Sources
NEWS: Bovicelli's Regole (1594), translated by MSB's Oliver Webber, is now available from Septenary Editions!
One strong characteristic of early 17th century style is the manner of ornamentation: this is based in part on the earlier tradition of diminution (literally, diminishing longer notes into smaller ones) for which we are lucky enough to have a vast array of contemporary sources.
These include instruction books which give tables of intervals and cadences, each with several different possible diminutions, and complete works, usually well-known madrigals or chansons, ornamented throughout. The former are especially good for study at home, and the latter very useful for showing us how virtuoso performers put such instructions into practice. You can download a list of the most important sources here; almost all of these are available in facsimile at IMSLP, and many are also available in modern editions by Musedita, London Pro Musica and Septenary Editions.
NEWS: Bovicelli's Regole (1594), translated by MSB's Oliver Webber, is now available from Septenary Editions!
One strong characteristic of early 17th century style is the manner of ornamentation: this is based in part on the earlier tradition of diminution (literally, diminishing longer notes into smaller ones) for which we are lucky enough to have a vast array of contemporary sources.
These include instruction books which give tables of intervals and cadences, each with several different possible diminutions, and complete works, usually well-known madrigals or chansons, ornamented throughout. The former are especially good for study at home, and the latter very useful for showing us how virtuoso performers put such instructions into practice. You can download a list of the most important sources here; almost all of these are available in facsimile at IMSLP, and many are also available in modern editions by Musedita, London Pro Musica and Septenary Editions.
Four of the most useful sources for ornamentation around 1600: Bovicelli, Dalla Casa, and the two Rognonis
Some tips and suggestions for learning the art of diminution.
1. Virgiliano’s rules make an excellent first reference point.
2. Start simple: don’t try to improvise very fast diminutions at first. Slow and even is the best way to begin.
3. Remember, diminution is just that: making small notes from larger ones. It’s not “adding” something on top of a melodic line, or trying to fit fast ornamental notes between main notes.
4. When performing diminutions, don’t give them too much weight or energy; string players should use as little bow as possible, and wind players should imitate the tonguing patterns from dalla Casa and Rognoni.
5. The best teachers are the original sources: use these as often as possible! Practise the examples in the handouts, transpose them, incorporate them into scales, and use them in your pieces; then seek out the others from the source lists.
6. Writing out your own ornaments is a good first step towards improvising.
7. For more spontaneity in performance, memorise a few possibilities for certain key places, so that you can choose one on the spur of the moment.
8. In ensemble playing, only one player should ornament at a time. Sometimes it can be useful to agree in advance which bars each player will take.
9. Specifically, at cadence points, it’s often best if the final ornament is left to the part with the leading note.
10. Finally, be bold in your exploration of this wonderful art, and enjoy yourselves!