francesco corbetta - the best of all section vi part 2 · francesco corbetta - the best of all 15a....
TRANSCRIPT
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Francesco Corbetta - The Best of All
Section VI Part 2
15. Alternative Versions of Pieces from La Guitarre royale (1671) Compared
Introduction
Seventeen pieces from La Guitarre royale (1671) have survived in alternative sources. [See Table 6 below].
The most interesting of these alternative versions are the six pieces found in the Gallot manuscript, because they deviate most from the printed versions. These are
p.1 f.58v Allemande du roy p.7 f.56v Allemande sur la mort du duc de Gloaster p.8 f.57 Sarabande p.13 f.98v Allemande sur l’Emprisionnement du Duc Bouquingam p.30 f.60 Sarabande p.71 f.37v Sarabande la Stuarde
To assist comparison, parallel transcriptions of these two versions have been made in both staff notation and tablature with a detailed commentary on the variants in Part 15A.
The Allemande du roy is also included in B.Lc Ms.245 and GB:Lbl Ms.Add.31640, Murcia’s Passacalles y obras and the Sarabande on p.8 is in Murcia and Carré’s Livre de pièces de guitarre. Murcia’s version is almost identical with the printed version; Carré’s version varies from the printed version but is in many ways similar to that of Gallot; a parallel transcription of his version of the sarabande is also included (but not the tablature). In addition there is one piece in both in Murcia and B.Lc Ms.245, seven pieces in B.Lc Ms.245, two pieces in Murcia and one piece in Carré. These are not transcribed but the different versions are compared briefly in Part 15B.
According to the title page the manuscript was copied for Gallot by his servant Monnier. For simplicities sake the copyist is referred to throughout the notes simply as “Gallot” rather than to “Monnier” or “the copyist of the Gallot manuscript”. B.Lc Ms.245 is referred as “Castillion” and GB:Lbl Ms.Add.31640 as “Murcia”.
A note on the transcription
Baroque guitar tablature is difficult to transcribe consistently into staff notation and the programme which I have for this purpose is limited in what it will do. The object of this exercise is to highlight significant variations in the two sources rather than to create an impeccable realization of the music.
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The music is transcribed assuming octave stringing on the fourth course only. As far as possible, notes on the fifth course are shown with lozenge shaped heads – black in the 5-part chords, maroon when they belong to the melodic line. Notes on the fourth course are shown with lozenge shaped heads in blue when they belong in the upper octave. Ornaments and slurs have been omitted except where they are relevant when comparing the two versions. Corbetta’s “unusual” dissonant chords are highlighted in green. The commonest are set out below in tablature and staff notation. Corbetta’s own errors are highlighted in purple. Gallot’s variant readings are highlighted in red. As a general rule strummed chords are shown with the stems down for a down stroke, up for an up stroke. However, the strumming directions are ignored when it seemed preferable to reconstruct the part writing. The following are the commonest dissonant chords used in La guitarre royalle (1671).
Corbetta’s dissonant chords
The programme for reproducing baroque guitar tablature is limited in what it can do. I have tried to reproduce the tablature in sufficient detail to illustrate how the different versions lie on the fingerboard. February 2017
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Table 6 Corbetta – La guitarre royale (1671)
Versions in other sources Carré = Livre de pieces de guitarre (No imprint, ca. 1677-1688). Gallot = Pieces de Guitarre, (1661) (GB-Ob Ms.Mus.Sch.C94).
