Techniques

A Performer's Guide to Seventeenth-Century Music - download pdf or read online

By Stewart Carter, Jeffery Kite-Powell

ISBN-10: 0253357063

ISBN-13: 9780253357069

Revised and elevated, A Performer’s advisor to 17th Century track is a entire reference advisor for college students musicians. The ebook includes beneficial fabric on vocal and choral song and elegance; instrumentation; functionality perform; ornamentation, tuning, temperament; meter and pace; basso continuo; dance; theatrical construction; and masses extra. the amount contains new chapters at the violin, the violoncello and violone, and the trombone—as good as up-to-date and increased reference fabrics, net assets, and different newly to be had fabric. This hugely available guide will end up a welcome reference for any musician or singer drawn to traditionally trained performance.

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In the absence of a mid-century Italian source on singing as comprehensive as Tosi’s Opinioni of 1723, the music itself can provide clues to the evolution of vocal technique. In order to accommodate the wider ranges, singers likely used more than one vocal register. Falsetto and head voice would have been necessary to achieve the upper extension of the range. 42 We can only surmise how smoothly blended was the transition between registers before the end of the seventeenth century. It was certainly of the utmost importance to Tosi, who preferred head voice for executing passaggi and other ornaments.

A blended register transition still did not mean that the Italians preferred a unified color to the voice; composers exploited the contrasts between the top and bottom. Like pop singers today, Italian Baroque singers were adept at switching between different registers, laying the foundation for the cantar di sbalzo techniques so essential for singers in the eighteenth century. 12 Vocal/Choral Issues The predominance of speech mode that characterized the stile rappresentativo began to reach its limitations with the need for more sound and the development of a more lyrical aria style; it continued, of course, as the technique for recitative.

36. Celletti, Bel Canto: 19. 37. Rosand, Opera: 24. 38. The Sistine Chapel had begun replacing falsettists with castratos in the late sixteenth century. See Kurtzman, Vespers: ch. 15. National Singing Styles 27 39. v. ” 40. Celletti, Bel Canto: 39. ” Quantz gives Farinelli’s range as from a to d''' in 1726, adding several notes a few years later. See Sanford, Vocal Style: 23. 41. I use my falsetto for special effects. Many popular female singers do, as well. 42. See Tosi, Opinioni: 37ff. See also Julianne Baird’s remarks concerning Tosi in the following chapter.

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A Performer's Guide to Seventeenth-Century Music by Stewart Carter, Jeffery Kite-Powell


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