This is all truffle sauce, but it tells you nothing about the wild boar
underneath.
RT
----- Original Message -----
From: "David Tayler" <[EMAIL PROTECTED]>
To: "lute-cs.dartmouth.edu" <lute@cs.dartmouth.edu>
Sent: Thursday, June 19, 2008 3:59 PM
Subject: [LUTE] Re: French Style
That's a terrific question for which there is no easy answer.
Here's a few basic starting points:
1. It is different at different times--don't conflate the different genres
2. Inegal is the most misused and most misunderstood. Read the
original sources, don't rely on secondary sources.
At a minimum,Distinguish between coule & pointe, and distinguish
rhythmic inegal from articulation inegal--this is where it always goes
wrong.
3. Read up on the "gout"
4. Learn all the agreements. Most people know 2 or 3, some know half
a dozen, few know them all.
You need to know at least a dozen, to put an arbitrary number on it.
5. Learn the three parts of the trill--the starting note, the
repetition, and the escape. Most people don't play their trills
right, or play them "evenly".
6. Use the 2/3rds rule for grace notes and the first note of the
trill as a starting point--the grace note is the long note, not the
other way around
7. Distinguish between the weight of medial and final cadential
trills and ornaments, the lighter ones are often at the end, not the
other way around.
8. At a minimum, read Monteclair on the agreements, especially for
the port de voix, the ornament which is most often performed
backwards (enough here for a separate post)
9. Also read the following which describes the actual ornaments used
in Rameau's time:
Author: MCGEGAN, Nicholas; SPAGNOLI, Gina
Singing style at the Opera in the Rameau period. (Paris:
Champion; Geneve: Slatkine, 1986) Music. In French. See RILM
1987-00887-bs. Collection: Jean-Philippe Rameau
10. You are right about the language, lots to investigate there.
11. Listen to a few recordings of unmeasured preludes for
harpsichord, then arrange them for lute. A new take on stile brise.
dt
At 12:35 PM 6/19/2008, you wrote:
I'm wondering: what is it that makes up the "French style" of
Baroque music? I don't mean particularly stile brise, notes inegall
etc. Those are obvious, and to me insufficient explanations to
convey the French Baroque. It seems to me there's more to it than
that. Are there, for example, considerations in the French style
that have to do with the cadences and general kinds of rhythms of the
French language itself? What things does one need to understand /
appreciate in order to make effectively rhetorical music in the
French style?
Anybody got any ideas on this?
Best,
David Rastall
[EMAIL PROTECTED]
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