CHAPTER18

RENAISSANCE PERFORMANCE PRACTICE

The invention oflute tablature was an extraordinary event in the field of instrumental music. This system can in fact
be thoughr of as a successful attempt ar 'photographing' performance, taking it well beyond the idea that it was designed
for amateurs. Ir is not surprising that the system has been revived today for transcribing pieces for rock and jazz guitar
from fecordings, to put rhem in a ciearer and more immediate notation. The main difference between the use of
rablature in rhe 16 th -century and irs use today is thar while for 16 th -century lutenists tablature was a study tool made
complete by hearing and seeing a master, for us it represents the starting point. By examining the original sources
available, this chapter tries to uncover new elements concerning interpretation (phrasing, accent, tempo), sound qualiry
and ornamentation not written in the tablature that will help enrich performance.

18.1 lNTERPRETATION

18.1.1 RHETORIC
Despite progress made over the last few years in research into Renaissance performance practice, there are still sorne
matters that have not been dealt with completely. One of the major studies of the material - H. Mayer Brown's
'Introduction' in The New Grove Handbook in Music, Performance Practice, 1989 - admits that:
We shall probably never know, however, abour sorne of the qualities of performance during the 15 th and 16 th centuries, for
example, whether musicians regularly slowed down at cadences, whether they varied the dynamic leve! of individual notes or
whole phrases, whether they regularly made use of crescendos and diminuendos, whether they accemed me goal note of a phrase
(and if so, whether they had a whole variety ofkinds of accents to enliven different kinds of music): in short, whemer musicians
in the Renaissance shaped phrases the way we do, and whether they valued me kinds of phrasing that give us so much pleasure
and seem to us to make the music come alive.
(Howard M. Brown, Performance Practice, Music before 1600, The New Grove Handbooks in Music, Edited by Howard
Mayer Brown and Stanley Sadie, Part Two, The Renaissance, Chapter VIII, Introduction.)
A primary source of information on this aspect can be discovered by comparing musical art with the art of oration.
According to Nicola Vicentino (Lantica musica ridotta alla moderna prattica, 1555), the musician must follow the
example of the orator:
Whoever now speaks loudly, now softly, now slower, now faster, in this way moves the listeners; this way of motivating the
performance is very effective on ~he soul and for this reason you should sing the music from memory so as to imitate the
inflections and effects of oration; me orator who would recite a beauriful oration withour the order of its inflections and
pronunciations, fast and slow movemems, son and loud voices would not move the listeners. Ir is the same in music because, if
the orator moves the listener with the aforementioned principies, the music will be even more effective played with the same
principies well-joined to the harmony ...
Vicentino must be put into the context of the humanists who, beginning in the 15 th century, aimed at reinvigorating
musical discourse by freeing it from the rigidity of'gothic' polyphony, refashioning it to the cIassical tradition in which
music, whether instrumental or vocal, could touch the soul of me listener. The same concept is found in the composition
and interpretation of madrigals; from a practical point of view, the performer must recover the creative process of the
composer in order to recognize the expressive atmosphere of the text and its transformation into sound. The choice of
mode, based on its inherent emotive characteristics and how they relate to the text, rather than on purely musical
concerns, determines the scale on which the piece is based, the characteristic intervals of the scale enhancing rhe effecr.
The melodic line follows given intervals associated with different sta tes of the soul; the division of the piece into secrions,
corresponding to phrases in the text and signaled by cadences, creates contrasting effects.
This method of interpretation suÍts the tute well, especially in intabulations of vocal music. To give an idea of the
expressive possibilities of the lute, Vincenzo Galilei (Fronimo Dialogo, 1584) writes that
[The best organists) never could, never can, never will express the effects of Harmony like hardness, sonness, bitterness and
sweetness, and consequendy the shouring, moaning, jarring, weeping, and finally tranquility and fury, in such a graceful and
marvellous way as the Excellent Players of the Lute ...
 Along rhe same lines, Silvesrro Ganassi (Opera Intitulata Fontegara, Venezia 1535) wrires that 'imitation should imirate
the human voice, which sometimes grows, sometimes disappears'. The instrument should imirare an expert singer,
searching for expressiveness, a pronunciaríon similar ro a voice (long and short syllables), dynamic variation following
the sentiments ro be expressed. For pieces without a text, like the ricercar and the fantasy, interpretation should center
on creating an expressive atmosphere based on musical and instrumental elements.
Sorne thought should also be given to the mode of the piece. Renaissance music theory reconnected ro Classical music
theory, according to which each mode exerted a particular psychological influence on the listener. Theorists were not
always in agreement on these characteristics, which thus varied slighrly from orre author ro another. The following is a
summary of the theory proposed by Gioseffo Zarlino (for a more thorough study see Giorgio Pacchioni Selva di varí
precetti. La pratica musicale tra i secoli XVI e XVIII nelle flnti dell'epoca, Ut Orpheus Edizioni):
Fíest mode: its nature is a litrle sad; it can be used foe serious words that dea! with higher, pithy things.
Seeond mode: said ro be tearful or mournful, humble and apologetie (aets ro relieve illness).
Third mode: moves ro tears.
Fourth mode: lamenting and sad, apt for amorous material or texts denoting idleness, quiet, tranquillity and adularion.
Fifth mode: brings modesty, ¡oy, and raises the soul from tiresome careo
Sixth mode: aeeompaniment ro tearful and devout lullabies.
Seventh mode: suits lusty, happy words, or those denoting menaee or rage.
Eighrh mode: eontains a natural genrleness and sweerness that restore happiness ro the soul of the listener.
Nimh mode: (First mode transposed to A) is open and dear (terse), apr for Iyrical verse, üght-hearred, sweet and gentle words.
Tenrh mode: its nature is similar to the Fourth.
Elevenrh mode: (Seventh transposed ro C) apt for dances, henee sorne eall it lusty.
Twelfth mode: apr for amorous material that eomains sorne pain or sadness.

