greatnoiseonthekeys,exceptinthecaseofturnsandtrillsaswillbetreatedinitsownplace.

Chapter17:OntheMethodofRunningtheHandsovertheUpperandLowerParts

Astorunningthehandsovertheupperandlowerparts[ofthekeyboard],whichisthefifth

condition,letitbenotedthatforthisfourthingsarerequired.Thefirstistocompactthehandswellin

themannerthatwasnotedbefore.

Thesecondthingistoturnthehandsawayaverylittletowardthepartthattheywouldmainly

movewhentheyplayeighth-notesorsixteenth-notes.

Thethirdthingiswhenonewouldruntowardtheupperpartandwouldgowiththerighthand,

whichcommonlyascendswiththetwofingers,whicharethethirdandfourth,toraisethethirdfinger

eachtimethatitwouldhavetostrikethekeymorethan[onewouldraise]thefourth,butnottoraise

37Toomuchpressureonthekeycanstretchthestringoutoftune,whereastoolittlemakesthesoundfaint.

15

thefourthmorethanasmuchasoneseparatesordetachesfromthekeysoastoseemthatitgoes

brushingoverthekeys;andfurthermore,thisfourthfingermustcontinuestrikingattheedgeofthe

keys,andthethirdfingerfurtherinside.Thesecondfingermustgoalittlecontractedandhigherthan

thethird,andpositionedinthiswaythissecondfingermustgofixedwiththethirdfingerandinthisway

thehandisveryforceful,withoutwhichitisentirelyimpossibletoascendthepassageswithperfection.

Therefore,itisnecessarytotakeveryseriouslywhathasbeensaidaboveaboutthesecondfinger

becauseitisveryimportant.Ifinascendingonrunswiththe[39r]lefthand,itisnecessaryforthe

fourthfingertoriseeachtimethatitwouldhavestruckthekeymuchmorethanthethirdfinger,which

istheoneinthemiddle.Whenonewouldascendwiththefirstandsecondfingeritisnecessaryforthe

secondtoriseeachtimethatitwouldhavestruckthekeymuchmorethandoesthefirst.Thefirstmust

notrisemorethanasmuchasseparatesordetachesitfromthekeys,sothatitseemsthatitisbrushing

them.Whenthehandsruntowardthelowerpart,ifitweretogobytherighthand,whichusually

descendswithtwofingers,namelythesecondandthird,thethirdfingermustriseeachtimethatit

wouldhavestruckthekeymorethandoesthesecondfinger,andthesecondfingermustnotrisefrom

thekeysmorethanasmuchasitseparatesordetachesfromtheminsuchawaythatitseemsthatitis

brushingoverthem.Further,thissecondfingermustkeepstrikingatthetipofthekeysandthethird

fingermoreforward.Ifindescendingoneweretorunwiththelefthand,whichusuallydescendswith

twofingers,namelythethirdandfourth,thethirdmustriseeachtimethatitwouldhavestruckthekey

muchmorethanthefourthdoes.Thefourthmustnotrisefromthekeysmorethansomuchas

separatesanddetachesfromtheminsuchawaythatitseemstobebrushingoverthem.Further,this

fourthfingermustkeepstrikingthetipofthekeysandthethirdfingermoreforward.Likewise,the

secondfingermustdrawnearthethirdfinger,namelythemiddleone,asmuchasmaybepossible.

16

Thefourththingisthatinrunningthehandsbothtotheupperpartaswellastothelower,the

threefingersofbothhands—whichIsayarethesecond,thirdandfourth—alwaysmustbegoingover

thekeysandneverdrawawayfromthem.

Chapter18:OntheMethodofStrikingwiththeAppropriateFingers

Inregardtostrikingwiththeappropriatefingers,whichisthesixthcondition,itmustbe

observedthattherighthandpossessesoneprincipalfingerbutthelefthandhastwo.Theoneofthe

righthandisthethirdfinger,whichisthemiddleone,andthetwoofthelefthandarethesecondand

third.Theyarecalledprincipalbecausewiththemonebeginsandendsturnsandtrills,bymeansof

whichonefurnishesmusicwithelegance.

Theblackkeysmustneverbestruckwiththethumbexceptwhenanoctaveisplayedin

whicheverofthetwohands,orwhensomenecessitypresentsitselfandnothingelsecanbedone.

Whenquarter-notesoreighth-notesareplayed,onemustneverstriketwotimessuccessively38

withthesamefinger,exceptifsomenecessitypresentsitselfsothatonecandonothingelse.Onemust

takecareofthiswithgreatstrictnessinthecaseofeighth-notesandquarter-notes.

[39v]Whenwhole-notes39wouldbeplayedwiththerighthandallmustbestruckwiththe

middlefinger,exceptwhenanothernotewouldprevent.Whentheywouldbeplayedwiththelefthand

theycanbestruckonewiththesecondfingerandtheotherwiththethird,andproceedinginthis

mannereitherallwiththesecondfingerorwiththethirdfinger,accordingtohowitwouldturnout

better,conformingtotheopinionofagoodjudge,anditisunderstood[thatthisis]whenanothernote

doesnotpreventit.38Thewordarreoinanypossiblesenseappropriateherehascompletelyfallenoutofmoderndictionaries.Fortunately,S.M.givesasuperbdefinitionwithillustrationsinPart2,Chapter11,whereitmeans“stepwise.”Onthisoccasionthatmeaningisnotquiteevidentandismorelikely“successively”awordalsoappropriatetonotesthatmovestepwise.39Thetranslationofnotevaluesintomoderntermsshouldnotmisleadthereaderintothinkingthattheypossessthedurationswewouldassumetoday.Authoritiesdifferastowheninthesixteenthcenturythetactus,thebasicpulse,changedfromthesemibreve(whole-note)totheminim(half-note).SanctaMariainthisworkusesonlytwomensurationsigns:candC.Itwouldseemsafetoassumethatthevalueofthewhole-notehereisnoslowerthantwobeatsatmodern60bpm.

17

Withtheseaforementionedfingersofbothhandsbymeansofwhichthewhole-noteswouldbe

struck,alsohalf-notesmustbestruck,althoughinplayingthemwiththerighthandindescendingone

canstrikeonewiththethirdfingerandtheotherwiththesecondfingerandproceedinginthisway

whenonehasmany,orallwiththemiddlefingeraccordingtowhatismoreappropriate.

Whenthereshouldbeplayedtwo,three,fourormorequarter-notesoreighth-notesonthe

samesign40orkey,whichisthesamething,itisnecessarytostrikeallwithtwofingers,withdrawing

themthetimesthatitwerenecessary.41Iftheyweretobeplayedwiththerighthand,theymustbe

struckwithtwofingers,namelythesecondandthird,andiftobeplayedwiththelefthandtheymustbe

struckwiththetwofingersthatarefirstandsecond,orwiththetwothataresecondandthird.Inorder

todothisperfectlyitisnecessarytoplacethehandturnedoverthekeysinsuchawaythatthearm

fromtheelbowtothefingersisoverthekeyboardofthemonochord.