Murcia = Passacalles y obras, 1732 (GB-Lbl Ms.Add.31640) Corbetta 1671 Concordances
Page Title Key Source Page
P.1 Prelude B minor Liège P.148
P.1 Allemande du Roy B minor Gallot Liège
Murcia
F.58v P.148 F.123r
P.3 Courante B minor Liège Murcia
P.150 F.124v
P.4 Sarabande (1) B minor Liège P.151
P.4 Sarabande (2) B minor Liège P.152
P.6 Allemande Cherie de son Altesse le Duc d’Yorck
F major Liège P.152
P.7 Allemande sur la mort du duc de Gloster
C minor Gallot F.56v
P.8 Sarabande C minor Gallot Carré
Murcia
F.57r P.54
F.121r
P.10 Le tombeau sur la mort de Madame d’Orleans
C minor Murcia F.119v
P.13 Allemande faite sur l’Emprisonnement du Duc de
Bouquingam
E minor Gallot F.98v
P.30 Sarabande La Victoire A minor Gallot F.60r
P.51 Gigue C minor Murcia F.121v
P.54 Alemanda la Canossa G minor Liège P.18
P.56 Sarabande G minor Liège
B-Bc Ms.S5615 US:Cah.Ms.Mus.139
P.19 P.881 F.11v
P.65 Sarabande G minor Carré P.17
P.67 Prelude D major Liège Carré
P.43 p.1
P.71 Sarabande la Stuarde D minor Gallot F.37v
1 Attributed to Colista in error
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Francesco Corbetta - The Best of All
15A. Comparison between Corbetta1671, Gallot, Carré. Castillion & Murcia
Allemande du Roy p.1 Allemande de francisque - Gallot f.58v Allemande – Castillion p.148 La Alleman[da] R[oya]l - Murcia f.123r This Allemande forms part of the first suite in La guitarre royale (1671). The king referred to in the title is Charles II to whom the book is dedicated and the whole suite may have been composed in the early 1660s soon after Corbetta became a member of Charles’ entourage. It is also one of the pieces included as an arrangement for three voices, figured bass and guitar accompaniment. However, because it has been transcribed into C minor, presumably for the convenience of the singers, direct comparison between the two versions is not practical. The way in which it is laid out on the finger board inevitably varies. In common time with four crotchets to a bar. 49 bars counting the two half bars at mid point separately. Gallot has merged two bars into one throughout. In the transcription, his version is barred to match Corbetta’s version; this creates a hiatus at bar 14. Gallot has not reproduced the notes inégales. In Castillon and Murcia, the piece is barred regularly and the notes inégales are reproduced as in the original. Both include a number of obvious copying errors which are not relevant when considering the dissonance. Corbetta’s version is clearly and accurately notated throughout with seven “unusual” dissonant chords. Bar 5 The chord on the third beat played with a barré across four otherwise unstopped courses is a standard minor 7th chord which Corbetta and other baroque guitar composers use frequently. In Gallot the chord on the third beat of the bar is incorrect; he may have intended it to be either a B minor or a D major chord. It has B on the fifth course and E on the fourth course both stopped at the second fret. Castillion and Murcia are exactly the same as in the same as the printed version. Bar 15 This is a standard Corbetta cadential dissonance. The first 5-part chord is a dominant 7th as the music modulates to F sharp minor - C sharp, E sharp, G sharp, B. The non-harmonic tone on fourth course – F sharp - is the suspended 4th (in the upper octave) sounding simultaneously with the major 3rd of the chord – E sharp - onto which it resolves. To eliminate the non-harmonic tone both the fourth and fifth courses would have to be omitted. This would transform the chord from a dominant 7th to a diminished 5th on the leading note – E sharp/G sharp/B. . Gallot has reduced the chord to two plucked notes. Castillion reproduces the chord exactly as notated in 1671.
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Murcia has F sharp instead of E sharp on the second course – seventh fret instead of the sixth - doubling the suspended 4th . Bar 20 This is a typical Corbetta cadential progression - IV7 – V – I as the music cadences in A major/minor. Corbetta has clearly indicated that the two quavers A - C sharp on the second and third courses are to be strummed. In order to do this effectively the fourth open course must be included in the strum – D - (Fsharp) - A - C sharp. Gallot has a C sharp minor chord on the second beat instead of a major 7th chord on the subdominant as the music cadences in A major/minor – III – V - I. Castillion and Murcia are exactly the same as in the same as the printed version. Bar 35 This is a typical Corbetta cadential progression - Ib - II7b – V – I as the music cadences in D major. On the semiquaver there is a single note – C sharp – played on the second course at the second fret. Corbetta has clearly indicated that this is to be strummed. In order to do this effectively the third and fourth open courses must be included in the strum. The bass line is clearly F sharp - G - A - D. There is only one real option for a chord on G taking into account the movement of the melodic line – an E minor seventh chord – E – G – [B} – D. The D is the minor 7th; it is prepared in the previous chord (Ib) and resolves on C sharp on the third beat. The note on the fourth course - the 7th of the chord - belongs in the upper octave but is inadvertently doubled in the octave below. The C sharp is an accented passing note. Gallot implies that the D major chord should be sustained for two beats. Castillion and Murcia have reproduced the notes as written including the strum note value without indicating the open courses. Bar 38 The first chord is a variant of Chord P7 (Chord P+* in my table). The non-harmonic tone is on the fifth course. It should be stopped at the ninth fret (k) = B natural rather than E at the seventh fret but it is necessary to leave it unstopped in order to play the ascending appoggiatura on the first course. The whole chord is fingered l/h/h/k/h. It may be intentional or Corbetta may have included the note on the fifth course in error. Chord P+* Gallot has l/h/g/h/k; the third course should be h rather than g if a D major chord is intended. Castillion has l/h/h/i/k; A sharp instead of B natural on the fourth course; probably a copying error. Murcia reproduces the chord exactly as notated in 1671. Bar 47 The final cadence is also typical of Corbetta’s style – V – iv9/7 - V 4-3 - i. The bass line is F sharp – E – F sharp – B. In alfabeto the second chord is the equivalent of Chord K with the fourth course left unfretted so that the semiquaver note E on the second course can be fingered which is how Corbetta probably arrived at it but it is well within the limits of acceptable diatonic harmony. The dissonant F sharp on the first course is prepared in the previous chord and resolves onto the E. In the chord on the third beat Corbetta has doubled the suspended 4th on the fifth course.
