Phase 1: History
1. Renaissance
1. Renaissance
Summary:
• Renaissance music was heavily influenced by vocal music
• Composers frequently borrowed musical themes from each other
• Performers played and sang with lots of emotion + expression (lyrics are vividly painted in music)
• Music was often arranged in variations over a ground bass (repeating bass line or chord progression)
Cancion del Emperador by Luys de Narvaez (1500-1555)
• Borrows the melody from Josquin's song 'Mille Regretz' (1000 regrets).
• The song was comprised of independent voices, so it's useful to practice the individual voices of Narvaez's adaptation.
• The melody did however dominate, so strive to always bring it out of the texture. Sing the melody and play the other voices.
• Knowing the original text can help shape and inform your interpretation
Lachrimae Pavan by John Dowland (1563-1626)
• This solo lute piece was reworked for voice and lute, called "Flow my Tears"
• A Pavan is a dance in slow duple time (4/4) with an accent on beat 3
• It's form is A A' B B' C C' (each section is basically varied)
• Studying the variations reveals a distinct type of lute ornamentation called divisions
• Divisions should be plucked and played lightly
• Dowland's music almost always has a strong vocal element to it. Sing the melody and use the text to inform your interpretation!
Guardame las Vacas by Luys de Narvaez (1526-1549)
• This piece is in the form of a ground with variations
• It is credited as being the first notated theme and variations piece
• It uses a particular ground called a Romanesca (also found in Greensleeves)
• Knowing the structure helps you better understand and interpret a piece in this form
• Ensure the bass line is always clear as it unifies the piece
• Play the underlying ground (as chords) to get a feel for it.
• The 'Folia' was one of the most popular grounds throughout history.
• Renaissance music was heavily influenced by vocal music
• Composers frequently borrowed musical themes from each other
• Performers played and sang with lots of emotion + expression (lyrics are vividly painted in music)
• Music was often arranged in variations over a ground bass (repeating bass line or chord progression)
Cancion del Emperador by Luys de Narvaez (1500-1555)
• Borrows the melody from Josquin's song 'Mille Regretz' (1000 regrets).
• The song was comprised of independent voices, so it's useful to practice the individual voices of Narvaez's adaptation.
• The melody did however dominate, so strive to always bring it out of the texture. Sing the melody and play the other voices.
• Knowing the original text can help shape and inform your interpretation
Lachrimae Pavan by John Dowland (1563-1626)
• This solo lute piece was reworked for voice and lute, called "Flow my Tears"
• A Pavan is a dance in slow duple time (4/4) with an accent on beat 3
• It's form is A A' B B' C C' (each section is basically varied)
• Studying the variations reveals a distinct type of lute ornamentation called divisions
• Divisions should be plucked and played lightly
• Dowland's music almost always has a strong vocal element to it. Sing the melody and use the text to inform your interpretation!
Guardame las Vacas by Luys de Narvaez (1526-1549)
• This piece is in the form of a ground with variations
• It is credited as being the first notated theme and variations piece
• It uses a particular ground called a Romanesca (also found in Greensleeves)
• Knowing the structure helps you better understand and interpret a piece in this form
• Ensure the bass line is always clear as it unifies the piece
• Play the underlying ground (as chords) to get a feel for it.
• The 'Folia' was one of the most popular grounds throughout history.
Action Points:
Choose 1 piece from the following
Cancion del Emperador by Narvaez:
Written Portion:
1. Listen to the two recordings and write a reflection about what they reveal to you.
2. Identify the Mille Regretz melody and circle it in the score.
3. How would knowing the original version and text inform your interpretation?
Video:
4. Practice the voices individually. What does this process reveal to you?
Choose 1 piece from the following
Cancion del Emperador by Narvaez:
Written Portion:
1. Listen to the two recordings and write a reflection about what they reveal to you.
2. Identify the Mille Regretz melody and circle it in the score.
3. How would knowing the original version and text inform your interpretation?
Video:
4. Practice the voices individually. What does this process reveal to you?
|
|
|
Lachrimae Pavan by Dowland
Written Portion:
1. Listen to the recordings below and write a reflection. How does hearing the vocal version change your perception of the piece?
2. Identify and describe each variation.
Video:
2. Practice the divisions as indicated. Record your work.
3. Practice the melody on its own and treat it like a vocalist would sing it. Record your work.
Written Portion:
1. Listen to the recordings below and write a reflection. How does hearing the vocal version change your perception of the piece?
2. Identify and describe each variation.
Video:
2. Practice the divisions as indicated. Record your work.
3. Practice the melody on its own and treat it like a vocalist would sing it. Record your work.
|
|
|
Guardame las Vacas by Narvaez
Written Portion:
1. Listen to the orchestrated version below. Does this change how you would interpret the piece?
2. Listen to the recording that combines improvisation, Greensleeves and Guardame las Vacas. Write a reflection on this recording.
Video:
2. Strum the chord progression of a Romanesca. Record your work.
Written Portion:
1. Listen to the orchestrated version below. Does this change how you would interpret the piece?
2. Listen to the recording that combines improvisation, Greensleeves and Guardame las Vacas. Write a reflection on this recording.
Video:
2. Strum the chord progression of a Romanesca. Record your work.
|
|
|
| 1._renaissance.pdf |