Hello Franz: I agree with the responses supporting the idea that the galliard was and is danceable at a variety of speeds - just as long as the speed did not change within the performance of the dance. A constant pulse is necessary and one should not slow down at the knuckle-busting bits. There is an article that deals with tempo in the galliard, using as an example the QE galliard from Dowland, 1610. The article, by Ephraim Segerman, is titled, 'Tempo and tactus after 1500', and can be found in the _Companion to Medieval & Renaissance Music_, Edited by Tess Knighton and David Fallows, 1992. Segerman rightly demonstrates that some instrumentally elaborate galliards were not meant to be danced to, and that final cadential flourishes were not necessisarily at tempo. Ron Andrico www.mignarda.com > Date: Sun, 12 Jul 2009 06:38:25 +0100 > To: [email protected]; [email protected]; [email protected] > From: [email protected] > Subject: [LUTE] Re: The Galliard > > Thanks for this lively and intersting discussion. i wonder if there are > no books or articles that describe he needed resarch here in a readable > and reasonable way thus one can draw one's conclusions. obviously, the > issue is complicated - as always... but one should certainly deal with > it not simply play around... a quick search in the net, not particular > scientific of course taught me that the galliard seems to have been one > of the best loved court dances in renaissance, both in italy and > england, indeed it is said to have been the favorite dance of elisabeth > I. (by the way, please apologize the minuscules - it's due to computer > trouble). from renaissance to baroque more an more virtuoso variations > were introduced, and one had to be very learned and fit to perform > them. how quick was it? as it seems, it was quite quick, however not so > quick that the steps were blurred! indeed on source said that it was > slower than another quick dance, with a "strong beat" that was slow > enough to allow high jumps to be performed properly and perform th > virtuoso gestures thereby - obviously there was a limit of reasonable > velocity, and indeed a warning not to haste. Actually Galliards for > dancing were often included singing which should limit velocity as > well. But are there sources from which o really can derive the rhyhm? a > vienna valse is clearly 3/4, but without knowing the dance one would > not know how it really sounds... > > Is there a good book? or good articles to suggest? some internet > sources demonstrate renaissance dances, but how authentically? mayb one > should pursue the stuff a little - but i am asking myself if not > professional study of lue or guitar includes a solid knowledge of > renaissance and baroque dances and their musical stylizations as far as > this this is possible??? > > it is obviously an important issue as many of the pieces for lute are > dance pieces. > > franz > __________________________________________________________________ > > From: [email protected] on behalf of [email protected] > Sent: Sun 12.07.2009 01:43 > To: [email protected]; [email protected] > Subject: [LUTE] Re: The Galliard > > Thanks, Chris and Howard - I like your answers. I must admit that > my > curiosity will not be sufficient to motivate me to learn the dance ( > I > attended dancing classes in elementary school, and haven't liked > dancing since! ) but your reasons for the dance possibly becoming a > bit > slower are both interesting. Listening to a couple of different > performers play Galliards, I have the feeling that they find the > fastest tempo at which they can cleanly perform them and let that be > the tempo. Ok, I guess, but I still wonder how historically > representative. It does occur to me that - in the case of the Earl > of > Essex Galliard - since it's an instrumental setting of the song > Can She Excuse My Wrongs, would it be appropriate to play/sing each > at > about the same tempo? > Of course, jumping ahead a few hundred years and listening to > Toscannini and then Furtwangler performing Beethoven, one can see > that > tempos are always going to be relative things. Even in spite > of composers' score notations. > Thanks for your responses. I'll just keep advancing the metronome > until my fingers refuse to follow. . . > Ned > __________________________________________________________________ > Looking for love this summer? [1]Find it now on AOL Personals. > -- > References > 1. [1]http://personals.aol.com/?ncid=emlcntuslove00000003 > To get on or off this list see list information at > [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > > References > > 1. http://personals.aol.com/?ncid=emlcntuslove00000003 > 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > __________________________________________________________________
Insert movie times and more without leaving Hotmail(R). [1]See how. -- References 1. http://windowslive.com/Tutorial/Hotmail/QuickAdd?ocid=TXT_TAGLM_WL_HM_Tutorial_QuickAdd_062009
