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East Dane Designer Men's Fashion. Shopbop Designer Fashion Brands. Withoutabox Submit to Film Festivals. Clearly, we are not here concerned with changes involving the transposition of the diatonic mode from its original home to a different degree of the scale, changes which are, in fact, usually indicated by a change of clef.
Girolamo Frescobaldi | Sheet Music Now
These extraneous notes should, rather, be interpreted as a widening of the natural reserve offered by the diatonic home mode, which is thus enriched by new tones and new intervals with respect to the finalis. In this way, each diatonic mode may be seen as having not only its basic diatonic form, but also other secondary, dependent forms with non-diatonic tones - the "mobile degrees" - that play their part in the whole. These "mobile tones" may in different moments take on different aspects, different nuances, subtle changes of colour, but always in relation to the frame of reference provided by the basic diatonic form and by their relation to the finalis.
On the basis of the concepts of "mobile degree" and "nuance", the momentary lowering of the sixth degree of the Dorian scale signifying a reduction of a semitone in the interval between the sixth degree and the finalis, from major to minor sixth may be interpreted as an "Aeolian" or "Phrygian nuance", as it is these two modes that have an interval of a minor sixth between the sixth degree of the scale and the finalis. Similarly, the temporary raising of the fourth degree of the Ionian scale by a semitone from perfect fourth to augmented fourth in relation to the finalis may be seen as a "Lydian nuance", as the augmented fourth between the fourth degree of the scale and the finalis is characteristic of the Lydian mode.
In more general terms - and bearing in mind that the musical theory upon which Frescobaldi's toccatas are based may be traced back to the twelve mode system of Glareanus - a tone foreign to the home mode and the resulting "improper" interval in relation to the finalis may, within certain limits, be interpreted as a borrowing from the mode or modes in which such an interval would be "proper".
Toccate e partite d'intavolatura, Libro 2 (Frescobaldi, Girolamo)
In this way, we can read as "normal" musical events which would have to be regarded as exceptions in either the system of diatonic modes in its "pure" form or in the major-minor key system. Thus the transitional system that we mentioned above - the bridge between the modal and the tonal worlds, as it were - may be broadly defined as an "enlarged" modal system. Of the twelve toccatas of the first book, four are in the Dorian mode transposed up a fourth Nos.
Even a quick glance, however, is enough to confirm that the home modes just mentioned serve as no more than the framework for these varied, complex works. Hardly a bar goes by without at least one non-diatonic tone being used in one way or another: What we see, then, is a richly varied use of the musical palette, a clear tendency towards the enlargement of the old system of reference based upon the modal scales, which pushes it almost to its limits. A compositional method already encountered in the works of Mayone and Trabaci which, with Frescobaldi, seems to lose both the sense that there is a certain lack of design and the somewhat forced feeling that is sometimes found in the works of the Neapolitans.
In Frescobaldi's works, individual events tend to form a balanced, homogeneous whole, following a logic that ensures continuity between the single event and the whole piece.
In those works in which the principle of the mobility of the degrees of the scale is most rigorously applied, the style of writing openly declares the fact. The twelfth toccata, in fact, is wholly built around the intensive exploitation of dissonance and delay, and belongs to the "durezze e legature" harshness and suspensions style already found in some works of the Neapolitan school. The work provides an example of the kind of experimental research in the field of harmony that is typical of the early Baroque. The influence of the Venetian heritage is less evident in these toccatas, and is anyway to be sought more in the formal aspects of the works than in their musical content.
In comparison with those of Merulo - the most illustrious of Frescobaldi's predecessors in terms of formal design - the toccatas of the first book lack that breadth of conception, that sense of a carefully planned formed design successfully carried through, that was one of the achievements of the Venetian school. In Frescobaldi the musical discourse appears extremely fragmented, the short, incisive phrases seem to be unable or unwilling to form a more complex whole, tending instead to an almost rhapsodic proliferation of new, contrasting ideas.
Indeed, in the preface Al Lettore which appeared in the second edition longer than that of the original edition, this preface remained unaltered in all the subsequent editions - the last was published in - except for a note referring to the Aggiunta inserted in it , the composer himself wrote: Feedback If you need help or have a question for Customer Service, contact us. Would you like to report poor quality or formatting in this book? Click here Would you like to report this content as inappropriate?
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