translation
>From Fuenllana, 4th book: 'Ave maris stella a quarto del author, va el catollano por cotrabaxo' The first part is easy - 'Ave Maris Stella in four parts, by Fuenllana' But what does the second part mean? A Catalan contrapuntal dance? Doesn't seem like a dance... Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: translation
Seems to me it would be "put in catalan (or written in catalan) for contrabass" Does that work? Dr. Candace A. Magner aka The Diction Queen [EMAIL PROTECTED] homepage http://clik.to/candace - Original Message - From: "Rob MacKillop" <[EMAIL PROTECTED]> To: Sent: Saturday, January 29, 2005 5:10 AM Subject: translation > From Fuenllana, 4th book: > > > > 'Ave maris stella a quarto del author, va el catollano por cotrabaxo' > > > > The first part is easy - 'Ave Maris Stella in four parts, by Fuenllana' > > > > But what does the second part mean? A Catalan contrapuntal dance? Doesn't > seem like a dance... > > > > Rob > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
RE: translation
Well, Candace, the text is entirely in Latin. I can't see anything Catalan about it, but then again I am not likely too either. One of the ''mysteries of the Universe!''. The word 'co(n)trabaxo' is interesting. You think it means contrabass. There is a famous vihuela piece by Narvaez called 'Baxo de contrapunto' which is usually translated as 'contrapuntal dance'. So, does 'baxo' mean dance or bass, or both (as in ground bass dance)? BTW, nice website... Do you play baroque guitar/vihuela? Rob -Original Message- From: Candace Magner [mailto:[EMAIL PROTECTED] Sent: 29 January 2005 15:15 To: Baroque Guitar List Subject: Re: translation Seems to me it would be "put in catalan (or written in catalan) for contrabass" Does that work? Dr. Candace A. Magner aka The Diction Queen [EMAIL PROTECTED] homepage http://clik.to/candace - Original Message - From: "Rob MacKillop" <[EMAIL PROTECTED]> To: Sent: Saturday, January 29, 2005 5:10 AM Subject: translation > From Fuenllana, 4th book: > > > > 'Ave maris stella a quarto del author, va el catollano por cotrabaxo' > > > > The first part is easy - 'Ave Maris Stella in four parts, by Fuenllana' > > > > But what does the second part mean? A Catalan contrapuntal dance? Doesn't > seem like a dance... > > > > Rob > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: translation
Just guessing! 'x' is often pronounced as [s] or [z] in dialects of Italian (like Venetian, my current specialty) or languages like Euskara (Basque)... and in Spanish as a [ch] sound, so like "bajo", meaning low or bass. "Ave Maris Stella" would be that Latin text, obviously, but what else is written in the introduction/ dedication / descriptions?? Does it have the text in voice parts, or is the Fuenllana maybe based on another vocal piece but now is written for the solo instrument? Anyway, like I said, just a language-based guess. Yes, I play baroque guitar, mostly as a continuo instrument or an accompaniment to my voice. Learning how to get my poor old brain around singing improvised ornaments while trying to make recalcitrant fingers do their 'fwappety-fwappety' thing along with some minor voice leading in chords. Dr. Candace A. Magner [EMAIL PROTECTED] homepage http://clik.to/candace - Original Message - From: "Rob MacKillop" <[EMAIL PROTECTED]> To: "'Baroque Guitar List'" Sent: Saturday, January 29, 2005 10:22 AM Subject: RE: translation > Well, Candace, the text is entirely in Latin. I can't see anything Catalan > about it, but then again I am not likely too either. One of the ''mysteries > of the Universe!''. > > The word 'co(n)trabaxo' is interesting. You think it means contrabass. There > is a famous vihuela piece by Narvaez called 'Baxo de contrapunto' which is > usually translated as 'contrapuntal dance'. So, does 'baxo' mean dance or > bass, or both (as in ground bass dance)? > > BTW, nice website... Do you play baroque guitar/vihuela? > > Rob > > -Original Message- > From: Candace Magner [mailto:[EMAIL PROTECTED] > Sent: 29 January 2005 15:15 > To: Baroque Guitar List > Subject: Re: translation > > Seems to me it would be "put in catalan (or written in catalan) for > contrabass" > Does that work? > > Dr. Candace A. Magner aka The Diction Queen > > [EMAIL PROTECTED] > homepage http://clik.to/candace > > - Original Message - > From: "Rob MacKillop" <[EMAIL PROTECTED]> > To: > Sent: Saturday, January 29, 2005 5:10 AM > Subject: translation > > > > From Fuenllana, 4th book: > > > > > > > > 'Ave maris stella a quarto del author, va el catollano por cotrabaxo' > > > > > > > > The first part is easy - 'Ave Maris Stella in four parts, by Fuenllana' > > > > > > > > But what does the second part mean? A Catalan contrapuntal dance? Doesn't > > seem like a dance... > > > > > > > > Rob > > > > > > -- > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > >
RE: translation
I always thought it meant a bass dance. In addition to the Narvaez piece, Valderrabano had his version of it, entitled, "Contrapunto sobre el tenor de la baxa". This is for 2 vihuelas, tuned a fifth apart. ed At 05:22 PM 1/29/2005 +, Rob MacKillop wrote: >Well, Candace, the text is entirely in Latin. I can't see anything Catalan >about it, but then again I am not likely too either. One of the ''mysteries >of the Universe!''. > >The word 'co(n)trabaxo' is interesting. You think it means contrabass. There >is a famous vihuela piece by Narvaez called 'Baxo de contrapunto' which is >usually translated as 'contrapuntal dance'. So, does 'baxo' mean dance or >bass, or both (as in ground bass dance)? > >BTW, nice website... Do you play baroque guitar/vihuela? > >Rob > >-Original Message- >From: Candace Magner [mailto:[EMAIL PROTECTED] >Sent: 29 January 2005 15:15 >To: Baroque Guitar List >Subject: Re: translation > >Seems to me it would be "put in catalan (or written in catalan) for >contrabass" >Does that work? > >Dr. Candace A. Magner aka The Diction Queen > >[EMAIL PROTECTED] >homepage http://clik.to/candace > >- Original Message - >From: "Rob MacKillop" <[EMAIL PROTECTED]> >To: >Sent: Saturday, January 29, 2005 5:10 AM >Subject: translation > > > > From Fuenllana, 4th book: > > > > > > > > 'Ave maris stella a quarto del author, va el catollano por cotrabaxo' > > > > > > > > The first part is easy - 'Ave Maris Stella in four parts, by Fuenllana' > > > > > > > > But what does the second part mean? A Catalan contrapuntal dance? Doesn't > > seem like a dance... > > > > > > > > Rob > > > > > > -- > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: [EMAIL PROTECTED] voice: (218) 728-1202
Re: translation
This simply refers to a piece in which a counterpoint has been written to a pre-existing bass cantus firmus (a ground) -doesn't have anything to do with a dance, does it? Stanley - Original Message - From: "Edward Martin" <[EMAIL PROTECTED]> To: "Rob MacKillop" <[EMAIL PROTECTED]>; "'Baroque Guitar List'" Sent: Saturday, January 29, 2005 1:29 PM Subject: RE: translation > I always thought it meant a bass dance. In addition to the Narvaez piece, > Valderrabano had his version of it, entitled, "Contrapunto sobre el tenor > de la baxa". This is for 2 vihuelas, tuned a fifth apart. > > ed > > > > > At 05:22 PM 1/29/2005 +, Rob MacKillop wrote: > >Well, Candace, the text is entirely in Latin. I can't see anything Catalan > >about it, but then again I am not likely too either. One of the ''mysteries > >of the Universe!''. > > > >The word 'co(n)trabaxo' is interesting. You think it means contrabass. There > >is a famous vihuela piece by Narvaez called 'Baxo de contrapunto' which is > >usually translated as 'contrapuntal dance'. So, does 'baxo' mean dance or > >bass, or both (as in ground bass dance)? > > > >BTW, nice website... Do you play baroque guitar/vihuela? > > > >Rob > > > >-Original Message- > >From: Candace Magner [mailto:[EMAIL PROTECTED] > >Sent: 29 January 2005 15:15 > >To: Baroque Guitar List > >Subject: Re: translation > > > >Seems to me it would be "put in catalan (or written in catalan) for > >contrabass" > >Does that work? > > > >Dr. Candace A. Magner aka The Diction Queen > > > >[EMAIL PROTECTED] > >homepage http://clik.to/candace > > > >- Original Message - > >From: "Rob MacKillop" <[EMAIL PROTECTED]> > >To: > >Sent: Saturday, January 29, 2005 5:10 AM > >Subject: translation > > > > > > > From Fuenllana, 4th book: > > > > > > > > > > > > 'Ave maris stella a quarto del author, va el catollano por cotrabaxo' > > > > > > > > > > > > The first part is easy - 'Ave Maris Stella in four parts, by Fuenllana' > > > > > > > > > > > > But what does the second part mean? A Catalan contrapuntal dance? Doesn't > > > seem like a dance... > > > > > > > > > > > > Rob > > > > > > > > > -- > > > > > > To get on or off this list see list information at > > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > Edward Martin > 2817 East 2nd Street > Duluth, Minnesota 55812 > e-mail: [EMAIL PROTECTED] > voice: (218) 728-1202 > > > > >