Likewisewhen,followingadottedhalf-note,twonoteswouldbeplayedonasinglepitch,such

asfa,fa,theymustbestruckalsowithtwofingers,whichmustbethe

sameaswesaidabove,oftherightorleft,withwhichhalf-notesand

eighth-noteswouldbestruck,whentherearemanyonthesamepitch.

Whenbywhicheverofthetwohandsthereeitherascendordescendsuccessivelylongpassages

ofquarter-notesoreighth-notes,thefingerswithwhichtheywouldascendordescendalsomustgoin

succession,onefollowingaftertheotherwithoutleavinganyout,forwhichonemusttakecarethaton

infrequentoccasions[40r]allfivefingersascendordescendsuccessively,butrathermoreoftenfour

whicharethefirst,second,thirdandfourth.42

40S.M.apparentlymeansthevisualsymbolrepresentationofthepitch,i.e.,anote.41Thisisaratherawkwardwayofsayingtoalternatethefingers.42Thisisanotherawkwardexpression.S.M.’sstatementisactuallypositive,ineffect“onerarelyusesallfivefingers,”butthe“rarely”actsasakindofnegativeintheauthor’smind,whichconditionshisuseof“nibaxan”andsubsequentlyof“sino,”“butrather.”

18

Whenquarter-noteswouldascendordescendstepwisewiththelefthand,theymustascend

withtwofingers,thesecondandfirstbeginningwiththesecondanddescendwiththeothertwo

fingers,thethirdandfourthbeginningwiththethird,althoughsometimeswhenascendingthefirst

noteisstruckwiththethirdfingerandothertimesthetwofirstnotesascendwiththefourthandthird

beginningwiththefourth.Likewiseindescendingsometimesthefirstnoteisstruckwiththesecond

fingerandothertimesthefirsttwonotesdescendwiththefirstandsecond.

Whenlongpassagesofeighth-notesorsixteenth-noteswouldascendordescendstepwisewith

thesamelefthand,theymustascendordescendwithfourfingers,whicharefirst,second,thirdand

fourth,repeatingthemasmanytimesasnecessary,beginningwiththefourthfingerwhenascending

andfollowingsuccessivelywiththethird,secondandfirst,thenwhendescendingbeginningwiththe

firstfinger,followingafteritsuccessivelywiththesecond,thirdandfourth,sothatinascendingafter

thefirstfingerthefourthfollows,andindescendingafterthefourthfingerthefirstfollows.Placegreat

importanceontherulebecauseitisverygoodandnecessary.

Whentherighthandwouldascendstepwiseinquarter-notesoreighth-notes,itmustascend

withtwofingers,thethirdandfourthbeginningwiththethird,althoughsometimesthefirstnotemust

bestruckwiththesecondfinger,andothertimesthefirsttwonotesascendwiththefirstandsecond

fingers.Takecarethatthisruleisuniversalwithoutexception

19

Itmustbeobservedasauniversalrulethatseldomfails,thatwhenindescending[40v]withthe

righthandplayingquarter-notesoreighth-notes,onestrikeswiththethumb,thenafteritthemiddle

fingermustfollowimmediately.Thispresupposes,itmustbeunderstood,thatwhenonedescendsin

stepwisequarter-notesoreighth-noteswiththesamerighthand,theymustdescendwiththree

differentfingerings.Thefirstiswithtwofingers,secondandthirdbeginningwiththethird,although

sometimesthefirstnoteisstruckwiththefourthfinger.Thisdifferentfingeringservesforthemostpart

forquarter-notes.Theseconddifferentfingeringismadeindescendingstepwisewiththreefingers—

first,secondandthird,beginningwiththethirdandfollowingaftersuccessivelythesecondandfirst,

repeatingtheminthissameorderasmanytimesasnecessary,althoughsometimesthefirstnoteis

struckwiththefourthfinger.Finally,astotheseconddifferentfingering,afterthefirstfinger,namely

thethumb,thethird,themiddleone,follows,althoughsometimesafterthefirstthesecondfollows.

Thisseconddifferentfingeringforthemostpartservesforeighth-notes.

Thethirddifferentfingeringisusedwhendescendingstepwisewiththefourfingers,whichare

first,second,thirdandfourth,beginningwiththefourthandfollowingaftersuccessivelywiththethird,

secondandfirst,repeatingtheminthesameorderasmanytimesasneeded,insuchawaythatafter

thefirstfingerthefourthfollows,althoughsometimesthesecondorthirdfollows.Thisthirddifferent

20

fingeringservesforplayingeighth-notes,especiallywhenthereisanoddnumber,suchasfive,nineor

thirteen.Sometimesithappensthatinthesesecondandthirddifferentfingeringsonedescendspartof

thepassagewithtwofingers,secondandthird.

[41r]Oftenthefingerscombineinmanyotherways,concerningwhichrulescannotbeposited

becausetherearesomany,whichisinthejudgmentofeachoneaccordingtothenecessitypresented

andthebetterskilloneexercises.

Whenquarter-notesoreighth-notesorsixteenth-notesascendordescendbyleap,third,fourth,

orfifthorwhateverotherleap,insuchcasestheaforementionedleapsalsomustascendordescend

withalternatefingers,thatisbyfingersbetweenwhichmaybeoneortwoinbetween,accordingto

howtheleapproceeds,becausejustasintheaforementionedleapsnotesareleftoutinbetween,so

alsobetweenthefingerswithwhichoneascendsordescendstheseleapsmustoneleaveoutoneor

twoorthreeintermediateones[fingers],evenifoftenithappensthatthethirdsoreventhefourths

ascendordescendwithadjacentfingers,thatiswithsuccessivefingers.

21

Inregardtooctavesthatascendordescendstepwiseinquarter-notesoreighth-notes,itmustbenoted

thatthescalecanascendordescendintwoways.Theoneisbystrikingthefirstnoteonthetactusor

onthehalf-tactus,andinsuchcasethefirstnotemustbeaquarter-noteandalltheothersremain

eighth-notes.Theotherwayiswhenthefirstnotedoesnotstrikeonthetactusoronthehalf-tactus,

butratherontheoff-beat,43andthenatthebeginningoneobscuresaneighth-rest,whichhastofallon

thetactusoronthehalf-tactus.

[41v]Ofthosecontractedoctaves,44thefirstascends

inthisorderoffingersasfollows:fourth,third,second,

fourth,third,second,first,second.

Whentheaforementionedfirstoctaveinascendingwouldstrikethisfollowingscale:ut,re,mi,

fa,sol,re,mi,fa,mi,fa,mi,fa,mi,re,mi,fa,onecanascendwithtwodifferentfingerings.Theoneisby

thisorderoffingersasfollows:fourth,third,second,third,second,first,secondandfirstandtheother

notesremainingwiththeimmediatefingersthatfollow,asconformstothenotesofthescale.

