Tim BraithwaiteDenys van Leeuwen on Late Fifteenth-Century Liturgical Singing, Translated by Robert Redman (1533)‘Whether descant may be commendable in the divine service, and of certain things which ought to be eschewed in song. Like as it is declar...
Tim BraithwaiteHieronymus de Moravia (late 13th century) on the use of Harmonic Flowers in Chant‘The harmonic flower [flos harmonicus] is, however, an ornament of the voice or sound, and a very fast and storm-like vibration. Some flow...
Tim BraithwaiteAdhémar de Chabannes on French and Italian Articulation (11th c.)‘All the singers of France have learnt the Italian style that they now call ‘French’, but cannot express perfectly the tremulous...
Tim BraithwaiteNotker of St Gall's Letter Describing the Significative Letters Notker sends greeting to brother Lantbert. At your request, I have taken pains to explain as well as I could...
Tim BraithwaiteJohannes Tinctoris on 'Counterpoint' and 'Res Facta' (1477)‘Moreover, simple as much as diminished counterpoint is made in two ways, that is, either in writing or mentally. Counterpoint...
Tim BraithwaiteFermatas in Fifteenth-Century Polyphony: A Notated Cadenza A Gloria from an unknown mass setting by Estienne Grossin. Check out the ossia cadenza!
Tim BraithwaiteJohn of Salisbury on Florid Singing (12th Century)‘It pollutes the very practice of devotion that in the sight of God... by the debauchery of their wanton voices, by their self-display, b...