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Gallot has miscopied the second chord - an A natural instead of B on the third course in error but reproduces the rest of the bar as written. Castillion and Murcia both reproduce the whole bar as written. Differences between Corbetta and Gallot Bar3-4 Corbetta remains in B minor. Gallot has a G major chord followed by D major. Bar 6 Gallot has a G major chord on the second and third beats rather than E minor. Bar 7 Gallot has a B minor chord rather than D major on the first two beats. Bar 10 Gallot has a B minor chord rather than D major on the first two beats. Bar 11 Gallot has a G instead of A on the third course on the third beat – the chord should be a dominant 7th on B. Bar 13 Gallot has F sharp on the fourth course stopped at fourth fret in error instead of C sharp stopped at fourth fret on fifth course. The chord on the third beat is F sharp major instead of a diminished chord on the leading note. Bar 14 Gallot is incomplete. Bar 15 Gallot has replaced the strummed chord on the first beat with two plucked notes. Bar 16 Gallot has F sharp major on first beat instead of F sharp minor. Bar 21 Gallot has included B on the fifth course in error in the chord on the third beat. This is the equivalent of Chord &; Corbetta has indicated that the fifth course should be omitted with a dot on the line. On the fourth beat Gallot has an A major chord - the equivalent of Chord N - instead of D major but has included the B on the fifth course –Corbetta has D major throughout. Bar 27 Gallot has a D major chord on the first beat instead of a minor 7th chord on the submediant. Bar 29 The chord on the first beat in Gallot is incorrect – it should have A instead of G on the third course. Bar 30 On the first beat Gallot has a C major chord instead of E minor. In the chords on the second and third beats he has C sharp at the fourth fret on the fifth course in error instead of E at the seventh fret. Bar 31 Gallot has C natural in error instead of C sharp in the chord on the second beat. Bar 37 Gallot has miscalculated the frets in the first two chords – he has put i on the fourth and fifth courses instead of k. He has a D instead of an E in the third chord in error. Bar 45 Gallot has a minor seventh chord on A on the third beat instead of a B major seventh chord combined with appogiaturas in Corbetta as the music cadences in E minor.
Allemande sur la mort du duc de Glocester p.7 La Mort du Duc de Glocestre Allemande de francesco – Gallot f.56v This Allemande forms part of the second complete suite in La guitarre royale (1671). The Duke of Gloucester referred to in the title was the younger brother of Charles II, Prince Henry Stuart; he died of smallpox in September 1660. The whole suite was presumably composed soon after the event.
