download.pdf - 6.3Mb - Viola da Gamba Society

Chelys 7 (1977), article5
T. Morley: A Plaine and Easie Introduction to Practicall Musicke
(London, 1597) modern edition ed. R. Alec Harman, with a forward by
Thurston Dart (London, 1952).
[70] G. Coprario : Rules How to Compose MS (c.1610) with an introduction
by Manfred F. Bukofzer, facsimile edition (Los Angeles, 1952).
T. Campion: A New Way of Making Fowre Parts in Counterpoint ...
(London, c.1619) Lbl, 1042.d.36. The treatise is included in J. Playford:
Introduction to the Skill of Musick (2/1665) under the title The Art
of Setting or Composing of Musick in Parts, and in subsequent
editions until 1683. There is a facsimile of the 1674 edition available
(New Jersey, 1966).
C. Butler: The Principles of Musik in Singing and Setting (London,
1636) republished with an introduction by Gilbert Reaney (New York,
1970).
C. Simpson: The Division-Viol (London, 1659, 2/1667) lithographic
facsimile of 2nd edition with introduction by Nathalie Dolmetsch
London, n.d.).
C. Simpson : A Compendium o f Practical Musick in Five Parts reprinted
from the 2nd edition of 1667, and edited with an introduction by
Phillip J. Lord (Oxford, 1970).
M. Locke : Melothesia . . . (London, 1673) reproduced in F. T. Arnold:
The Art of Accompaniment from a Thorough-Bass Oxford, 1931),
p.154-63.
T. Mace: Musick’s Monument (London, 1676) facsimile reproduction
(Paris, 2/1966)
H. Purcell in J. Playford: Introduction to the Skill of Musick (London,
12/1694 until 19/1730), Book III.
J. Wilson, ed. : Roger North on Music Being a Selection from his
Essays written during the years c.1695-1728 (London, 1959)
Note: modern usage is implied by such words as ‘key’, ‘leading note’ etc.,
but the seventeenth century distinction between ‘close’ and ‘cadence’ is
retained, ‘cadence’ being reserved for ‘syncopation’, while ‘close’ is used
for ‘cadence’ in the modern sense.
GENERAL RULES FOR REALISING AN UNFIGURED BASS IN
SEVENTEENTH CENTURY ENGLAND
1. Play a 5/3 chord on every note unless otherwise directed. (Morley p.223,
Coprario f.2v, Campion Clv, Butler p.48, Simpson D.V. p.17,
Compendium p.25, Locke rule 1, Mace p.225, North p. 72)
[71] 2. Play a 6/3 chord: -
a. On a sharp bass note. (Coprario f.3r, Campion C4v, Simpson D.V.
p.19, Compendium p.31, Locke rule 2, Mace p.225, Purcell p.129).