Besides the modes , the position (posta) of the tonic on rhe fingerboard characterizes rhe sonoriry of the piece. The firsr
mode starting on the 5th course, 2 nd fret is different from firsr mode starting on the open 4 th course. Obviously, a tonaliry
that uses many open courses has a more open sonority, while fretted positions favor a more expressive, vibrant sonoriry.
The subdivision of rhe piece into sections marked by principie cadences ourlines the character of a piece, which may
include contrasts. The phrases are divided within each section by 'punctuation marks' - small breaths and articularions.
Changes in tempo berween one secrion and another, or within a section (for example, in ascending progressions ro
increase the sense of tension) can be effective if well controlled, but are not advisable in pieces of pure counterpoint and
in intabulations of sacred pieces. An imaginary text can somerimes be useful for assigning plausible accentuation to the
musical texto
As for tactus - regular pulse - various points must be considered. A contrapuntal piece usually calls for a regular
rhythmic pulse, the speed of which depending on rhe emotion (Affekt) assigned. This concerns symmetry rather rhan
accent, and is subjecr ro the demands of the horizontal phrasing, voice by voice. In complex pieces, contrasting sections
can be played with a combination of rhythmic pulses that follow interpretative choices. A piece with a more improvisational
and purely instrumental character favors a more elastic interpretation. This does not mean rhythmic disorder, bur rather
sarisfying the demands of the writing with rubato, aiming at expressiveness and virtuosity. Finally, dance music demands
its own interpretation, following the tempo and accent of the dance in question. Ir is also necessary to distinguish
between music intended ro accompany dances and auronomous pieces which preserve only rhe general characteristics of
the dance.

18.1.2 SOUND QUALITY

The success of the lure in concert and recordings over the last several years has helped define the tasre for a certain
sound quality. Despite evident differences berween the personalities of the performers, the ideal tone would seerr,ro be
delicate and light, depending on the structure of the insrrument, produced by the fingertips; its opposire is the more
metallic and aggressive guitar-like tone produced by the fingernails. There is much evidence in the original sources ro
confirm the modern ideal; the sound of the lute is, for example, often compared ro angelic music. Use of the fingertips
rather than the nails is also testified to in most of the sources that mention the subject. Deeper analysis of rhe repertoire
and other evidence make it clear, however, thar the nature of the lute is more complex, as the aboye passage from Galilei
suggesrs.
Throughout the period covered by this manual, different ideals concerning musicality, sound and interpretatíon were
expressed, from the improvísatíonal and monophonic traditions of the middle ages to Renaissance polyphony, from the
lute's use in dance music to its role in accompanying songo The way a lutenist plays dance music will be very different
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1 V