43S.M.’stermisenvago,forwhichthereisnogoodEnglishtranslation.Unliketoday,S.M.thinksinrhythmicunitsofonlythetactusandhalf-tactus,withnowaytoexpressanyfurther,smallerabstractsubdivisions,henceenvago.Ihavechosen“ontheoff-beat,”whichis,ofcourse,ananachronism.LaterS.M.willusetheprecisetermforaquarter-rest,pausasemiminima.44The“contractedoctaves”arecoveredinChapter12.Itissufficientheretosaythatthenameresultsfromtheparticularconstructionofthemonochord’skeyboard,whichisatechnicalmatterbeyondmyexpertise.Theinterestedreaderisdirectedtothearticle“Clavichord”intheNewGroveDictionaryofMusicalInstrumentsandtheparticularlyavidonetoHenri-ArnautdeZwolle,Traités:(Paris:Bibliothèquenationale,ms.latin7295),Kassel:Bärenreiter,1972.

22

Theotherfingeringisbythefollowingorder:fourth,third,second,fifth,fourth,third,second

andfirstandtheothernotesremainingwiththefingersthatwouldfollowimmediatelyinsuccession,as

conformstothenotesofthescale.Thisisthe

betterorderoffingersbecausewiththesethe

notesascendmoreeasily.

Thesecondcontractedoctavemustascendwiththisfollowingorderoffingers:fourth,third,

fourth,third,second,first,secondandfirst.

Thethirdcontractedoctavecanascendwithtwodifferentfingerings.Theoneisbythis

followingorder:fourth,fifth,fourth,third,second,first,secondandfirst.

Theotherdifferentfingeringascendsbythisfollowingorder:third,fourth,third,second,first,

third,secondandfirst.[42r]

Theseaforesaidthreecontractedoctavesascendineighth-notesforthemostpart.

Whentheaforesaidthreecontractedoctavesdescendinquarter-notes,thefirstnotemustbe

struckwiththefirstfingerorsecond,andsometimes,althoughseldom,withthethirdandallthe

remainingnotesmustdescendwithtwofingers,whicharethethirdandfourth,finishingthelastnoteof

thefirstoctavewiththefifthfinger,althoughsometimesthelastthreenotesofthefirstoctavedescend

withthethreefingersthataresecond,thirdandfourth.

23

Withtheseaforesaidfingersthatdescendthethreecontractedoctavesonecanmaketrillson

allthenotesthatareplayedwiththethirdfinger,whichistheoneinthemiddle.

Whentheaforesaidthreecontractedoctavesdescendineighth-notes,thefirstofthem—

wheneverthefirstnotefallsonthetactusoronthehalf-tactus,justaswheneveritfallsontheoff-beat,

thatisholdingarestofaquarter-noteoreighth-notes[inthesecases]—onecandescendbytwo

differentfingerings.Theoneisbystrikingtwonotesinsuccessionwiththefirstfingerandfollowingit

successivelywiththesecond,third,fourth,third,fourthandfifth,ordescendingthelastthreenotes

withthesecond,thirdandfourthfingers.Letitbenotedthatthisisthebestorderoffingersfor

descendingthisfirstoctave.

Theotherfingeringis

bythisfollowingorder:first,

second,third,fourth,third,

second,third,fourth.

[42v]Thesecondcontractedoctavecandescendwithtwodifferentfingerings.Theoneand

moreimportantisinthisfollowingorder:twotimesinsuccessionwiththefirstfingerfollowingafterit

successivelythesecond,third,fourth,third,secondandthird.

Theotherfingeringisinthisfollowingorder:first,second,third,fourth,third,fourth,third,

fourth.

24

Thethirdcontractedoctavecandescendbytwodifferentfingerings.Thefirstandmore

importantisinthisfollowingorder:twotimesinsuccessionwiththefirstfingerfollowingafterit

successivelysecond,third,fourth,third,fourth,third.

Theotherfingeringisinthisfollowingorder:second,first,second,third,fourth,third,fourth,

third.

Astotheextended45octavesthatascendordescendwiththelefthand,itshouldbenotedthat

whentheywouldascendordescendinquarter-notestheycanascendordescendwithtwodifferent

fingerings.Intheone,ifitwereinascent,itmustascendwiththetwofingersthataresecondandfirst,

althoughsometimesthefirstnotewouldbestruckwiththethirdfingerandsometimesthetwofirst

notesshouldascendwiththetwofingersthatarefourthandthird.But,ifitwereindescent,itmust

descendwiththetwofingersthatarethirdandfourth,althoughsometimesthefirstnotewouldbe

struckwiththesecondfingerandothertimesthefirsttwonotesdescendwiththetwofingersthatare

firstandsecond.Withtheseaforesaidfingersinascentonecanmaketrillsonnotesthatarestruckwith

thesecondfingerandindescentonnotesthatarestruckwiththemiddlefinger.

45S.M.usestheterm“extended”torefertothoseoctavesonthekeyboardthathavethefullchromaticrangecovered.Thecurrentuseofthewordwouldmisleadthereadertoassumethatheisspeakingofscalesthatcovermorethananoctaveormorethanoneoctave.

25

Intheotherfingering,itmust

ascendordescendwithfourfingers,

whicharethefirst,second,thirdand

fourth,beginninginascent[43r]with

thefourthfingerandfollowingafter

successivelythethirdsecondandfirst,

repeatingtheminthesameorder.Butindescentbeginningwiththefirstfingerandfollowingafter

successivelysecond,third,fourthandrepeatingtheminthesameorder,althoughthisfingeringismore

appropriateforeighth-notesthanforquarter-notes,especiallywhenascending.

Whenthesesameaforesaidextendedoctaveswouldascendineighth-noteswiththesameleft

hand,theymayascendwithtwodifferentfingerings.Theoneandmoreimportantiswithfourfingers,

namelyfourth,third,secondandfirstbeginningwiththefourthand

followingafterthethird,secondandfirstrepeatingtheminthesame

orderinsuchawaythatwhentheyrepeatafterthefirstfingerthe

fourthfollows.

Theotherfingeringisbythisfollowingorder:fifth,fourth,third,second,first,followingthen

thesecondtimethird,second,first.

26

Whentheseextendedoctavesdescendineighth-noteswiththesamelefthand,theycan

descendwithtwofingerings.Thefirstandmoreimportantisinthefollowingorder:thefirstfinger

twiceinsuccessionfollowingaftersuccessivelythesecond,third,fourth,third,fourthandfifthorthird.

Thesecondfingeringisinthefollowingorder:first[43v]second,third,fourth,third,fourth,

third,fourth.

Whentheseextendedoctaveswouldascendinquarter-notesoreighth-notesintherighthand,

theymustascendwithtwofingers,thirdandfourth,althoughsometimesthefirstnotewouldbestruck

withthesecondfingerand

othertimesthefirsttwo

notesascendwiththefirst

fingerandsecond.Further

letitbenotedthatthisrule

isuniversalwithout

exception.

Whentheseextendedoctavesdescendinquarter-noteswiththerighthandtheymustdescend

withtwofingers,secondandthird,beginning

withthethird,althoughmanytimesthefirst

notewouldbestruckwiththefourthfinger

andalltheotherremainingnoteswiththe

aforesaidtwofingers,thirdandfourth.

27

Whentheseextendedoctavesdescendineighth-noteswiththerighthand,theycandescendin

twodifferentfingerings.Theoneisbythisfollowingorder:fourth,third,second,first,third,second,

first,third.