Re: translation
Dear Stanley and All: Why can't it be both? In other words, a basse dance melody with a counterpoint part written above it. My understanding is that this type of instrumental performance was fairly common in the late medieval and early renaissance periods. It was cultivated by shawm bands; the tenor part was a standard melody, while the treble part was semi-improvised (?). This tradition also had a plucked-instrument counterpart in the lute duo, or lute-gittern duo, of the same period. Keith Polk has written a fascinating book on this subject. This tradition is carried on in the early lute and, to a lesser extent, vihuela repertoire, as evidenced by the published material. Cheers, Jim "Stanley Yates" <[EMAIL PROTECTED]>To: "'Baroque Guitar List'" cc: 01/29/2005 11:21 Subject: Re: translation PM This simply refers to a piece in which a counterpoint has been written to a pre-existing bass cantus firmus (a ground) -doesn't have anything to do with a dance, does it? Stanley - Original Message - From: "Edward Martin" <[EMAIL PROTECTED]> To: "Rob MacKillop" <[EMAIL PROTECTED]>; "'Baroque Guitar List'" Sent: Saturday, January 29, 2005 1:29 PM Subject: RE: translation > I always thought it meant a bass dance. In addition to the Narvaez piece, > Valderrabano had his version of it, entitled, "Contrapunto sobre el tenor > de la baxa". This is for 2 vihuelas, tuned a fifth apart. > > ed > > > > > At 05:22 PM 1/29/2005 +, Rob MacKillop wrote: > >Well, Candace, the text is entirely in Latin. I can't see anything Catalan > >about it, but then again I am not likely too either. One of the ''mysteries > >of the Universe!''. > > > >The word 'co(n)trabaxo' is interesting. You think it means contrabass. There > >is a famous vihuela piece by Narvaez called 'Baxo de contrapunto' which is > >usually translated as 'contrapuntal dance'. So, does 'baxo' mean dance or > >bass, or both (as in ground bass dance)? > > > >BTW, nice website... Do you play baroque guitar/vihuela? > > > >Rob > > > >-Original Message- > >From: Candace Magner [mailto:[EMAIL PROTECTED] > >Sent: 29 January 2005 15:15 > >To: Baroque Guitar List > >Subject: Re: translation > > > >Seems to me it would be "put in catalan (or written in catalan) for > >contrabass" > >Does that work? > > > >Dr. Candace A. Magner aka The Diction Queen > > > >[EMAIL PROTECTED] > >homepage http://clik.to/candace > > > >- Original Message - > >From: "Rob MacKillop" <[EMAIL PROTECTED]> > >To: > >Sent: Saturday, January 29, 2005 5:10 AM > >Subject: translation > > > > > > > From Fuenllana, 4th book: > > > > > > > > > > > > 'Ave maris stella a quarto del author, va el catollano por cotrabaxo' > > > > > > > > > > > > The first part is easy - 'Ave Maris Stella in four parts, by Fuenllana' > > > > > > > > > > > > But what does the second part mean? A Catalan contrapuntal dance? Doesn't > > > seem like a dance... > > > > > > > > > > > > Rob > > > > > > > > > -- > > > > > > To get on or off this list see list information at > > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > Edward Martin > 2817 East 2nd Street > Duluth, Minnesota 55812 > e-mail: [EMAIL PROTECTED] > voice: (218) 728-1202 > > > > >
Re: translation
"The plainchant is in the bass" Best, Antonio --- Rob MacKillop <[EMAIL PROTECTED]> wrote: > From Fuenllana, 4th book: > > > > 'Ave maris stella a quarto del author, va el > catollano por cotrabaxo' > > > > The first part is easy - 'Ave Maris Stella in four > parts, by Fuenllana' > > > > But what does the second part mean? A Catalan > contrapuntal dance? Doesn't > seem like a dance... > > > > Rob > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > ___ ALL-NEW Yahoo! Messenger - all new features - even more fun! http://uk.messenger.yahoo.com
RE: translation
Dear Rob,
The text, save for the name (Ave Maris Stella), is in
Spanish. Now, baxo means bass ("bajo" in modern
Spanish), whereas "baxa" is a bassa danza, as in the
Narváez example you mention, i.e. a counterpoint bassa
(that is, a counterpoint upon the bassa ground). As
Edward points out in a later mail, there is another of
these baxas in Valderrábano.