18.2 ORNAMENTATION
Renaissance ornamentation was thought of in two ways. The first is the art of division, that is, the substitution of one
or more notes with notes of smaller rhythmic value so that the melodic and temporal intervals are filled, creating a more
florid melodic lineo This can involve phrases, sections or even entire pieces. The second is the practice of adding little
ornaments to single notes, played only with the l-h, using legaro technique. Since these practices are so different, they
will be dealt with separately. What unites them is that their use is implied, that the written text foresees added
ornamentation from the performer. In this sectÍon we examine the second type, the so-called 'líttle ornaments', which
are more direcdy a part of the solo lute repertoire.
In order ro describe ornaments as clearly as possible, original terms have been retained.

18.2.1 16TH -CENTURY SOURCES

The practice of ornamentation is found throughout 16'h-century lute literature regardless of epoch or region, as can be
seen from examination of the original sources. Obviously, we can only cover a small part of a tradition that is so difficult
to render in writing.
Of the sources cited, Capirola and Borrono reflect the Italian situation of the first and second quarters of the century
respectively. Besard and Waissel belong to the northern European world and deal with the repertoire typical of the end
of me century. It should be said, however, mat Besard was direcdy influenced by the teachings of his maestro Lorenzino
da Roma, and therefore by the Italían style. Although Piccinini published his work in the 17,h ce n tury, his musical
training belonged to the previous century, as does his music. We wiH also consider two musical treatises for keyboard-
by Sancta Maria and Diruta - which will help to complete the Spanish and Italian pictures, and we willlook at the work
of Kapsberger, even though he belongs ro the 17,h century, to show the different points in common ~ith the previous
tradition. The rich English experience in this field is testified to through Thomas Robinson's method and from the many
manuscripts compiled during the Elizabethan periodo We will also look at common points between these and the
continental tradition. A common characteristic of aH the ornaments we will deal with is that all adapt the auxiliary notes
to the tonality of the moment in which they are played.

18.2.2 THE FIRST HALF OF THE lG'"H CENTURY

I
VINCENZO CAPIROLA
Compositione di Messer Vincenzo Capirola
1 will tel! you why sorne 3s and 4s etc. are sorne times written in red dots; these notes are tremoli; 1 wrote thern in red dots so
they can be distinguished frorn other figures. It rneans that the note is tremolizante [trernbling, fliekering], that you rnust not
hold the finger stil! on that note. For exarnple, fret the first eourse at the second fret and sound the string; hold that finger in
position and with another tremolizi [fliek) at the third fret . To write down this effeet 1 wrote it [the 3) with red dots, [to show that
this note) is a 'dead note' or graee. When you see those dots it rneans that you should playa 'shake' on that fret. Everybody will
notiee that it is an ornarnent as it is not indispensable. Those who know how to play, put [these graces) wherever they like. 1
wrote thern down just ro show you where it is niee ro play thern - [in fact) these '[remoli' are very elegant when played in [he
righ[ plaees.
RenaissancepeifOnnancepractice 181

When a note has to be embellished only on one frer [this is clearly an ornament including a lower auxiliary] 1 have written it down
[like the others in black ink]. 1 wiH teach you how to recognize that it is an embeHished note: for instance, you have rhe third course
at the first fret: 1 have to write it down as it is, without [using the red] dots. 1 will put them, these two red dots aboye the figure: "i. Ir
means that you haye ro embellish the note with just one finger; this sign is used only for this purpose, as gene rally we only use dots
under the figures and not oyer them. This is aH concerning the graces.

Although l-h ornamentation was common in the music of eastern and western traditions before the 16 th century, it
was codified for the first time in lute literature in the manuscript ofVincenzo Capirola, where we also find the first real
descriition of the practice. Capirola describes rwo ornaments, which he called 'tremoli' :
• Beginning from the written note, one plays a tremolo one or rwo frets - that is, the next diatonic interval- aboye; this
auxiliary note is iodicated by a oumber written io dots.
• Begiooiog from the writteo note, ooe plays a tremolo 00 the lower oote. Capirola says that this ornament uses ooly
ooe finger, thus explainiog why it is always positiooed at the first fret (apan from a couple of doubtful cases); the
auxiliary oote is therefore always on ao opeo course.
As ooe can see from the examples, Capirola's ornaments can be placed both io mooophooic passages aod withio a
chord. Both important ootes, such as the final oote of a cadence aod passiog notes, could be ornamented, implyiog a
rather rapid executioo 00 the beato