Theotherfingeringisbythisfollowingorder:fifth,fourth,third,second,first,third,second,first

orthird,although sometimesthe

firstnotewouldbe struckwiththe

thirdfingerand other[44r]times

thefirsttwonotes maydescendwith

thefourthfinger,butthisfingeringwithitsexceptionsismoreappropriatewhenthefirstnoteisa

quarter-noteandalltheothernotesareeighth-notesthanforwhenallareeighth-notes.

Whenonewouldascendthefollowingscalewiththelefthand:re,mi,sol,fa,re,mi,fa,mi,fa,

sol,la,sol,whichbeginsfromA-reupwards,onemustascendwiththefourfingersfourth,third,second,

firstbeginningwiththefourthandfollowingafter

successivelythird,secondfirst,repeatingbythissame

orderforthetimesrequired.

Likewise,whenthisscalewoulddescendwiththelefthandasfollows:sol,fa,la,sol,la,sol,fa,

mi,fa,mi,re,ut,re,whichbeginsfromG-solreutdownwardfromabove,itmustdescendwiththe

aforesaidfourfingersfirst,second,third,

fourth,repeatingtheminthesameorderfor

thetimesrequired.

Likewise,whenthelefthandwouldplaythisfollowingscale:re,ut,re,mi,re,mi,fa,sol,la,

whichbeginsfromD-solre,onecanplaywithtwodifferent

fingerings.Theoneisinthisfollowingorder:second,third,

second,first,fourth,third,secondfirst.Theotherfingeringisby

28

thefollowingorder:third,fourth,third,second,fourth,third,second,first,second.[44v]

Whentherighthandwoulddescendinthefollowingscale:fa,la,sol,fa,mi,la,sol,fa,mi,re,fa,

la,sol,fa,mi,re,whichbeginsfromasignhigherthanE-la[i.e.,anoteonaledgerline],onemust

descendinthisfingeringasfollows:fourth,third,

second,third,second,first,third,second,third,second,

fourth,third,second,third,second,first.[NB:The

trebleclefinExampleZisplacedonthemiddleline,

thismakingsenseoutoftheneededledgerline.]

Likewise,whentherighthandwoulddescendinthefollowingscale:la,sol,fa,mi,fa,mi,la,sol,

la,sol,fa,mi,fa,mi,re,ut,re,whichbeginsfromthenoteforE-la,onecandescendwithtwodifferent

fingerings.Theoneiswithfourfingers:fourththird,second,first,repeatingthemagaininthesame

orderforthetimesrequired.

Theotherfingeringiswiththreefingers:fourth,third,second,takingtheminthisfollowing

order:fourth,third,second,third,fourth,

third,second,third,returningthemand

repeatinginthesameorderforthetimes

required.

Inregardtotheconsonancesthatareproducedbyeachhandonitsown,itshouldbenotedthat

thirdscanbeproducedbywhicheverofthetwohandswiththreedifferentfingerings.Thefirstiswith

thefirstfingerandthesecond,whichisusedmoreinthelefthandthanintheright.

Thesecondfingeringiswiththefirstfingerandthethird,withthisfingeringonecanmakeaturn

onthelowernoteofthe[intervalofa]thirdasproducedinthelefthandandthehighernoteofthe

samethirdasproducedintherighthand.Therighthandusesthisfingeringmorethantheothertwo

[fingerings]becauseitproducesgraceonthehighernoteforaturnoratrill.

29

[45r]Thethirddifferentfingeringiswiththesecondfingerandthefourth.Thisisusedmore

withthelefthandthanwiththeright.

Whentwoorthreethirdsormoreareplayedoneaftertheother,struckwithonlyonehand,the

onethirdmustbeplayedwiththesecondfingeringandtheotherwiththethirdfingeringand

proceedinginthisway.

Fifthsandsixthscanbeproducedwitheitherofthetwohandsbymeansofthreedifferent

fingerings.Thefirstiswiththesecondfingerandfifth.Withtheaforesaidfingersonecanmakeaturn

ortrillonthehighnoteofthefifthorsixthwhenproducedinthelefthandandonthelowernoteofthe

samefifthorsixthproducedintherighthand.

Theseconddifferentfingeringiswiththefirstfingerandfourth,bymeansofwhichthepitches

mayremainequalinsound.

Thethirddifferentfingeringiswiththefirstandthirdfinger,withwhichonecanmakeaturnor

trillonthelowernoteofthefifthorsixththatwouldbeproducedinthelefthandandonthehigher

noteofthefifthorsixththatwouldbeproducedintherighthand.

Octavesmustbeproducedineitherofthetwohandswiththefirstfingerandfifth,exceptinthe

firstthreecontractedoctaves,whichmustbeplayedbythelefthandbythefirstandfourthfinger,or

withthesecondandfifthfinger,butitis

necessarytowarnthatwhen[played]jointly

withsomeoneoftheaforesaidthreeoctaves

onewouldproduceathirdoverthatoctave,

necessarilysuchanoctavemustbeproduced

withthesecondandfifthfinger,asmaybe

seeninthefollowingexamples.

30

Inplayingconsonancesonemustwatchwhatnotesfollowafterthembecauseonemustknow

howtostrikeeachconsonancewiththosefingersthatarefreeandinpositiontobeableeasilytotake

thenotesthatfollow.

Chapter19:OntheMethodofPlayinginGoodStyle46

[45v]Astoplayingwithgoodstyle,whichistheseventhcondition,oneshouldbeadvisedthat

forthisitisnecessarytoplayquarter-notesinonewaybuteighth-notesinthree.Themannerthatmust

bemaintainedforplayingquarter-notesistoholdonthefirstandhurrythesecond,andneithermore

norlesstoholdthethirdandhurrythefourth,andinthiswayallthequarter-notesthatoneplaysasif

thefirstquarter-notehadadotandthesecondwereaneighth-noteandsimilarlythethirdhadadot

andthefourthwereaneighth-noteandinthismannerallthequarter-notes.Further,takecarethatthe

quarter-notethathurriesmustnotgovery

rushedbutratheralittlemoderately.

Sothatonemayseeclearlyand

understandthedifferencethereisinplaying

quarter-notesintheonemannerandthe

other,notesareprintedwithandwithout

dots.47[Editorialnote:Theexampleborethe

originalmensurationsignoftempus

imperfectumprolatioimperfecta,c,which

provesextremelyawkwardtoachievein

modernmusicwritingprograms.Thusithas

46Thisisthefirstoftwochaptersnumbered19.47S.M.heregivesoneoftheveryearliestandmostimportantdescriptionsofnotesinégales.ItisparticularlyimportantfordemonstratingarenaissanceprovenanceforwhatisusuallyconsideredalaterbaroquepracticeprimarilyFrenchandprimarilyeighteenth-century.Inpassing,itisalsooneoftheclearestdescriptionsofaparticularperformancepracticeintheearlyprimarysources.

31

beenomittedhere,especiallywiththesupportthatfewofS.M.’smusicexamplesgivemensuration

signs.]