Best wishes,
Antonio
P.S. My spam filter sent all the "translation" thread
to the bulk mailbox, so I had missed most of it when I
sent my first reply.
--- Rob MacKillop <[EMAIL PROTECTED]> wrote:
> Well, Candace, the text is entirely in Latin. I
> can't see anything Catalan
> about it, but then again I am not likely too either.
> One of the ''mysteries
> of the Universe!''.
>
> The word 'co(n)trabaxo' is interesting. You think it
> means contrabass. There
> is a famous vihuela piece by Narvaez called 'Baxo de
> contrapunto' which is
> usually translated as 'contrapuntal dance'. So, does
> 'baxo' mean dance or
> bass, or both (as in ground bass dance)?
>
> BTW, nice website... Do you play baroque
> guitar/vihuela?
>
> Rob
>
> -Original Message-
> From: Candace Magner [mailto:[EMAIL PROTECTED]
> Sent: 29 January 2005 15:15
> To: Baroque Guitar List
> Subject: Re: translation
>
> Seems to me it would be "put in catalan (or written
> in catalan) for
> contrabass"
> Does that work?
>
> Dr. Candace A. Magner aka The Diction Queen
>
> [EMAIL PROTECTED]
> homepage http://clik.to/candace
>
> - Original Message -
> From: "Rob MacKillop" <[EMAIL PROTECTED]>
> To:
> Sent: Saturday, January 29, 2005 5:10 AM
> Subject: translation
>
>
> > From Fuenllana, 4th book:
> >
> >
> >
> > 'Ave maris stella a quarto del author, va el
> catollano por cotrabaxo'
> >
> >
> >
> > The first part is easy - 'Ave Maris Stella in four
> parts, by Fuenllana'
> >
> >
> >
> > But what does the second part mean? A Catalan
> contrapuntal dance? Doesn't
> > seem like a dance...
> >
> >
> >
> > Rob
> >
> >
> > --
> >
> > To get on or off this list see list information at
> >
>
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
>
>
>
>
>
___
ALL-NEW Yahoo! Messenger - all new features - even more fun!
http://uk.messenger.yahoo.com
[VIHUELA] Italian translation
I have a query about some terms used in the Letter to the Reader in Granata's 1680 guitar book. I wonder if there is a native Italian Speaker who can advise. In the first passage I assume that strasci = stracini i.e. slurs in English, but am not sure about dritti and roversci. Could it mean slurs in opposite directions? Secondariamente osservarai il modo, che si devono fare li strasci, dritti, e roversci avvertendo, che non sempre si devono far caminar veloci, m`a conforme il tempo delle note di sopra, e cos`i ancora nel fare li passaggi, e campanelle. In the second passage does the term slissi also mean a slur? Devi ancora condonare `a gli errori della stampa, poiche dove e quantit`a di numeri, note, trilli, slissi, lettere, botte, & altre cose sempre vengono stampati de gli errori, Any help gratefully received. Monica -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] English translation Craig Russell - Eight Modes - Milan
Hi all, Is there an English translation of Craig Russell's treatise "The Eight Modes as Tonal Forces in the Music of Luis Milan"? Ed To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: English translation Craig Russell - Eight Modes - Milan
I haven't read it, Ed, but would love to. Where did you get the reference to it from? Rob -Original Message- From: Ed T. [mailto:[EMAIL PROTECTED] Sent: 19 October 2005 15:38 To: vihuela@cs.dartmouth.edu Subject: [VIHUELA] English translation Craig Russell - Eight Modes - Milan Hi all, Is there an English translation of Craig Russell's treatise "The Eight Modes as Tonal Forces in the Music of Luis Milan"? Ed To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: English translation Craig Russell - Eight Modes - Milan
--- Rob MacKillop <[EMAIL PROTECTED]> wrote: > I haven't read it, Ed, but would love to. Where > did you get the reference to > it from? > > Rob Rob, I just bought a copy of "The Complete Fantasias of Luys Milan" edited by David Grimes. In it he references this treatise. I found the Spanish version (orig) at http://tinyurl.com/9g5s7. Each of the Fantasias is based on a mode and I have a very spotty understanding of modes. I'm learning Pavan #1 and I'm finding this music very interesting to learn, analyse, and play but I would like more information. Yesterday I ordered Luis Gasser's "Luiz Milan on Sixteenth-Century Performance Practice" from Amazon. Ed To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: English translation Craig Russell - Eight Modes - Milan