V. Capirola: ex. a-b Recerchar Secoodo, f. 8; ex. e Recerchar Terzo, f 13v; ex. d Padoaoa fraoxese, f. 17v.

a ____~~--~_____+_----~------+_--_+~~*+------~~ b

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Capirola also mentions rwo important treods: ooe, that although maoy luteoists did not put ornaments into writiog,
they did insert them io performance wherever they wished; aod that withio his own manuscript there are signs here aod
there to show where ornaments would work. This meaos that once one learns the basic principIes, one can add ornaments
to a piece io which they are not present, and to pieces in the concurrent repertoire.
Sorne suggestions 00 the character of ornaments io this period can be found io the Fontegara of Ganassi (1535), a
work for recorder. Gaoassi mentioos three types of tremolo, distioguished according to size: 00 a third ('gallaot, lively
aod augmented'), 00 a tone ('intermediate'), aod 00 a semitooe ('geode and pacifYiog'), all of which can be modified
further by adding litde deviatioos in intooatioo, that is, vibrato. What is interesting here is how the ornaments can
contribute to the expressive character of a piece.
PIETRO PAOLO BORRONO

Intavolatura di Liuto del Divino Francesco da Milano et dell'Eccellente Pietro Paolo Borrono, Libro Secondo, 1548
And where you find a cirele of this shape [ ( ) 1you place two fingers on the said string, the finger laying on the lesser number
being held; and you pul! down the said string with the finger laying on the higher number: so that the voice will be as the lesser
number is notated on the second fret [example missingl. In facr this is done so that the lute sounds sweeter: but the said cirele
corresponds ro a single stroke.
The lute tablatures of Francesco da Milano and Borrono contain a new type of ornament that starts from the note
aboye, the first of the two in parenthesis. The auxiliary note is articulated by the r-h, the actual note made by the l-h with
a descending slur. In chords, the ornament falls on the beat, with the chord. In melodic passages in eighth notes
(quavers), ornaments can also fall on unaccented beats with the actual note on the beato

Ex. a-b: Pavana dirto la bella Andronica; c: Saltarello primo; d-e: Saltarello terzo detto il Penono.

r r. f r r. f r r. f r r. f r r. f r r. f r
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This new type of ornament poses sorne questions: Does this mean that the ornaments used by Capirola were out of
fashion by mid-century? And, since in this 1548 publication the older ornaments are found only in Borrono's dances,
can we condude that they were not appropriate for Francesco's fantasias? For the first question, we can be almosr certain
that the forms of ornamentation used by Capirola were used throughout the century, and in fact were the basis fo; the
formulation of new, more complex forms. Treatises for various instruments are unequivocal in this regard (Ganassi,
Sancta Maria, Diruta). Thus Borrono's partero introduces an important new element - beginning the ornament on the
note aboye - which, united with the older partero, furnished the cell for Baroque oroamentation. The two parterns may
have coexisted for sorne decades before merging.
For the second question, we can imagine that the ornaments were berter suited to the dances than to the pure
contrapuntal writing ofFrancesco; taste could therefore have limited their use (but see below for the advice ofDiruta on
this ropic relative to the next period). In any case, Borrono did not feel authorized ro add them ro the compositions of
the maestro. The acceptance of oroaments 'so that the lute sounds sweeter' seems to suggest thar they were not played in
an abrupt or dry manner, but integrated into the melodic designo
Renaissance performance practice 183

18.2.3 THE SECONO HALF OF THE l()TH CENTURY

After Borrono, there is no other direct testimony on lute ornamentation .t mid-ccntury. There are, however, two
sources for keyboard which are not so far from the world of the lute: Sancta Mart.l's treatise is, in fact, also vaguely
addressed to the vihuela, and Diruta's makes a specific allusion to lutenists.