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In C minor. In common time with four crotchets to a bar. 47 bars counting the two half bars at mid point separately. Gallot has barred the piece in the same way but two bars – bars 40-41 - are missing from the second half. Corbetta’s version is clearly and accurately notated throughout with just one obvious misprint. In the last chord of b.9 and first of b.10, the note on the fourth course should be G stopped at the fifth fret – f- not F Sharp stopped at the fourth fret – e. The chord is the equivalent of Chord &3 in alfabeto - an E flat major chord. Gallot has the correct chord but has omitted the fifth course. There are five passages which feature “unusual” dissonant chords. Bar 1 The second chord = Chord G3 with dissonant C on fifth course; this creates a kind of pedal note through to the third bar. The complete chord cannot be played because of the ornament on the first course. Gallot has omitted both fourth & fifth course although the fourth course could be included. Bar 12 This is a standard Corbetta cadential dissonance. The second 5-part chord is a dominant minor 7th chord – C – E flat – [G] – B flat on the second degree of the scale with an ascending appoggiatura – A - on the third course as the music modulates to B flat major. The non-harmonic tone is on the first course – F. Gallot has reduced the chord to two plucked notes. Bar 31 The third chord is a dissonant form of Chord N. The fifth course should be stopped at the third fret; Corbetta may have left it unstopped because of the passing note which follows. Gallot has omitted it. Chord N* Bar 32 This is a standard Corbetta cadential dissonance. The second 5-part chord is the dominant 7th as the music modulates to E flat major – B flat – D - F – A flat. The non-harmonic tone on fourth course – E flat - is the suspended 4th sounding simultaneously with the major 3rd of the chord. Dominant 7th with major 3rd and suspended 4th Gallot has reduced it to two plucked notes and changed the preceding chord from E flat major to G minor.
Bar 43/45 This is a standard Corbetta cadential formula combining two dissonances. The second chord is the dominant 7th with the added 4th and the final chord the dominant with the doubled suspended 4th . Dominant 7th with double suspended 4th Gallot has different ending – with a different dissonant second chord. In the last chord the suspended 4th is duplicated on the fifth course as in Corbetta. Differences between Corbetta and Gallot Bar 6 Gallot has an E flat major chord on the first beat instead of G minor.
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Bar 8 Gallot has omitted the fifth course from the first chord – Chord N3. Bar 14 Gallot has C natural in error instead of C sharp in the third chord. Bar 15 Gallot has D major throughout the bar ignoring the C minor 7th chord on the second beat. Bar 26 Gallot has omitted the fifth course from the third chord although it could be included. Bar 28 Gallot has not reproduced the part writing accurately. Bar 35 Gallot has included a B natural in the last chord in error. Bar 42-3Gallot has changed the harmony in an unsuccessful attempt to reproduce what Corbetta has actually written. Bar 44-5Ditto.
Sarab[ande]de p.8 Sarabande - Gallot f.57r Tombau - Carré p. 54 Zarabanda mui Graue – Murcia f.121r This Sarabande also forms part of the suite commemorating the death of the Duke of Gloucester. It is particularly interesting because it survives in three alternative sources. In addition to the two manuscript sources it is also included in Carré’s second guitar book – Livre de pièces de guitarre et de musique printed some time between 1677-1688. In C minor. In triple time with three crotchets to a bar. 23 bars counting the two half bars at mid point separately. Both Gallot and Carré have ingnored the anacrucis; in the transcription their versions are barred to match Corbetta’s version. Murcia’s version (not included in the transcription) is barred in the same way as Corbetta. It is to all intents and purposes identical with the printed version. Murcia may have copied it from the printed book for the benefit of the patron, Joseph Albarez de Saavedrra, to whom his manuscript is dedicated. Corbetta’s version is clearly and accurately notated throughout with “unusual” dissonances only at the final cadence. Bar 22 The first chord is altered Chord K3 – the non-harmonic tone – F - on the fourth course is to allow for the passing note F in the melodic line. Gallot has standard K3 = C minor chord and has omitted the passing note. Carré has a different melodic line and has omitted the chord reducing it instead to two plucked notes. In the second chord suspended 4th is duplicated on fifth course. Gallot and Carré reproduce it unaltered. Differences between Corbetta, Gallot, Carré and Murcia This piece is particularly significant because in places Gallot and Carré reproduce identical alternative readings. These suggest that they were both working from an earlier version originating with Corbetta himself in circulation before the music appeared in print.