Ofthethreemannersofeighth-notes,twoaremadealmostinthesameway,whichisholding

ononeeighth-noteandhurryingthenext.Theydifferonefromtheotherinthatinonemannerone

beginstoholdonthefirsteighth-noteandhurriesthenext,andneithermorenorlessholdingthethird

andhurryingthefourth,andallinthesameway,whichisdoneasifthefirsteighth-notehadadotand

thesecondeighth-notewereasixteenth-note,andsimilarlythethirdeighth-notehadadotandthe

fourtheighth-notewereasixteenth-note,andallafterthisform.Thismannerservesforworksthatare

allcontrapuntal,andforextensiveandshortpassagesindiminution[Ex.DD].

Thesecondmannerismadebyhurryingthefirsteighth-noteandholdingbackonthesecond,

thenneithermorenorlesshurryingthethirdandholdingbackonthefourth,andtherestinthis

manner,whichisdoneasifthefirsteighth-notewereasixteenth-noteandthesecondeighth-notehad

adot[46r]andsimilarlythethirdeighth-notewereasixteenth-noteandthefourtheighth-notehada

dotandproceedinginsuchaway.Inthiswaytheeighth-notesthathadadotneverstrikeonabeatbut

ratherontheoff-beat[Ex.EE].48

Thethirdmannerismadebyhurryingthreeeighth-notesandholdingonthefourth.Further,

oneisadvisedthatthisdelaymustbeallthetimethatwouldbenecessarysothatthefiftheighth-note

isgoingtostrikeinits[proper]timeinthehalf-tactus,andtherestinthisway.Insuchawaytheygo

fourbyfour,whichmakesasifthethreeeighth-notesweresixteenth-notesandthefourtheighth-note

hadadot.49Thisthirdmanneristheverysmartestofall,anditservesfordiminutions50bothshortand

long.

48Onceagaintheterminologyof“beat”and“off-beat”issomewhatanachronisticbutgivesagoodimpressionofwhatS.M.means.49Thisisasuperbdocumentationofearlierperiods’non-arithmeticalapproachtotherepresentationofrhythm.EventhoughS.M.describesrhythmsintermsofabsolutenotevalues,suchassixteenth-notesandeighth-notes,hethenexplainsthatthisisnotreallytheaccuraterhythm.Rather,thepreciserhythmisattheleveloftactusand

32

Lettheadvicebetakenthatthedelayingoftheeighth-notesmustnotbemuch,butratheronly

somuchasmakesthemstandout,51whichisgiventounderstand“alittle,”becausetoomuchdelay

causesagreatlackofgraceanduglinessinthemusicandlikewiseforthissamereasonthethreeeighth-

notesthathurrymustnothurryexcessivelybutratherwithmoderationrelativetothedelaythatone

playsinthefourtheighth-note.

Both,sothateverythingmaybeunderstoodwithgreaterclarityandjustaseasilycanbeusedin

acomposition,areprintedhereinexamples,adotontheheadofeacheighth-noteandsixteenth-note,

whichwouldbeplayedonthehalf-tactus.

[[DD=1stmanner.EE=2ndmanner;FF=3rd

manner,buttheexactrhythmisnot

indicated.S.M.merelyshowsbymeansof

thedotabovethenoteheadwhereeach

newgroupingwouldfallonthetactusor

semi-tactus.]

[46v]

half-tactus,onwhichthefirstofeachgroupmustfall.Theothervaluesarerelativeandindicatethreeveryshortnotesandaconsiderablylongerone.Thisisemphasizedbythefactthatthethreesixteenth-notesplusonedottedeighth-notedonotequalfoureighth-notesinarithmeticalterms.Thismoreflexible,non-arithmeticalrepresentationofsimilarrhythmsappearsatleastaslateastheearlynineteenthcentury.50I.e.,improvisedreductionsoflongernotevaluesintoshorterones.51ThenoteonthisphraseintheHowellandHultbergtranslationpresentsanoddityhere;theytranslate“butonlyasmuchasindicated.”Strangely,intheirnotetheyremarkthattheybelievethisisamistranslationfoundinanearliertranslationandofferanimprovementas“onlyenoughtobringitout,”butdonotuseitinthemaintext!Myowntranslation,arrivedatindependently,seemssubstantiallyinagreementwiththeirpreferredtranslation.Itseemspeculiarthattheydidnotusethetranslationthattheythoughtcorrect.

33

Chapter19:OntheMethodofMakingTurnsandTrills52

Astoturnsandtrills,whichistheeighthcondition,itmustbenotedthat“turn”meansdoubled

orrepeatednotes,whichonlyare

doubledorrepeatedwithtwo

neighboringpitches,suchasmi-re-

mi-fa-mi-fa-mi-fa-mi.53

Likewisetrillmeansnotesdoubledorrepeatedsuchasmi-fa-mi-fa-mi-fa-mi,althoughthereare

manytrillsthatarenotrepeated,butsingle,suchasmi-fa-mi,orfa-mi-fa.Sothetrillsaredividedinto

twokinds,one

shouldknow,

repeatedand

single.54[47r]

52Thisisthesecondchapter19.Neitherornamenttranslatedhererespectivelyasturn(redouble)andtrill(quiebro)isexactlywhatwemeantodaybytheterms.Thereadershouldnotbetroubledbythis;terminologyremainedquitefluidthroughtheseventeenthcenturyandevenintotheeighteenth.Ihavechosen“turn”becauseS.M.’sredoublebeginslikeaturnthoughitcanendlikeatrill,andtrillbecausemostofthequiebrosaretrill-like.ThereadermaywanttoconsultothertranslationsinthisseriessuchasBovicelli,F.Rognoni,andPraetorius.53Thisisclearlywhattodaywouldbecalledaturnandtrillcombined.54I.e.,heisreferringtothenumberof“beats,”repetitionsofthealternationofthetwopitches,ineachtrill.HereS.M.impliesthatalltrillsare“unprepared”butlaterwillgiveadescriptionofapreparedtrillasbecomingfashionable.

34

Therepeatedtrilldiffersfromtheturninthattheturnhasonemorenotelower,whose

successionofpitchesismi-re-mi-fa-mi-fa-mi-fa-miandtherepeatedtrilldoesn’tsoundthe“re,”whose

successionofpitchesis

mi-fa-mi-fa-mi-fa-mi.

Turnsareonlymadeontheentiretactus,thatisonwhole-notes,whiletrillsaremadeonhalf-

notesandquarter-notesand,surprisingly,oneighth-notes.Further,takecarethatturnsinnowaymust

bemadeverylongbecausetheycauseuglinessinthemusic.55

Repeatedtrillsaremadeonhalfhalf-notesandsingles

(senzillos)onquarter-notes,56exceptforonethatisnotrepeated,

whichisonlymadeonahalf-note,whichsuccessionofpitchesissol-

fa-mi-fa.

Therepeatedtrillsaremadeonallhalf-notes,whicharestruckwithfingersthatcanmakethem,

butsinglescannotbemadeonallquarter-notesbutononeyesandanotherno,andallsimilarly.