TOMAS DE SANCTA MARIA

Libro llamado arte de taner fantasia, 1565
{,ccording to Sancta Maria, ornamentation is one of the basic requirements of playing with sryle and elegance. The
redoble, normally made on the whole note (semibreve), is characterized by two auxiliary notes, one aboye, one below (a);
there is also a shorter ornament on the half note (minim) (b). The repeated quiebro is made on the half note (minim) as
well (e); it is similar to the redoble, but without the lower note. Another rype of quiebro is made on the half note (minim)
using a tone and a semitone (ti); the auxiliary note below must be a semi tone from the actual note. The redoble, on the
other hand, can have a tone in the upper note, a semitone in the lower, or vice versa, but cannot total more that two
tones inclusive. The simple quiebro is made on the half note (minim) and the eighth note (quaver) if) . Ir can include
either an interval of a tone or a semi tone and the auxiliary note can be dther aboye or below; the first decorates
ascending scales in quarter notes (crochets), the second descending.
Sancta Maria mentions that a new sryle was becoming more popular in which the redoble and the repeated quiebro on
a half note (minim) start on the note aboye; this upper note must be played before the note it decorates in the chord.

a b e d

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e f

GIROLAMO DIRUTA
11 Transilvano Dialogo ... , 1593
How to play tremolí. Ir must be said about tremoli, in order to play the notes in a loyely and deft way, and not in the wrong way
as many do, accompanying them [tremoli 1 with the lower note when they should be done with the upper; if you haye eyer
obseryed players on the Viol; Violin, Lute and other string and wind instruments, you wiU haye seen that they accompany che
note of the tremolo from aboye and not from below ...
Examples of tremoli on half notes (minim) and smaller ornaments on shorter notes follow. In a descending scale ofhalf
notes (minims), ornaments can be placed symmetrically on the first and third beats or the second and fourth. Other
ornaments are the 'Clamationi', those which fill the interval of a third melodically (a), and the 'Aeeenti', which ornament
a descending line (b).

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Another interesting point for the lute repertoire is the indications for where tremolí should be played: at the beginning
of ricercars and canons, or anywhere the organist se es fit, as well-played tremolí add to the performance and brighten the
harmony.
184 Chapter llJ

Not all the ornaments described by these authors are adaptable to the lute, but some conclusions can be drawn.
Ornaments are played rapidly, on the beat (except for one example, expressly reported by Diruta, attributed to Claudio
Merulo); they can be placed symmetrically in ascending or descending passages, for example on all the strong beats or
vice versa; they can also be used at the beginning of contrapuntal pieces.
The next sources on the use of ornaments are from the end of the century. The 1592 Lautenbuch of Matthaus Weissel
specifies that they should be used on whole and half notes (semibreves and minims), and that they are rarely used in
divisions and cadences. Like Sancta Maria and Diruta, he says that they can be prolonged with three repercussions of the
basic pattern. The somewhat obscure assertion that the fingers arrive late on the frets could be a reference to the appoggiatura
on the upper note.
Besard, unfortunately, do es not add much; as he was a pupil of Lorenzino (whose importance as the leader of the
school of the second half of the century has yet to be fully appreciated), he had probably taken his ornamentation
technique from him. The internatÍonal spirit that anima tes Besard's anthology suggests that the use of ornaments to the
end of the 1500s may have been standardized throughout Europe.

MATTHAUS WAISSEL
Lautenbuch Darinn Von Der Tabufatur und Appfication der Lauten, 1592
Mordenrs are played with the l-h finger, but only in positions that last a full or half note [semibreve or minim]. They are not
used in divisions because of the speed involved when there are eight or sixteen notes per ba;. Mordents make the performance
pleasanr, played sometimes with the index, sometimes the middle and sometimes the little finger, so that the fingers arrive a litrle
late on the letter [actual note], and they can be moved up and down two or three times.

JEAN BAPTISTE BESARD

Thesaurus Harmonicus Divini Laurencini Romani, 1603
You should have sorne rules for the sweet relishes and shakes if they could be expressed here, as they are on the lute: but seeing
they cannot by speach or writing be expressed, thou wert best to imitate sorne cunning player, or get them by thine owne
practice, onely take heed, least in making too many shakes thou hinder the perfection of the Notes. In somme, if you affect
biting sounds, as sorne men call them, which may very well be used, yet use them not in your running, and use them not at aH
but when you iudge them decent.