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Bar 4 Both Gallot and Carré have an E flat major chord instead of C minor on the second beat ot the bar. Bar 5 Carré has one of Corbetta’s standard dissonant chords - a dominant 7th as the music modulates to B flat major – F – A – C – E flat. The non-harmonic tone on fourth course – B flat - is the suspended 4th sounding simultaneously with the major 3rd of the chord. Corbetta, Gallot and Murcia have a 3-part chord played on the first, second and third courses without the 7th. Bar 9 Both Gallot and Carré have a C minor chord on the first beat with an E flat played at the eleventh fret – m - on the first course. (Gallot has B flat rather than C on the fourth course possibly because it does not involve stopping the course at the tenth fret). Corbetta has altered the melodic line to avoid using the eleventh fret perhaps because he was aware that many players would have had only ten frets. Murcia is the same. Bar 11 Gallot has a startling copying error. He has i on the first course and h on the second; they should be the other way round. Bar 12 Gallot and Carré vary from Corbetta in a similar way. Bar 13 The first chord in the printed version is F major = &5. Gallot and Carré have a differently voiced F major chord = N8; Gallot has omitted the fifth course. Bar 15 Gallot and Carré have omitted the fifth course from the E flat major chord – Chord &3 although Corbetta has included it. Bar 16 Gallot and Carré deviate from Corbetta in the same way.
Allemande faite sur l’Emprisonnement Du Duc de Bouquingam p.13
Du Duc de Bouquinkan - Allemande – Gallot – f.98v This Allemande commemorates the imprisonment of George Villiers, Second Duke of Buckingham, in June 1667. In E minor In common time with four crotchets to a bar. 51 bars counting the two half bars at mid point separately. Gallot has merged two bars into one throughout. In the transcription his version is barred to match Corbetta’s version. Corbetta’s version is clearly and accurately notated throughout with just two obvious misprints. Note values are missing in b.23. In b.44, the note on the fourth course of the the first chord should be E at the second fret – c - not F sharp at the fourth fret – e - i.e. Chord M+2. Gallot has the correct note. There are four “unusual” dissonant chords. Bar 1 The F sharp on the fourth course is just a passing dissonance. Gallot has reproduced it as written. Bar 14 This is a variant of Chord N. The non-harmonic tone is on the fifth course. It should be stopped at the fifth fret = E rather than D but it is necessary to leave it unfretted in order to play the ascending appoggiatura on the first course
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Gallot has omitted it. Bar 39 The suspended 4th is duplicated in the second chord. Gallot has reduced the chord to three parts to be plucked. Bar 49 The second chord is the dominant 7th with the added 4th. Gallot has reproduced it as written. Both Corbetta and Gallot have clearly indcated the open first course - E – the key note - should be included in the plucked chord on the third beat of the bar sounding simultaneously with the leading note. Differences between Corbetta and Gallot Bar 2 Gallot has omitted the fifth course from the first chord – Chord N4. His second chord is incorrect. Bar 7 Corbetta has indicated that the unstopped fifth course should be included in first chord. Gallot has omitted it. Bar 8 Corbetta has indicated that the fifth course should be included in first chord = Chord N7. Gallot has omitted it. Bar 13 Gallot has omitted the note on the fifth course which duplicates the dominant 7th on the second course. There is no justification for this with the correct method of stringing.1 Bar 15 Corbetta has indicated that the fifth course should be included in first chord = Chord N7. Gallot has omitted it. Bar 23 Corbetta has indicated that the fifth course should be included in first chord = Chord N4. Gallot has omitted it. Bar 27 Gallot has a different bass line. Bar 39 Gallot has a different melodic line. Bar 48 The first chord is Chord N4. Corbetta has included the fifth course but Gallot has omitted it.
Sarabande la Victoire p. 30 Sarabande – Gallot f.60r This may commemorate the Duke of York’s defeat of the Dutch fleet on 3 June 1665 off Lowestoft. Pepys called it “A great victory, never known in the world”.
In A minor . In triple time with three crotchets to a bar. 27 bars. Gallot is barred in the same way. Corbetta’s version is clearly and accurately notated throughout. There are no unusual dissonances.
1 This is one of Eisenhardt’s examples on p. 14 of the CDROM files.
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Differences between Corbetta and Gallot Bar 2 Gallot has omitted the fifth course from the first chord – P5 and has a 4-part C major chord instead of a 5-part A minor chord on the third beat. Bar 3 Gallot has omitted the fifth course from the first chord - &5. On the second and third beats Corbetta has a 7th chord on G – G – B – D – F. Gallot has omitted the 7th and has a plain G major chord. Bar 10 Gallot has omitted the fifth course from the second chord – Chord N5. Bar 13 Gallot has omitted the fifth course from the first chord – a variant of Chord B Bar 26 Instead of repeating bar 22 as in the printed version Gallot has a different ending – which may originate with Corbetta.
