48 Italian Folk Tunes - Album

edited by Marco Ferrari

Bladmuziek

48 Italian Folk Tunes 48 Italian Folk Tunes
48 Italian Folk Tunes

Componist(en):

Uitgever('s):

Uitgavenummer:

HS-182

Instrument(en):

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Productomschrijving

In Italy, between the end of the 15th century and the beginning of the 16th, the first traces of a new kind of instrumental dance repertoire begin to appear. Here, melodies are not set polyphonically but accompanied with simple chords while following the framework of a specific choreography. This kind of piece can be found in sources like the Pesaro and Castello Arquato manuscripts, the works of J. A. Dalza and A. Gardane and later in 17th century collections for chitarriglia and chitarra spagnola.

They contain dance forms such as the Pavane, Gagliarda, Saltarello, Piva, and later Corrente, Follia, Bassadanza, Chaconne, Passacaglia and Allemande, some of which would remain in vogue in parts of Europe until the end of the 18th century. One could hypothesize that these sources contain small traces of what went on in the enormous repertoire transmitted by working musicians who usually played by ear - the 'dance band' performers of the era.

The Italian popular musical tradition was profoundly shaped by this modus operandi to the point that certain titles and certain forms (together with their characteristic rhythmic framework) would remain in use until the end of the last century. The repertoire used in this edition comes from the age-old dance tune tradition, the melodies that have migrated from one region to another, changing languages as they go, adapting themselves to their new home while being transformed by the fingers of each new player, maintaining strong similarities even when partially masked by cultural differences.

Any musician that comes from the oral tradition (i.e. any musician that operates without recourse to written notes) mentally follows a simplified melodic and rhythmic/harmonic scaffolding as he or she plays. Each performance is different, with a changing ornamentation made up of articulation, pronunciation and style. This ever changing 'pronunciation' found in the oral tradition is the aspect that presents the most difficulties to anyone attempting a transcription that tries to capture the subtleties of individual playing. By imposing a rigid structure, we create a situation that does not reflect the facility and naturalness of the original recordings.

This is why we have chosen to 'deconstruct' the pieces, stripping down melody and harmonic structure in order to bring them back to their essential form, with a page format that underlines their structure to make memorization easier. Some pieces have been transposed in order to make them more 'playable' for the largest possible number of melodic instruments.

As we said beforehand, this is a repertoire that has always flitted between written music and that transmitted orally: living between ear and eye, so to speak. These simple transcriptions are designed to reflect this, in that they can be used for didactic purposes or as a jumping-off point for performance.

The part dedicated to the Northern Italian repertoire consists mostly of 'balli saltati', the 'jumping dances' of the Tusco-Emilian Apennines. Here, we have selected versions taken from the surviving recordings of the violinist Melchiade Benni. Other examples are taken from a collection of transcriptions published in Rome in 1894 by Gaspare Ungarelli, who used the same kind of guidelines followed in this publication.

The Central Italian repertoire is based on field recordings in our possession. The Sicilian repertoire is made up of pieces that are no longer in use, but strongly representative of the merit of the Southern Italian tradition, together with others that are still performed today.

Productdetail

Componist(en):

Uitgever('s):

Uitgavenummer:

HS-182

Instrument(en):

ISBN:

9790215318946

Volgnummer:

200371

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