Thereasonwhythetrillsthataremadeonquarter-notesaresinglesandnotrepeatedis

becauseofthesmallextentoftimethatthereisonquarter-notes,andforthissamereasontrillsarenot

madeoneighth-notesoronsixteenths.57

55Thefactsthatthetactusisclearlydescribedastwo-partandthatS.M.saysthatturnsareonlyonawhole-notebutmustneverbeverylongwouldbothseemtoindicatethatthe“beat”ofthemusicinthemodernsenseisthehalf-note,sothatturnswouldneverbemorethan2beats,notthemodernwhole-noteequaltofour.56Thesenzillo(single)isatrillofasingle“beat,”alternationofthepitches,and,astheillustration[HH]shows,canbetoeithertheupperorlowerneighbor.Thus,the“single”iseffectivelyeitheraregularoraninvertedmordent.57Hehasalreadyindicatedthatexceptionallytheycanbemadeoneighth-notes,butareunusual.Thereasonforthisrestrictionis,asindicatedabove,intemporalvaluesoftodaythequarter-notewouldequalaneighth-note,averyshorttimetomakeatrill.

35

Thereisonlyonekindofturnbutsixoftrills.Theturnisalwaysmadejointlywithawhole-and

ahalf-step,differentfrom

trills,whichonlyaremadeon

awhole-steporonahalf-

step,excepttheaforesaidtrillonhalf-notes[ExampleJJ],whichismadejointlywithawhole=stepanda

half-step,whosesuccessionofpitchesis,asIsaid,sol-fa-mi-fa.[47v]

Theaforesaidtrillonhalf-notes,whichismadejointlywithawhole-andhalf-step,necessarily

musttakethehalf-stepinthelowerpartandthewhole-stepintheupperbecauseanotherwaywould

producegreatlackofgraceandharshnessfortheears,andforthisreasonitmustnotbemadewhereit

finisheson“mi”insuchawaythatthesuccessionofpitcheswouldmakefa-mi-re-mibecauseinsucha

casethewhole-stepwouldgointhelowerandthehalf-stepintheupperpart,butitcanfinishon

whicheveroftheotherfive

pitches,whichareut,re,fa,

sol,la.58

Theturnsometimeskeepsthewhole-stepintheupperpartandthehalf-stepinthelowerpart;

andonthecontraryothertimesitkeepsthewhole-stepinthelowerpartandthehalf-stepintheupper

part.Further,beitnoted,thatinnowayisitpermittedtomakeaturnthatjoinstwowholesteps,one

inthelowerpartand

theotherinthe

upper,becausesucha

turnisverylackingin

graceandharshtotheears.

58Ofcourse,S.M.isworkingwithonlytheGuidonianhexachordsystem.

36

Theturnandtheaforesaidtrillthatismadebyjoiningawhole-andhalf-step,aremadewith

threefingersandalltheotherfivetrillswithtwofingers.

Whentheturnismadewiththerighthand,itismadewiththreefingers,thesecond,thirdand

fourth,beginningandendingonthethird.

[48r]Whenitismadewiththelefthanditismadewithtwodifferentfingerings.Oneiswith

threefingers,first,secondandthird,beginningandfinishingwiththesecond.

Theotherfingeringismadewiththreefingers,second,third,andfourth,beginningandending

withthethird.

Astotrills,itmustbenotedthatofsixthatthereareoftrills,twoaremadeonhalf-notesand

fouronquarter-notes.

Ofthetwothataremadeonhalf-notes[Ex.JJ&LL],theoneistheaforesaidthatismadejoining

awhole-andhalf-step;thistrillmustbemadewiththesamefingersoftherightandlefthandwith

whichtheturnismade.

Theothertrillonahalf-noteistheonethatismaderepeated,whichsuccessionofpitches

producesmi-fa-mi-fa-mi-fa-mior

fa-sol-fa-sol-fa-sol-fa.

Thistrill,whenitismadewiththerighthand,ismadewithtwofingers,thethirdandfourth,

beginningandendingwiththethird.Sometimesalsoitismadewiththetwofingerssecondandthird,

beginningandendingwiththesecond.

Whenitismadewiththelefthanditismadewithtwodifferentfingerings.Oneiswiththe

secondandfirst,beginningandendingwiththesecond.

Theotherfingeringiswiththethirdandsecond,beginningandendingwiththethird.

37

Acurrentusagethatmustreceivegreatattentionforitsgreateleganceistobegintheturnor

therepeatedtrillonhalf-notesfromanotehigherthanthatonwhichitfinishes,andfurther,thefirst

noteoftheaforesaidturnortrillmustbestruckaloneandthesecondnotemustbestruckonthe

consonancethatthenwouldbecreated.59

Likewise,theaforesaidfirstnotemustbestruckwiththefingerthatisnexttothefingerthat

endstheturnortrill,intheupperpart;thatis,thatwhentheywouldbestruckwiththerighthandthey

mustbeginwiththefourthfingerandfinishwiththethirdandwhentheywouldbestruckintheleft

hand,intheonefingeringtheymustbeginwith[48v]thefirstfingerandfinishwiththesecondandin

theotherfingeringtheymustbeginwiththesecondfingerandfinishwiththethird.

Thesemannersofturnsandtrillsandtheothermanneroftrillonhalf-notes,whichismade

joiningawhole-andahalf-step,areverynewandveryelegant,andtheyproducesuchgreatgraceand

melodiousnessinthemusicthattheyraiseittosuchalevelandtosuchpleasurefortheearsthatit

seemsanotherthingdistinctfromwhatisplayedwithoutthem,andthereforethereisgreatreasonfor

onealwaystomakeuseofthemandnotofothersbecausethey[thelatter]areout-of-dateandlack

grace.

Oftheotherfourtrillson[quarter-notes],60whicharesingles(senzillos),thatis,theyarenot

repeated,twoareforascendingandtheothersfordescending.

Thoseforascendingaremadeonlywithawhole-steporwitha

half-steplower,suchasmi-re-miorfa-mi-fa.

Thosefordescendingarealsomadeonlyonawhole-stepor

onahalf-step,butintheupperpart,suchasfa-sol-faormi-fa-mi.61

59Thisisanearlydescriptionofwhatwouldintheeighteenthcenturybecomethetrillpreparedbytheupperneighbor.60Thetexthastheobviousmisprintminimforsemiminim,orhalf-notefortherequisitequarter-note.

38

Ofthesefourtrillsthetwodifferfromtheothertwointhatthefirstaremadewiththreenotes,

suchasre-ut-re,ascendingorre-mi-redescending,andtheothertwoaremadewithtwonotes,suchas

fa-miascendingorfa-soldescending,allofwhicharemadeonlywithawhole-orhalf-step.62

Thosemadewithtwonotesandthosemadewiththree,allofthem,beginandendwiththe

samenote,bothascendinganddescending.

Whentheseaforesaidfourtrillswouldbeplayedwiththerighthand,inascendingtheymustbe

madewithtwofingers,thirdandsecond,beginningandendingwiththethird.Indescendingtheymust

bestruckwiththetwofingersthirdandfourth,beginningandendingwiththethird.Whentheyare

playedwiththelefthand,inascendingtheymustbestruckwiththetwofingerssecondandthird,

beginningandendingwiththesecond,andindescendingtheymustbemadewiththesametwofingers,

thirdandsecond,beginningandendingwiththethird.Sometimesithappensthatindescendingthey

aremadewiththetwofingers[49r]firstandsecond,beginningandendingwithsecond.

