minstrel: first message on the list & a query
Cynthia J Ley
cley at juno.com
Sun Feb 26 08:33:19 PST 2006
"L'homme arme" is actually a secular tune, which Dufay swiped for use in
That said, the practice of doubling a note value or diminishing it by
half was not unknown in period practice. For instance, canons could be
performed in augmentation, in which the note values in one or more parts
were double that of the original melody; or performed in diminution, in
which case the note values would be half of those shown in the original
Super simplistic translation:
a quarter note in the original tune becoming a half note is augmention
a quarter note in the original tune becoming an eighth note is diminution
On Sat, 25 Feb 2006 17:23:56 -0500 "Kevin Brock"
<kevinmbrock at earthlink.net> writes:
> Hi there. My good friend and master, Efenwealt, had suggested I join
> list because there was some interesting discussion going on.
> Having seen a bit of a lull, I thought I'd pose a question that had
> intrigued me, but it's in part because my music background isn't
> enough to know whether or not my idea is cockamamie or not.
> The notion is this: in the 15th century "L'homme arme" masses, the
> tenor is
> the melody of the tune "L'homme arme" itself. Is it possible to look
> at some
> contemporary masses and: 1) extract the tenor part so that 2) we can
> speed up or manipulate the tenor part into creating a viable melody,
> separate from the mass? Think of it as a musical
> reverse-engineering, of
> sorts. I keep meaning to test this out to see if I can come up with
> potential melodies to songs, but I haven't had time recently.
> I recognize that this idea may be 100% crap - my focus is generally
> medieval poetry rather than music theory. However - I thought I'd
> pose the
> question to you anyway, to see what you all think.
> Olivier de Bayonne
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