Sarabande la Stuarde p. 71 La Stuart – Sarabande de francisco – Gallot f.37v2 The dedication presumably refers to Frances Theresa Stuart. As she became Countess of Richmond upon her marriage in 1667, it may have been composed before that date. In La guitarre royale (1671) the piece has a Double which is not included in Gallot. In D minor. In triple time with three crotchets to a bar. 28 bars. Corbetta’s version is clearly and accurately notated throughout. There is just one unusual dissonance. Bar11 The chord at the cadence is Chord H; the fourth course is unstopped because of the ornament on the first course. It is not preceded or followed by another chord which requires the use of a barré, although a barré at the third fret would be convenient for the whole passage. At the same point in the Double the chord is written in three parts – the third and fourth courses are omited and the chord is plucked but it will still be played with a full barré. Gallot has the same 3- part chord. Differences between Corbetta and Gallot Bar 16 Gallot has omitted the 7th from the chord. Bar 19 Gallot has omitted the unstopped fifth course. Bar 21 Gallot has altered the counterpoint to eliminate the interval of a 7th on the last beat. January 2017
2 Frances Stuart presumably before 1667 when she became countess of Richmond upon her marriage.
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Francesco Corbetta - The Best of All
15B Comparison between Corbetta1671, Castillion & Murcia
Prelude p.1 Castillion p. 148 In B minor. In common time. 18 bars. There are no unusual chords.
Courante p.3 Castillion - Courante p.150 Murcia - Su Correnta f.124v In B minor. In triple time with three crotchets to a bar. 36 bars counting the two half bars at mid point separately. Corbetta’s version has one possible misprint. In bar 5 in the first chord, the A sharp on the third course is an ascending appoggiatura and should resolve upwards onto B natural. Castillion has copied it as printed. Murcia has written it out in full. (Good for him)! There are seven “unusual” dissonant chords. Bar 4 The chord on the second beat is a double suspended 4th. Castillion and Murcia are the same. Bar 9 The chord on the second beat is altered Chord K; the fourth course is unfretted. In this instance the note on first course is an ascending appoggiatura. The chord is the dominant 7th on E major as the music modulates to A major. Castillion and Murcia are the same. Bar 12 Two bars in one = 6 crotchets. The second chord cannot be played with a barré. The “non-harmonic” tone on first course is a descending appoggiatura sounding with the note onto which it resolves as the music cadences in E minor. Castillion is the same. Murcia has left out note on the fourth course and altered the previous chord to Chord N5. Bar 23 The first chord is a minor 7th chord on E Castillion and Murcia are the same. Bar33 The last chord is a dominant 7th on F sharp major; the “non-harmonic tone” on the fifth course is the added 4th. Castillion and Murcia are the same. Bar 33 The last chord is a dominant 7th with added 4th. Bar 34 The last chord is a double suspended 4th. Castillion and Murcia are the same.
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Sarabande (1) p.4 Castillion - Sarabande p.151 In B minor. In triple time with three crotchets to a bar. 22 bars counting double bar as two bars.. There are two “unusual” dissonant chords. Bar 21 The last chord is altered Chord K i.e. minor subdominant chord with 7th & 9th; the 3rd is omitted (e [g] b d f#). In the previous chord Corbetta has placed dots to indicate that the first and fifth courses are to be omitted although the barré would be established here. Castillion is the same. Bar 22 The first chord is a double suspended 4th. Castillion has a nonsensical copying error!
Sarabande (2) p.4 Castillion - Sarabande p.152 In B minor. In triple time with three crotchets to a bar. 32 bars. There are five “unusual” dissonant chords. Bar 3 Cf. Sarabande (1) b.21-2 - altered Chord K followed by a double suspended 4th. Castillion is the same. Bar 7 Ditto Bar 13 The second chord is the dominant 7th on A with the added 4th. Castillion is the same. Bar 22 The chord is thd dominant 7th on F sharp with the added 4th . Castillion is the same. Bar 31 The chord is a double suspended 4th . Castillion is the same.
Allemande Cherie de son Altesse le Duc d’Yorck p.6
Castillion - Allemande p.152 Vocal version - p.89 In F major. In common time with four crotchets to a bar. 28 bars counting the two half bars at mid point separately. There are three “unusual” dissonant chords.