Ofthetwotrillsonquarter-notesthatinbothascendinganddescendingaremadewithtwo

notes,twothingsmustbeobserved.63Thefirstisthatthefingerthatwouldstrikethefirstnote,after

havingstruckthekeymustnotrisefromitbutratherremainalwaysfixedonit,andthefingerthat

wouldstrikethesecondnotemustdrawawayfromthekey,slidingit[thefinger]overit[thekey]like

onewhoscratches,andfurtherthefingerthatwouldstrikethefirstnotemustpressalittleonthekey,

depressingitlower.But,payattentionthatthefirstnoteofthesetwotrillsistheonethatwouldbe

struckwiththefingerthatendsthetrill.

Thesecondthingisthatthesecondnoteoftheaforesaidtrillsmustbestrucksosoonafterthe

firstthattheyalmostevenstrikeatthesametime,insuchawaythatitseemsthat[theintervalofa]

61Theexplanationsandexamplesforthesetwo“singles”couldeasilybeconfusingsincetheornamentsthemselveswouldseemtodotheoppositeofwhatS.M.says.IbelievethatwhatS.M.meansisthattheyarerespectivelyappropriateinascendingordescendinglines.62Foranauthorwhoisusually,ifanything,overlymeticulousinclarity,thisis,tomymind,S.M.’smostbewilderingstatement,whichheattemptstoclarifybelow.63Thefollowingpassageexplainstheenigmatictwo-notetrillsmentionedabove.

39

secondwerestruck.Itshouldbenotedthatoftheseaforesaidtwotrills,theoneforascendingisnotso

elegantnorsoundssogoodtotheearsastheonethatdescends,andforthisreasononeoughtnot

makeuseofit[theformer]veryoften.Theseaforesaidtrillscannotbeprintedandasaresultone

cannotprovideanexampleofthem.64

Fourimportantthingsarerequiredinordertomaketurnsandrepeatedtrillsonhalf-noteswith

completeperfection,withoutwhichitisimpossibletomakethemperfectly.Thefirstandmost

importantistoextendthefourfingers,second,third,fourthandfifth,alongeachotherasmuchas

werepossible,especiallytopressfleshagainstfleshofthefingerthatwouldstrikethelowestnoteof

theturnalongwiththefingerwithwhichthesameturnortrillwouldend,andstillmorebycontracting

italittleandplacingithigherthantheotherfingersandpositionedinthiswaytocarryitalittleoverthe

fingerthatwouldfinishtheturnortrill.Thiswillbeunderstoodclearly65whentheturnisplayedwith

therighthand,whichisusuallymadewiththethreefingers,second,thirdandfourth,endingalwayson

thethird.Onthisoccasionitisnecessarytocontractthesecondfingeralittleandplaceithigherthan

thethirdandinthiswaytopressthethirdfinger[againstit],mainlyattheendoftheturnandthesame

foralltrillsonhalf-notesandalsoforthoseonquarter-noteswhentheywouldbeplayedascendingin

themelody.Thisgreatlyhelpsandgivespowertothetwofingersthatrepeatthetwonotesoftheturn

andtrillssothattheyaremadewithmoreperfectionandspirit.Whentheaforesaidturnsandtrillsare

playedwiththelefthandandarestruckwiththethreefingers,[49v]first,secondandthird,itis

necessarytocontractthethirdalittleandtoplaceithigherthanthesecondfinger,mainlyattheendof

theturnortrills.Whenitwouldbeplayedwiththeotherthreefingersofthelefthand,second,third

andfourth,thefourthmustbecontractedalittleandplacedhigherthanthethird,andpositioninthis

waytopressitagainstthethird,mainlyattheendoftheturnortrills,which,asIsayitis,greatlyhelps

64Thedescriptionofthisornament,whichsoundssomethinglikethelateracciaccatura,demonstratesthebreadthofthepossiblespectrumofmeaningsfortheterminologyofthetime.Ibelievenoonefromourperspectivetodaywoulddreamofcallingthisa“trill”inthemodernsense.65S.M.’susualsuccinctclarityfailshiminthisdescription.

40

andgivespowertothetwofingersthatrepeatthetwonotesoftheturnandtrills,sothattheyare

madewithmoreperfectionandspirit.

Thesecondthingistodrawawayfromthekeysthetwofingersthatwouldstrikethelowernote

andthehighernoteoftheturnortrillonhalf-notesthataremadewithawhole-andahalf-step,and

likewiseitisnecessarytodrawawayfromthekeysthefingerthatwouldstrikethehighernoteofthe

trillsonhalf-notesandquarter-notes,whenmakingthemwiththerighthandjustaswhenwiththeleft

hand,exceptthatthefingerthatstrikesthelowernoteoftheturnandthetrillonhalf-notesmadewith

awhole-andahalf-step,whichstrikesonlyonce,mustwithdrawalittleawayfromthekey,andthe

fingerthatstrikesthehighernoteoftheturnortrillsmustwithdrawawayfromthekeysmuchmore,

butonlyattheendoftheturnortrills.Further,itmusthangalittledownwardandthereafterbringit

backandraiseandplaceitoverthekeysasitwasbefore.

Thethirdthingisthatthefingerthatstrikesthehighernoteoftheturnortrillsmustalways

strikemoreontheedgeofthekeythanthefingerthatisnexttoit,withwhichtheturnortrillsend,and

stillfurther,afterthebeginningoftheturnandrepeatedtrills,itmustkeepwithdrawinggradually

away,untildrawingitcompletelyawayfromthekeyontheendoftheturnandtrills,whichisthe

reasonthatthefingerwithwhichtheturnandtrillsendsremainsattheedgeofthekeyattheendof

theturnandtrills,althoughatthebeginningitbeginsmoreforwardonthekey,whichisnecessaryso

thattheturnandtrillsfinishverycleanandprecise.

Thefourththingistoturnthehandthatplaystheturnandtrillsalittletowardtheupperpart,

exceptontrillsonquarter-notesthataremadeindescending.

Theseaforesaidfourimportantthingsarerequiredalsoformakingallthetrillswithperfection,

bothonhalf-notesaswellasonquarter-notes,exceptthatonrepeatedtrillsonhalf-notes,andonthe

[50r]fouronquarter-notes,onedoesnotwithdrawfromthekeysmorethanonefinger.

41

Thefourtrillsonquarter-notes,boththosethatascendaswellasthosethatdescend,

sometimesaremadeonquarter-noteswhichfallonthetactusorthehalf-tactusandothertimeson

those[quarter-notes]thatdonotfallonatactusorhalf-tactus,andthislatteristhebetterstyleand

moreelegantbecauseitgivesmoregracetowhatoneplays.