Gasser's book is excellent - first-rate research and scholarship. He gives the mode for each piece and discusses modality for 30 pages. I got mine from Amazon too. Rob www.musicintime.co.uk -Original Message- From: Ed T. [mailto:[EMAIL PROTECTED] Sent: 20 October 2005 02:25 To: vihuela@cs.dartmouth.edu Subject: [VIHUELA] Re: English translation Craig Russell - Eight Modes - Milan --- Rob MacKillop <[EMAIL PROTECTED]> wrote: > I haven't read it, Ed, but would love to. Where did you get the > reference to it from? > > Rob Rob, I just bought a copy of "The Complete Fantasias of Luys Milan" edited by David Grimes. In it he references this treatise. I found the Spanish version (orig) at http://tinyurl.com/9g5s7. Each of the Fantasias is based on a mode and I have a very spotty understanding of modes. I'm learning Pavan #1 and I'm finding this music very interesting to learn, analyse, and play but I would like more information. Yesterday I ordered Luis Gasser's "Luiz Milan on Sixteenth-Century Performance Practice" from Amazon. Ed To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: English translation Craig Russell - Eight Modes - Milan
Craig Russell sent the following information about his article on Milan and the modes. He also has a edition of the Codex Saldivar in Mexico with guitar music by Santiago de Murcia. It is packedwith information. ajn ===Dear Arthur, Dear Ben, My article is already in English; here's the complete citation. "The Eight Modes as Tonal Forces in the Music of Luis Milan," in _De Musica Hispana et Aliis: Miscelanea en honor al Prof. Dr. Jose L=F3pez-Calo, S.J., en su 65=BA cumplea=F1os,_ ed. by Emilio Casares and Carlos Villanueva (Santiago de Compostela: Universidade de Santiago de Compostela and the Ministerio de Cultura, February, 1990). It's in volume one warm regards, Craig Russell 541 Lilac Drive Los Osos, CA 93402 (805) 528-8734 home (805) 756-1547 my office at the Cal Poly Music Dept. - Original Message - From: Ed T. To: vihuela@cs.dartmouth.edu Sent: Wednesday, October 19, 2005 10:38 AM Subject: [VIHUELA] English translation Craig Russell - Eight Modes - Milan Hi all, Is there an English translation of Craig Russell's treatise "The Eight Modes as Tonal Forces in the Music of Luis Milan"? Ed To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[VIHUELA] Re: English translation Craig Russell - Eight Modes - Milan
I found the article citation and got into a few circular searches. I'm not an academic so I can't find out if it is possible to order the article or the publication it appeared in. Can anyone give me advice? Ed --- Arthur Ness <[EMAIL PROTECTED]> wrote: > Craig Russell sent the following information > about his article on Milan and the modes. He > also has a edition of the Codex Saldivar in > Mexico with guitar music by Santiago de Murcia. > It is packedwith information. ajn > > Dear Arthur, > Dear Ben, > > My article is already in English; here's the > complete citation. > > "The Eight Modes as Tonal Forces in the Music of > Luis Milán," in _De Musica Hispana et Aliis: > Miscelánea en honor al Prof. Dr. José > López-Calo, S.J., en su 65º cumpleaños,_ ed. by > Emilio Casares and Carlos Villanueva (Santiago > de Compostela: Universidade de Santiago de > Compostela and the Ministerio de Cultura, > February, 1990). > > It's in volume one > > warm regards, > > Craig Russell > > 541 Lilac Drive > Los Osos, CA 93402 > (805) 528-8734 home > (805) 756-1547 my office at the Cal Poly Music > Dept. > > - Original Message - > From: Ed T. > To: vihuela@cs.dartmouth.edu > Sent: Wednesday, October 19, 2005 10:38 AM > Subject: [VIHUELA] English translation Craig > Russell - Eight Modes - Milan > > > Hi all, > > Is there an English translation of Craig > Russell's treatise "The Eight Modes as > Tonal Forces in the Music of Luis Milan"? > > Ed > > > > To get on or off this list see list > information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Bad translation of first of 11 short stories.....(who makes the next?)