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Bar 19 The chord on the third beat is the dominant 7th on G with added 4th on the fifth course. Ornament on first course. Castillion is the same. Vocal version has a plain G major chord. Bar 26 The chord on the third beat- a barré on all five courses with no additional stopped notes – is a Corbetta special. Castillion is the same. Vocal version has standard B flat majorchord =Chord H. Bar 27 Chord on the second beat is a dominant 7th on C with added 4th on fourth course. Castillion is the same. Vocal version has a different C major chord with the suspended 4th on the fourth course. If the open first course is included the 4th major and 3rd will sound together.
Le tombeau sur la mort de Madame d’Orleans p.10
Murcia – Allemanda Tombo a la muerte de Madama de Orleans f.119v In C minor 38 bars counting the two half bars at mid point separately. There are two “unusual” dissonant chords. Bar 11 The chord on the third beat is the dominant 7th on G with an added 4th. Murcia is the same. Bar 29 The chord on the first beat is the dominant 7th on F with an added 4th. Murcia is the same.
Gigue p.51 Murcia – Giga f.121v In C minor. In triple time. 35 bars counting the two half bars at mid point separately. Bars 4-7 are omitted in Murcia’s version. There are two “unusual” dissonant chords. Bar 33 The last chord is a double suspended 4th . Murcia is the same. Bar 35 In the final chord the “d” (=D) on the second course should be “e” = E flat. An ascending appoggiatura is probably what is intended. Murcia has a plain C minor chord represented with K3.
Alemanda la Canossa p.54 Castillion - Allemande p.18 In G minor. In common time with four crotchets to a bar. 41 bars counting the two half bars at mid point separately.
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There are four “unusual” dissonant chords. Bar 16 The chord on the third beat is a dominant 7th on F major; the “non-harmonic tone” on the fifth course is the added 4th. Castillion has altered this to a standard 4-part F major chord. (G2). Bar 25 The chord on the third beat is a dominant 7th on F major with an added 4th. Castillion is the same. Bar 30 Chord on the second beat is a dominant 7th on F major with a double suspended 4th. Both the 7th and 4th resolve onto a standard 4-part F major chord on the next beat. Castillion has omitted the 7th from the chord. Bar 39 Chord on the second beat is a G minor chord with an ascending appoggiatura - a-b flat on the first course with an added 4th. Castillion is the same.
Sarabande p.56 Castillion – Sarabande p. 19 This is also included in the manuscript B-BcMs.S.5615 which Castillian copied in 1630. It is on p.88 and is attributed to Lelio Colista in error. In G minor. In triple time with three crotchets to a bar. 29 bars. There is one “unusual” dissonant chord. Bar 27 The chord on the first beat is a diminished 5th on the leading note with an added 4th. Castillion is the same.
Prelude p.67
Castillion – Prelude p.43 This is also included in Carré ( ca.1677) on p.1. In D major. In common time. 13 bars. There are no “unusual” dissonances. The opening bars of the three versions vary. !4th September 2016.
Francesco Corbetta - The Best of All
Section VI Part 2
6 Pieces from La Guitarre Royale (1671) Parallel Transcription of the Printed Versions and the
Versions in GB-Ob Ms.Mus.Sch.C94
Staff notation
Allemande du roy p.1 Allemande sur la mort du duc de Gloaster p.4 Sarabande p.7 Allemande sur l’Emprisionnement du Duc Bouquingam p.9 Sarabande p.12 Sarabande la Stuarde p.14
Tablature
Allemande du roy p.16 Allemande sur la mort du duc de Gloaster p.20 Sarabande p.23 Allemande sur l’Emprisionnement du Duc Bouquingam p.25 Sarabande p.29 Sarabande la Stuarde p.31
Allemande du Roy p.1/f.58v
Corbetta
Gallot
5
10
15
1
20
25
30
2
35
40
45
3
Allemande sur la mort du duc de Gloaster p.7/f.56v
Corbetta
Gallot
5
10
4
15
20
25
30
5
35
40
45
6
Sarabande p. 8/f. 57/Carre p.54
Corbetta
Gallot
Carre
5 10
15
7
20
8
Corbetta
Allemande faite sur l'Emprisonnement du Duc de Bouquingam p. 13/f.98v
Gallot
5
10
15
9
20
25
30
10
35
40
45
50
11
Sarabande la Victoire p. 30/f. 60
Corbetta
Gallot
5
10
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12
20
25
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Sarabande La Stuarde p.71/f.37v
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14
25
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