18.2.4 TI-IE FIRST HALF OF THE 17TH CENTURY

ALESSANDRO PICCININI
IntavoLatura di Liuto et di Chitarrone Libro Primo, 1623
About Tremoli and their three kinds. Cap. XVI
Tremoli are a great ornament in playing, and there are three kinds: the first tremolo is long and is done where there is a long but
not too long stop. Ir is done by softly and quickly beating many times with the tip of the most comfortable finger on the string
just played: warning that if on an open course, it should be played on the first fret; if on the first fret, it should be played on the
second, and so on; the Tremolo should last for as long as the note demands.
About the second Tremolo. Cap. XVII The second Tremolo is fast and does not last long, and can be played in numberless places;
for instance, if the little finger is positioned on the third fret of the first string and at the same time the middle finger on the
second frer of the same string, immediately after plucking the string the little finger must quickly be raised so that it does not
touch the string; it must then immediately and vigorously go back to the same place, then it will be done; for doing it on the first
frer ir is enough to raise a finger and ler ir go down, as has been described. ,
About the third Tremolo. Cap. XVIII The third Tremolo is little used beca use ir needs the hand free; for instance, if the litrle
f1nger is at rhe fifth [fret] on the third [string] , and at rhe same rime pressing srrongly, you vigorously and immediare!y shake rhe
hand so that you fee! rhe string slightly waving, it will be done.
Where Tremoli should be used. Cap. XVIV. A Tremolo should be used anywhere there is a long or brief stop, here one kind of
Tremolo, there another, according to what ease of playing advises, and on every fret or course and even on eighth notes [quavers]
if there is time, it wiU always give a very good effect. Since there are numberless places where the Tremolo should be used, I did
not want [Q pur any sign in the rablature, so as not to obscure ir, it being enough to give norice abour them; nevertheless be
advised not ro play too many Tremoli, lest your playing beco me weary and awkward; the player must always play in a lovely way,
without showing any fatigue.
 &naissance performance practice 185

t
t.
MARIAN MERSENNE
f Traité dellHarmonie universelle, 1627

I The style ro which Mersenne refers is that of 17 th -century France, but he does speak of the use of vibrato by the earlier
generation:

I
As for the verre cassé, 1 add it here even though it would not be in use as it is out of fashion, for it exerts a great fascination when
used in the appropriate manner. One of the reasons for which modeen players have abandoned it is because the earlier generation
used it almost continuously. However, given that it is also a defect not to use it at al!, it should be used in moderation .

. t
]OHANNES HIERONYMUS KAPSBERGER
Libro Quarto dlntavolatura di Chitarone, 1640
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Playing without trilli, or accenti, except in the places where quickness does not permit them, is tasteless; you should playa

,
trillo or acanto on every stroke possible, except where there are arpeggiate [i.e. arpeggiated chords of foue notes], because mese
add grace themsdves; however, those of three, rwo or one note are dead without a trillo.
Acanto and finta are the same, they are done by placing a finger on one fret and going to another [frec]; you can do it in rwo
ways: if you want to go to the third fret using a finta, you should place the finger on the second and beating the string it will stop
on the third. Omerwise you should place the finger on the foueth and fall on the third.
The Trillo is done in several ways[:] on me open string, starting fram the first or second fret, sliding it very quickly over the frets,
stopping the finger on the fret and sliding it up. Otherwise placing a finger on the next lower fret playing atril! on it, and resting

1 at the end on the signed [starting] fret.

The Tremolo is done by pressing the string and stretching it with a finger of the left hand, plucking [the string] at the beginning
with the right hand.

18.2.5 THE ELIZABETHANS

The terrn relish can be applied ro rnany patterns; fall and slide can be considered synonyrns, but for the sake of clarity
we will call example la fall, and g the half-fall.

I, a b e d e f

gJ
g

~ !J &EA relish
I
shake
relish
I ?)
backfall
relish
I 6t§9fall with relish
I tl#
mordent
I
fall, slide
I tU
fall = half-fall
11

