External links
- Passamezzos at IMSLP
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The passamezzo (plural: passamezzi or passamezzos) is an Italian folk dance of the 16th and early 17th centuries.
Many pieces named "passamezzo" follow one of two chord progressions that came to be named after the dance, passamezzo antico and passamezzo moderno. [1] The chord progression would be repeated numerous times in succession while the dance was being performed. [2]
According to Renaissance practices, the passamezzo dance is often followed by other dances in a triple time, such as the saltarello, gagliarda or paduana. [2]
There are many variant spellings. In Italian or international usage, the name is also rendered as pass'e mez(z)o, passo e mezzo, and passomez(z)o. In early English usage, the names frequently incorporated the word measure in a folk etymology, giving such renderings as passemeasure, passingmeasure, passy-measures or passemeasure(s) pavan , particularly to designate the passamezzo antico progression. Passamezzi following the passamezzo moderno progression are designated "quadro pavan" or "quadran(t) pavan." [1]
French printed collections of passamezzo antico settings emerged in the 1550s, edited by Claude Gervaise for Attaingnant and Jean d’Estrée for du Chemin. Catherine de’ Medici’s fondness for dancing encouraged the Franco-Italian musical exchange, as well as to promote a French counterpart to the Florentine Intermedii. [3]
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The pavane is a slow processional dance common in Europe during the 16th century (Renaissance).
In a musical composition, a chord progression or harmonic progression is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of popular music styles, traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built.
In Western musical theory, a cadence is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs. The word "cadence" sometimes slightly shifts its meaning depending on the context; for example, it can be used to refer to the last few notes of a particular phrase, or to just the final chord of that phrase, or to types of chord progressions that are suitable for phrase endings in general.
"Greensleeves" is a traditional English folk song. A broadside ballad by the name "A Newe Northen Dittye of ye Ladye Greene Sleves" was registered by Richard Jones at the London Stationers' Company in September 1580, and the tune is found in several late 16th-century and early 17th-century sources, such as Ballet's MS Lute Book and Het Luitboek van Thysius, as well as various manuscripts preserved in the Seeley Historical Library in the University of Cambridge.
Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek harmoniai ; one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself.
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek harmoniai or tonoi, based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode.
The passamezzo moderno, or Gregory Walker was "one of the most popular harmonic formulae in the Renaissance period, divid[ing] into two complementary strains thus:"
The passamezzo antico is a ground bass or chord progression that was popular during the Italian Renaissance and known throughout Europe in the 16th century. The progression is a variant of the double tonic: its major mode variant is known as the passamezzo moderno.
A double tonic is a chord progression, melodic motion, or shift of level consisting of a "regular back-and-forth motion" in melody similar to Bruno Nettl's pendulum type though it uses small intervals, most often a whole tone though may be almost a semitone to a minor third.
The Andalusian cadence is a term adopted from flamenco music for a chord progression comprising four chords descending stepwise – a iv–III–II–I progression with respect to the Phrygian mode or i–VII–VI–V progression with respect to the Aeolian mode (minor). It is otherwise known as the minor descending tetrachord. Traceable back to the Renaissance, its effective sonorities made it one of the most popular progressions in classical music.
In music, homophony is a texture in which a primary part is supported by one or more additional strands that provide the harmony. One melody predominates while the other parts play either single notes or an elaborate accompaniment. This differentiation of roles contrasts with equal-voice polyphony and monophony. Historically, homophony and its differentiated roles for parts emerged in tandem with tonality, which gave distinct harmonic functions to the soprano, bass and inner voices.
A waltz, probably deriving from German Ländler, is dance music in triple meter, often written in 3
4 time. A waltz typically sounds one chord per measure, and the accompaniment style particularly associated with the waltz is to play the root of the chord on the first beat, the upper notes on the second and third beats.
La Folía (Spanish), or Follies (English), also known as folies d'Espagne (French), La Follia (Italian), and Folia (Portuguese), is one of the oldest remembered European musical themes, or primary material, generally melodic, of a composition, on record. The theme exists in two versions, referred to as early and late folias, the earlier being faster.
Stile antico, is a term describing a manner of musical composition from the sixteenth century onwards that was historically conscious, as opposed to stile moderno, which adhered to more modern trends. Prima pratica refers to early Baroque music which looks more to the style of Palestrina, or the style codified by Gioseffo Zarlino, than to more "modern" styles. It is contrasted with seconda pratica music. These terms are synonymous to stile antico and stile moderno, respectively.
Diomedes Cato was an Italian-born composer and lute player, who lived and worked entirely in Poland and Lithuania. He is known mainly for his instrumental music. He mixed the style of the late Renaissance with the emerging Baroque, and also Italian idioms with Polish folk material; and in addition he was one of the first native-born Italian composers to visit Sweden.
Michelagnolo Galilei was an Italian composer and lutenist of the late Renaissance and early Baroque eras, active mainly in Bavaria and Polish–Lithuanian Commonwealth. He was the son of music theorist and lutenist Vincenzo Galilei, and the younger brother of the scientist Galileo Galilei.
Diatonic and chromatic are terms in music theory that are most often used to characterize scales, and are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900.
Romanesca is a melodic-harmonic formula popular from the mid–16th to early–17th centuries that was used as an aria formula for singing poetry and as a subject for instrumental variation. The pattern, which is found in an endless collection of compositions labeled romanesca, perhaps named after the Roma, is a descending descant formula within a chordal progression that has a bass which moves by 4ths. The formula was not to be viewed as a fixed tune, but as a framework over which elaborate ornamentation can occur. It was most popular with Italian and Spanish composers of the Renaissance and early Baroque period. It was also used by vihuelistas including Luis de Narváez, Alonso Mudarra, Enríquez de Valderrábano, and Diego Pisador.
Baroque music refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition. The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and is widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". The works of George Frideric Handel and Johann Sebastian Bach are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Alessandro Stradella, Tomaso Albinoni, Johann Pachelbel, Henry Purcell, Georg Philipp Telemann, Antonio Vivaldi, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, François Couperin, Johann Hermann Schein, Heinrich Schütz, Samuel Scheidt, Dieterich Buxtehude, and others.