Concerning these "doubles":
I found that it sounds really nice if you play them with inegale notes,
i. e. "swing".
This way, the "hidden melody" comes out very nicely. I have no idea if
that is "allowed" in that time. Normally, this is a Lully thing.
Being able to apply some groove seems to be the aim of this "separe"
technique.
I just do it automatically in Courantes, but I have no idea what the
dance feels like.
Any experiences with early Courante dancing?
Are inegale notes a matter of taste, or just bad taste in that time?
Last time I asked a similar question, all I got was trolling.
On 03.08.19 21:36, Mathias Rösel wrote:
Matthew,
Not quite, probably. May I try to figure out why.
Robert Ballard wrote out many doubles to his courantes, that way
breaking grounds for what was later called style luthe (I omit accents
for the sake of readability). One particular feature is to rhythmically
dispose notes, called separe (again omitting accents).
Yet what he actually broke wasn't chords, what he broke and shifted (in
terms of rhythm) was the melody, filling gaps with notes of the
harmony.
You can try and play such a piece of music from grand staff on the
harpsichord, but what you cannot successfully do is distinguish the
voices the way you can on the lute by means of stress and volume,
(quite similar to the way modern goat pop music is executed). That's
why some lute pieces on the harpsichord sound like continuous arpeggio.
Many modern players play these pieces just so, as though there were no
voices, only chords.
17th century contemporaries used to know the pieces, that way being
able to enjoy them when played on the harpsichord in lute style.
Mathias
__________________________________________________________________
Gesendet mit der [1]Telekom Mail App
--- Original-Nachricht ---
Von: Matthew Daillie
Betreff: [LUTE] Re: RH folk style
Datum: 03.08.2019, 20:12 Uhr
An: Lutelist
Your accents got mangled Mathias (at least on my email programs).
'Style luthé' is generally used by harpsichord players to describe the
arpeggio style used by many French baroque keyboard compositions and
the term 'séparé' refers to the indications to play chords with
different rhythms (as described by Perrine) found in the works of 17th
century French lutenists. So not quite what I was looking for to
describe the broken chords in Ballard, but thanks.
Best,
Matthew
> On Aug 3, 2019, at 19:30, Mathias Rösel
<[2][email protected]> wrote:
>
> Matthew, you're talking to Ron, I know. May I weigh in, nevertheless.
> Two terms spring to mind, viz. style luthà © and sà ©parà ©.
> Mathias
> __________________________________________________________________
>
> Gesendet mit der [1]Telekom Mail App
> --- Original-Nachricht ---
> Von: Matthew Daillie
> Betreff: [LUTE] Re: RH folk style
> Datum: 03.08.2019, 15:39 Uhr
> An: Lute List
>
> Well, yes of course it is. I'm living in the 21st century, using the
> Internet as a means of communication and French is my everyday
> language, so I employed a term which was common to me and used
inverted
> commas to show that I was borrowing it from another language.
> Pray, dire sire, what hallowed English expression would you prefer me
> to use?
> Best,
> Matthew
> Le 3 aoà »t 2019 à 13:47, Ron Andrico <[2][3][email protected]> a
> Ã ©crit :
>> <'accords brisà ©s'>?
>>
>> Is this yet another contrived modern term that a modern person is
>> imposing on an antique musical device?
>>
>> "The term most frequently used by modern writers to describe the
>> musical style of the seventeenth-century French lutenists is the
> style
>> brise ("broken style"). Although the word brise was used in the
>> seventeenth century to distinguish a type of ornament,' the term
> style
>> brise was apparently coined in the twentieth century. After an
>> exhaustive search through dictionaries, lexicons, theoretical
>> treatises, practical sources, and contemporary accounts, I am unable
> to
>> find a single example of the term style brise used in any previous
>> century." - David Buch, The Musical Quarterly, Vol. 71, No. 1
(1985),
>> p. 52.
>>
>> RA
>>
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> References
>
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3. mailto:[email protected]
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