THOMAS ROBINSON
The Schoole 01Musicke, 1603
[Ornamems on monodic passages] Now you shall have a generall rule to grace it, as with passionate play, and relishing it: and
note that the longer the time is of a single strake that the more neede it hath of a relish, for a relish wil! help, both to grace it and
also it helps to continue the sound of the note his full time: but in a quicke time a little touch or jerke it will serve, and that ondy
with the most strongest finger.
[Oenaments on chords] And as before 1 haue thaught you how to relysh in a single stop, with that finger which is the strongest, .
so take this for a general rule, that you rdish in a full stop, with that finger which is most iddest, in any string whatsoever: eimer
a strong relysh for loudnesse or a milde relysh for passionate attencion .. .
Now to your fall with a relish; or a fall without a relish: take this for a general rule, that al! fals in what stop soever, in a flat
note, must bee performed with the neerest finger to the halfe notes and in a sharp note or stop, with the neerest and strongest
finger to the fuH note.
Here the stopS where.b is placed, must have his fall fram ª in the same strings where g is placed, (the finger laid along in 9
must have his fall from f in the same strings, in the next where f is in the Treble , beca use f is sharp, must have his faH from the
ª
fuH note and f having had his fall, may so bee held still without mouing the forefinger, and [he relish continued (with rhe little
finger) in g which is under half~ note, and so of all rhe resto

J
,
 Renaissance performance practice 187

DOWLAND LUTE BOOK, Ms. WASHINGTON, FOLGER SHAKESPEARE LIBRARY 1610.1

Two symbols are used in the first pan: # and +, corresponding to che ornaments in the previous manuscript. In the
second pan, . is used in place of +.

Es. a: Robin, f 16v; es. b: frog GalliardJo Doulands, f. 12v; es. e: the Battel gallyard m Douland.

I
1 "
!
I
\ ~
, I
,\

g##_~'l~H~ ~
--L'1' ~ .~._;--;- ¡-: ,.tt~ ,---,
J

- .. .~ _.- . ~-' 4- - ~
,
~-=-~:--. ~,.... -- .'._-- -, " ---i'

c c g f a a c c c f c
a (a)