Whentrillswouldbemadeonquarter-notesthatfallonthetactusorthehalf-tactusandwould

beplayedwiththerighthand,ifintheascent,itmustascendwithtwofingers,thethirdandfourth,and

indescendingwiththeothertwo,thethirdandsecond,beginningbothascendinganddescendingwith

thethirdfinger,exceptwhenthefirstquarter-note,bothascendinganddescending,doesnotfallonthe

tactusnoronthehalf-tactus,whichiswhentherecomesbeforeitaquarter-rest,66becauseinsucha

casethefirstquarter-note,ifitweretoascend,mustbestruckwiththesecondfingerandtodescend

withthefourthfinger,andbecausethismaybeunderstoodwithgreaterclarity,oneplacesadotatthe

note-headofeachquarter-noteon

whichonewouldhavetomakea

trill.

Whenquarter-noteswould

beplayedwiththelefthandand

thetrillsalsowouldbemadeonquarter-notesthatfallonthetactusorhalf-tactus,ifinascentthey

mustascendwiththetwofingerssecondandfirstanddescendwiththeothertwo,thirdandfourth,

beginninginascentwiththesecondfingerandindescentwiththethird,exceptwhenthefirstquarter-

note,bothascendingand

descending,wouldnotfallonthe

tactusorthehalf-tactus,whichis

whenaquarter-restcomesbefore

66PreviouslyS.M.hasusedthemoreambiguousphraseenvago.

42

it,becausethenthefirstquarter-note,ifitweretoascend,mustbestruckwiththethirdfingerandto

descendwiththesecondfinger.[50v]

Whentrillswouldbemadeonquarter-notesthatdonotfallonthetactusorhalf-tactusand

wouldbeplayedwiththerighthand,andfurther,whenthefirstquarter-noteswouldfallonthetactus

orthehalf-tactus,ifitweretoascend,thisfirstquarter-notemustbestruckwiththesecondfingerand

alltheremainingothersmustascendwiththetwofingers,thirdandfourth,andiftodescend,thefirst

quarter-notemustbestruckwiththefourthfingerandalltheremainingothersmustdescendwiththe

twofingersthirdandsecond,butwhenthefirstquarter-note,bothascendinganddescending,would

notfallonthetactusorhalf-tactus,whichiswhenaquarter-restcomesbefore,ifitweretoascend,all

mustascendwiththetwofingersthirdandfourthandindescendingwiththeothertwofingers,third

andsecond,beginningbothascendinganddescendingwiththethirdfinger.

Whenthequarter-noteswouldbeplayedwiththelefthandandthetrillsalsowouldbemade

onquarter-notesthatdonotfallonthetactusorhalf-tactus,andfurtherthefirstquarter-notebegins

onthetactusorhalf-tactus,iftoascendthisfirstquarter-notemustbestruckwiththethirdfingerand

alltheothersremaining mustascendwiththe

twofingerssecondand first;butifto

descend,thefirst quarter-notemustbe

struckwiththesecond fingerandallthe[51r]

43

othersremainingmustdescendwiththetwofingers,thirdandfourth.But,whenthefirstquarter-note,

bothascendinganddescending,doesnotfallonatactusorhalftactus,whichiswhenaquarter-rest

comesbeforeit,itwouldascendwithtwofingers,secondandfirst,anddescendwiththeothertwo

fingers,thirdandfourth,beginninginascentwiththesecondandindescentwiththethirdfinger.

Sometimesithappensthatthetwotrillsonhalf-notesthatarefordescendingaremadeinthe

ascent,whichisdonewiththisrestriction,namelythattherebeasign

thatmaintainsthehalf-stepintheupperpart.67Onthisoccasionit

followsnecessarilythatitmustbeonanotethatcanstandas“mi,”

whichwillbeunderstoodclearlyinthismusicalfigurefollowing:re-me-fa-re-mi.Thefiguremustbe

playedwiththisorderoffingers:fourth,third,second,fourth,third.68

Sometimesithappensthatonlyindescendingtrillsaremadeontwo

successivequarter-notes,whichisdoneforgraceandelegance.This

happenswhenthetwoquarter-notesdescendstepwiseafterawhole-note

thatishigher.

Whenquarter-noteswouldascendandthenreverseand

descend,alwaysonthehighernotemustthetrillbemadethatis

madefordescent,evenifitappearsthatbygoinginascentone

wouldhavetomakethetrillthatismadeforascending.[51v]

Likewisewhenquarter-noteswoulddescendandthen

reverseandascendalsoinquarter-notes,alwaysonthelowestnote

67ForonealsoconsultingthefacsimiletextitmaybehelpfultonotethatexamplesUUthroughYYarebadlyplaced.S.M.’sexamplesalwaysfollowthetexttheyreferto,butthesehavebeenplacedinsuchawayastoappear,erroneously,toprecedetheirtext.Ihavetriedtoimprovethepositioning.68ItisnotclearwhetherS.M.meanstorestrictthistosituationscreatedbyakeysignatureoralsotoincludeaccidentals,butpresumablythelatter.Thenoteinquestion“mi”isthelowermemberofthehalf-step.Thefingeringsequenceindicatesthatthismustbeinthelefthand.

44

isthetrillmadethatismadeforascending,evenifitappearsthatbygoingindescentonewouldhaveto

makethetrillthatismadefordescending.

Likewiseforgivingmoregracetothemusic,trillsmustalwaysbemadeonallthequarter-notes

thatwouldfollowimmediatelyafterdottedhalf-notes,

whichmustonlybedoneinthedescentofthemelody.

Inorderforthemusictopossessmoregraceandso

morepleasuretotheears,itisnecessarythattheturnsandtrillsonhalf-notesshouldbemadeattimes

withbothhands,thatis,aturnwithonehandandanotherturnwiththeother,inthesamewayatrill

withonehandandanothertrillwiththeother,answeringeachotherattimesinthisway.Thisis

understoodwhenbothhandswouldplaywhole-notesorhalf-notesonwhichturnsortrillscanbemade,

bothplayingincanonorwithoutit,whichadornsmusicwithgreatstyleandgivesitgrace,mainlywhen

whole-notesorhalf-notesgoincanon.

Whenthemodewouldavoidanykeys[onthekeyboard],whiteorblack,theturnsandtrillsthat

thenwouldbeplayedmustalsoavoidthem,whichisunderstoodonthelowernoteandthehighernote

oftheturnsandtrills.

Itmustbeobservedthatamongalltheaforesaideightconditionsthattherearethreemain

ones.Thefirstandmostimportant—withoutwhichitisimpossibletoplaywithperfection—istodraw

thehandstogetherverycompactly,thatis,thefingersverycloseonetoalltheothersasmuchaswould

bepossible,forwhichitisnecessarytodrawtogetherthetwofingersofbothhands,namelyfirstand

fifthintheformandmannerthatistreatedinitsownplace,becauseonthese,aswasnotedbefore,

dependsallthegatheringofthehands

Thesecondthingisnottostrikethekeysfromabove,forwhichitisnecessarytobringthe

fingersnearthekeysandfurther,afterhavingstruckthem[52r]toraisethefingersaverylittle.The

thirdthingistostrikethekeys,bothwhiteandblack,withthepadsofthefingers,forwhichitis

45

necessarytolowerthewristsandfurther,tostrikethekeysonthetip,namelytheouter[end],because

inthiswaythepitchessoundmuchbetterandwithbetterspiritthanstrikingthemtotheinside.