FOOTNOTES

1. [03:32] Francesco Bianciardi, Breve Regola per imparare a sonare sopra il Basso (Siena, 1607) [link] [translations to EN and DE]. You can support Early Music Sources by getting the treatise printed on a big poster(!)

2. [05:18] See our episodes: 1) “Cadences in the 16th and 17th centuries” [YouTube], 2) “Cadenza doppia and five cool things you can do with it!” [YouTube].

3. [05:39] The example shown on the video is from Carlo G’s “Nigra sum” [No. 8 in edition] [imslp]. See also our episode “The Carlo G Manuscript - A Precious Window to the Past” [YouTube].

4. [06:18] There are very few cases of written-out accompaniments for pieces with a tenor solo. Here are two examples that suggest that the tenor part should be played at pitch, in the tenor range of the accompaniment: 1) Domenico Brunetti, Templo organistae (1609) [link], supplied a soprano-bass score for his motets, where the lowest and highest parts are written-out. In the one case of a piece for tenor solo (“Quemadmodum desiderat cervus”), the top part is generally a third above the tenor line (that is, it is not playing the tenor an octave higher). 2) Nicolao Zieleński, Communiones totius anni (1611), supplied full scores as accompaniments. There are no pieces written especially for tenor solo, but regarding three pieces he notes that it is possible to sing them with a tenor, but then the organist should play everything an octave lower (that is, to make it so it will be in the pitch of the tenor). Notice, free doubling of melodies in different octaves is a normal phenomenon in later periods as part of common orchestration techniques.

5. [08:45] Such alterations of eighth notes can be seen, for example, in the preface to Giulio Caccini’s Le Nuove Musiche (Florence, 1602) [imslp] [also, see our episode and resources about Caccini], and in Antonio Brunelli’s Varii esercitii (Florence, 1614) [imlsp].

6. [10:28] The described “illegal” leap from a dissonance might be a printing error, where instead of printing a D (which would make the progression completely standard), C was printed. An argument against this idea is that both the singer’s part as well as the basoo-continuo part are the same (that is, both contain the same “error”).

7. [11:54] See Keyboard Accompaniment in Italy around 1600, chapter 4.

8. [13:55] See our episode “Tactus and Proportions around 1600” [YouTube].

9. [14:11] See two such examples in our episode “Tactus and Proportions around 1600” [YouTube]; one example in the video itself by Viadana [starting at 15:11], and one in the footnotes page, no. 15.