Ortiz the musician by Nestor Guestrin, winner of the Concurso Hamlet Lima Quintana 2002 I, Ortiz, named Diego, Pedro, Alonso, or whatever you wish, born in whichever place in Spain that catches your fancy, have come to tell you, what my commerade-in-arms, the fine chronicler of "The true story of the conquest of New Spain", don Bernal Diaz del Castillo, omitted in his writings, and not to contradict him, for very well said is what there is recounted, but to complement and clarify what is said of my person, as very passingly I'm mentioned as musician and great player of the vihuela. Its true what there is said, that other chroniclers wrote from hearsay what occured in New Spain, and therefore were wrong in much of what really happened, perhaps to exessively honour or compliment our captain don Hernan Cortez, marquis of the Vale of Oaxaca, or for personal interest, or simple ignorance of what really happened. But there is more which moves me to write this; and its to confirm, that I was the carrier of that, of which he congratulated me, and for which I don't need to merit neither repentance, nor pardon; in contrast to my comrades, who for plenty will have to ask for it, now that only the ambition of gold and riches conducted them. I brought with my belongings a 4-course vihuela, and afterwards, in moments of rest i built one of 6 courses, as used in court, and with it I played, sang and danced. I was known more for my music than for my fighting. And my art is more recognized than my [arrojo](?). Of the five-hundred and some soldiers who iniciated this adventure, and of the very few who remain to tell it, I was the one, who on the days of feast, on the nights of sorrow, on the encounters with strange peoples, accompanied and taught dances and rondas, sang villancicos and romances, songs and villanescas, played tientos and fantasias, pavanes and galliards, and even animated myself to make divisions to some theme of the great Josquin. With this said, I will not excuse, what was done with my sword; and my horse, which also was one of the first to tread firm land, and being the best of all, as is said by Bernal, and which afterwards I gave to Cortes when his died; but what is already done thus remains, and I had to use them, to save my life, in order to conquer land for our master, the emperor don Carlos and to turn into vassals the indians who inhabited it. I had neither the time, nor the paper, nor the necessary knowledge, to write in tablature, what inspiration dictated to me at any given moment, and the music that I composed, went undone in thin air at the moment of making it, only my memory being able to recreate it, and when it finishes, my music will finish in oblivion, something I greatly lament. But I believe, that those who heard it, and those whom I taught my art, will repeat it, adding their own, to which they have the right; and in that way, it will continue being transmitted from one to the other, lasting in time although anonymous, those songs, rhythms and melodies which I brought to this earth. And I also hope that it will reach the cultivated and knowledgeable ears of someone who will write it down on paper, better divisioned and embellished with good ornaments, and why not, in majestical counterpoint in the way of the great like the ones coming from Flanders. And that will be my legacy. That I participated in the battles, is true. That my sword sprinkled the land with blood, also. That I enamoured beautiful indian girls, yes, for certain. And I saw death in the eye more than once. Also that I was able to obtain some gold, a few jewels and good rugs, but quickly lost them, which I don't regret. I was also able to make indian friends, and many. Some, approached me surprized, when hearing for the first time these gut-strings played sometimes by my fingers, other times with the plectrum, and also stroked with a bow I once made. And I felt like that Luis de Milan, who is now very famous in the court at Madrid, or like the granadine Narvaez, for certain very able musicians, and who have succeeded to put their pieces written in tablature reproduced by this new invention of musical printing of wich I've heard something. From here, in the Indies, it proves highly difficult to achieve what they have done. I listened to the indian drums, which they call huehuetl, advertising the wars they gave us, and the teponastli when they invoked Huichilobos and Macuilxochitl. I saw, how they used the large leg-bone of their victims, which they sacrificed to make graters which they call omicikahuastli, and I saw them dance to the rhythm of rattles they call akayastli cayatl. All that I saw, and more. And while I saw and heard this, which I never had before, also they, the indians, were astonished, not so much by our fifes and drums, which we sounded in battle, sounds which they produced better with their own instruments, but by the sweetness I brought
