Anonymous - Regole di canto figurato, contrappunto, d'accompagnare [PIE no.1]

Source:

Anonymous (late 17th cen.), Regole di canto figurato, contrappunto, d'accompagnare (Manuscript, I-Bc Ms. E. 25) [link]

Translated edition: Rules for Measured Music, Counterpoint and Accompanying. Early Music Sources, PIE no. 1, Dr. Flavio Ferri Benedetti (translator) and Dr. Elam Rotem (editor) [link]

Footnotes:

1 [02:45] See our episode about Solmization [link]

2 [04:10] The first writer to use such a method of determining the harmony according to the movement of the bass is Francesco Bianciardi, in his “Breve Regola per imparare a sonare sopra il Basso” from 1607.

3 [04:48] See our episode about Cadences [link].

4 [06:12] The example shown in the video is taken from Antonio Cesti, "Eran del Cielo" (I-MOe Mus. F.1385, ca. 1677) [link]

5 [07:00] See our episode “Italian Basso Continuo - 1650-1700” [link]

6 [07:22] See our episode about False relation [link]

7 [08:20] The realization shown in the video is by the author of this video; in the source only the bass is supplied.

8 [08:55] The realization shown in the video is by the author of this video; in the source only the bass is supplied.

9 [16:50] See our translated edition, p. 74 [link]

10 [17:10] For example, in the treatise of Lorenzo Penna, Li primi albori musicali (Bologna, 1672)

11 [18:27] This realization is demonstrated in our episode “Italian Basso Continuo - 1650-1700” [link]

12 [18:55] Francesco Gasparini, L'Armonico Pratico al Cimbalo (Venice, 1708) [link]. Also, see our episode “Tutorial: acciaccature & mordenti according to Francesco Gasparini” [link]

13 [19:20] See our translated edition, p. 8 [link]

14 [21:50] See our translated edition, p. 103 and 106 [link]

Credits:

Created by Elam Rotem.

Special thanks to Anne Smith.