c c a f c c f c f c c

It 1
~:Jr;--~'~
, /J..
tnt;/f··¿Ir-M,1
t·¡~·f l .._~ ~p.t.¡' fi ff
'"'t· c, . ¡. _.&4.-
':';. JI..;, . , " .... t. ' 6.a":.."'.
t, •
~~~fH
V .:i' .
'~ I
i
{. r te
,,'JI. q.,.4-
.
'(/ JI ' ,. . '
J~ A t\. JI • 1 ~7. ...."
; .. (1 ' .;.. (J ' p .Jj'
.. --
I! f r'" '}f ./ I
" ¡; , ,
.
' A:
ft (J '

.
'·_~ __:'.L.
~_ .
-c./ ./ '
,. ~' "
" - j. "

I
..... -
c c c c c c f c a c
b (a)

e e e e e e e f e e e a

ff¡'r. t-. ~HM~Ji!f~1

A.
'".... ...I'lI~":11." "Jk
.,. .'. ~ I
¡~~
¡/ 1
•
t t·~~·. J .'
~:Jr"
!'>
F"
1.. i¡ -
f. ~
-f.,j[-. - t~
• I ,
..&#
,' . t
,.
e I
",T T
If ~
.....
~
It' l' ~
.
•\ .... _\. . • • ~ 1
. ;. '1
;;¡ I
. . 1
.L. -
J;ff.
...
•
( . "\ 01f
~
4
~
•• ff
/
'".
". ._---_._ . A _ _o.
I
./
./ ... jr
'/./
.~ (~ '/ '"
e e c+a e g e e e e c+a e e g+a

MARGARET BOARD LUTE BOOK (PRlVATE COLLECTION)

The pan of this manuscript that concerns the Renaissance repertoire contains two fundamental signs: . and +. The
second is not found on open courses.
 LfJapter 1 (5

Flatt Pavin, f. 2v.

g e e g e e e

Ms. BRITISH MUSEUM Aoo. 38539

This source contains two principIe symboIs that correspond to those in the previous manuscript, # and +, and another
used occasionally in passages that descend by step, 7.

Ex. a: O. DowIand, Fantasia], f 14; Ex. b: AlImayne by Mr Robert ]ohnson, f. 16v; Ex. c: AlImayne by Mr Roben
]ohnson, f 20

J O d ú J~~..Po- ._C" .
d t· P 1
) d ~ 1 ---Ait.t-
~ ...!.............:.-! .... ~. _ .L

~-R;
a

e g e a f e e e e e f e e e

. . ." . ,., \h ..n11'e ~~~)Uíl..· ~-s- l ~f) ~ ~ \~ 0\,0

¡, it\
. . 1...... ,.
I\.~~~ .
. _.,.... "
CJ,. &\.
. .. ..
a •

--
, "'-~I'
.. L" ... l:. h -~ L" ~- .. l . . . - lA' . ' .~,

b .
lO I~
.
~ .. "

A
• . 1 ••
11 I'J-
!

.. \ . do.
;,.
-r--:.r'
,
A
-\-1~ t'._~_

...
~-
l ......
..60 ... A
./
..-
I

g e e a e g e e e

e e e g
(g+e)
,

e c+a e e c+a e e e c+a a

Renaissance performance practice 189

Elizabethan manuseript sourees are without doubt the riehest so urce for ornamentation symbols, but at the same time
the poorest for information regarding their unequivocal decodification. What can be reconstructed with sorne degree of
certainty is that the two fundamental ornaments employ either an auxiliary note aboye (shake or relish) or below (jall-
backfoll). Performers and musicologists have long asked ifboth these ornaments begin on the actual note, thus following
the Renaissance tradition of Capirola, or on the auxiliary note, aboye in the firsr type, below in the second, thus
generating an appoggiatura. No definitive solution can be reached - we can only advance hypotheses; perhaps a certain
freedom that allowed for different tastes was the rule. During the Elizabethan period, French-style ornamentation was
becoming standardized, and this may have gradually found its way to England, perhaps through the courante and the
vol", two new dances that immediately began filling manuscripts throughout Europe. The Renaissance tradition seems
ro have favored starting the ornament on the actual note, but even as early as Borrono (1548) we find the opposite, and
Sancta Maria expresses himself clearly on the new fashion that started on the upper note. The next phase was the
appoggiatura and its combination wirh the trill, a phenomenon that led to Baroque ornaments.
Analysis of the repertoire and the placement of signs leads to the conclusion that context is the best clue for indicating
which ornament to use. Rather than imposing rigid rules, it seems more appropriate ro rely on experience to suggest
various solutions.
• The sign # (and its various correspondents in other sources), which is never found on open courses, can indicate
ornaments a, b and c.
Ornament c is found particularly in descending passages, when rhe finger playing ir is already prepared; ir should in
any case be played rather rapidly. In quick passages it becomes the jerk mentioned by Robinson.
Ornamenrs a and b work well when played quickIy and percussively in monophonic passages, where they become
almost indistinguishable from the actual notes; on longer notes, whether single or in chords, they must be prolonged;
rhey are preferred over c for notes constituting the climax of an ascending melodic line where preparing an appoggiatura
is impossible, or on a melodically isolated note. Concerning the proper harmonic preparation of the appoggiatura, in this
period harmonic concerns were probably nor as important as fingering logic, so such preparation may not have been
absolutely necessary.
The combination c+a could be used, if prepared, on concluding chords; rhis eventually became obligatory as the
French style spread, for example in cadences in pieces like the courante and the volta. Unfortunately, ir is difficult ro
know exactly when this change occurred; the same goes for analogous pieces present in the ltalian reperroire of the late
16,h and early 17,h centuries.
• The sign + (and it correspondents), played only on fretted notes, normally seems ro indicate e, f and g; for example,
on the lowest note of a chord.
We should not try to rarionalize the sporadic presence of other signs, which probably indicate personal performance
practice of an already existing ornament by a particular player, used in order to distinguish the special use from the more
common execution. For example, the sign v could alter # ro the slower appoggiatura of the new French style.
Ornaments created by combining basic patterns such as rhe slide, foil with relish (see Robinson), and combinarions
similar to the redoble of Sanct~ Maria, could be indicated through normal signs (see Folger, Ex. c) or suggested through
contexto
The following points should be taken into consideration:
• The character of the piece can help in choosing the ornaments. In a slow, expressive piece, rhe appoggiatura can
enhance the general character; in a dance, trills and lively mordents would be better. Likewise, the speed of the ornaments
depends on context - quick in fast pieces, less so in slow.
• The number of times an ornament is repeated will depend on the durarion of the note.
• Vibrato can be effective on higher frers; rhis can be indicated by a symbol in dots (Board ms) or normal symbols.
As composition gradually moved closer to the French style (courantes, voltas) , ornaments tended to become more like
the upper note appoggiatura. This is especially true in the cadences of courantes and voltas, where cadence ornaments are
always prepared; in these cases an appoggiatura already preceded the trilI.