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Reimagining Historical Voices
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Banchieri on Writing an Introit that Creates the Effect of Improvised Counterpoint in Many Voices
‘I have no doubt at all that the counterpoints above a cantus firmus from the introits by Constanzo Porta and Giovanni Matteo Asola,...

Tim Braithwaite


A Comparison Between Cathedral Singing and the Singing of David’s Psalms (1644)
Davids Psalms sung in our English Meeter differ much from Cathedrall singing, which is so abominable, in which is sung almost every...

Tim Braithwaite


Reminiscences of a Cacophonous (!) way of ‘Singing on the Book’ in Early 19th-Century France
‘I know of no musician today who has any idea what it means to sing on the book. It was an improvised and simultaneous melody [chant]...

Tim Braithwaite


Summary of the Rules of Singing on the Book: Those of “strict counterpoint” in two voices
The summary below is from Jean-Paul Montagnier, “Le Chant Sur Le Livre Au XVIIIe Siècle: Les Traités de Louis-Joseph Marchand et Henry...

Tim Braithwaite


Improvising on a Plainchant (Chanter sur le Livre) as described in Early Nineteenth-Century France
‘... France, where musical taste has always been somewhat backwards, has never abandoned the mania for improvising on plainchant. The...

Tim Braithwaite


Friedrich Weber on Choral and Solo Singing and Training the Choral Voice (1800)
‘Singing exercises that last too long and involve too much effort make the voice screeching, cause the voice to go out of tune, and are...

Tim Braithwaite


Tosi on the Excesses of Modern (1723) Singers, and the Patience of the Waiting Orchestra
‘§ 5. Every Air has (at least) three Cadences, that are all three final. Generally speaking, the Study of the Singers of the present...

Tim Braithwaite


Johann Friedrich Agricola (1757) and Wolfgang Caspar Printz (1678) on Choral Singing
‘The loudness or softness, especially on long and serious notes, must be observed even by those who sing the supporting voices [not the...

Tim Braithwaite


Giovanni Bardi Discussing Good and Bad Singing in a Letter to Giulio Caccini (c.1578)
I become nauseated when I recall some singers I have heard, whether solo or accompanied by others, improvising on a choirbook, not caring...

Tim Braithwaite


John Crompton on Suitable Voices for the Countertenor Part (1778)
‘Suitable voices for the middle, or counter part are rather difficult to find; but let no-one, for that reason, attempt it with a feigned...

Tim Braithwaite


Jean-Laurent de Béthizy on Singing with Instruments Using Artificial Tuning Systems (1764)
‘Note on this occasion that temperament is not the same on all instruments, it is inevitable, when many sorts of instruments play a piece...

Tim Braithwaite


Michael Praetorius on the Requirements of a Singer and Expected Vocal Ranges
‘Firstly, a singer must have a voice by nature, in which three requirements and three flaws are to be noted. The requirements are these:...

Tim Braithwaite


A Description of ‘The Honorable Entertainement Gieuen to the Queenes Maiestie’ in 1591
‘In the pinnace were three Virgins, which with their Cornets played Scottish Gigs, made three parts in one. There was also in the saide...

Tim Braithwaite


Johann Matthias Gesner’s Description of J.S. Bach Directing from the Keyboard (1732)
‘To Marcus Pabius Quintilianus You would think but slightly, my dear Fabius, of all these [the accomplishments of the citharists], if,...

Tim Braithwaite


John Curwen Describes a Rehearsal of the Boys at St. Pauls, London in 1891
‘The Cathedral bell is striking two, and in the passage boys scud to and fro shouting “Practice!" and racing to their places in the...

Tim Braithwaite


Denys 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...

Tim Braithwaite


Hieronymus 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...

Tim Braithwaite


With Chains of Gold? Thomas Morley describing the soundworld of English liturgical singing (1597)
This kind [the motet] of all others which are made on a ditty [text], requireth most art, and moveth and causeth most strange effects in...

Tim Braithwaite


Martin Agricola on ‘One of the First Things’ to Teach Choristers (1533)
‘On the difference between the syllables/voices [stimmen]. From the above mentioned six syllables two are called b molles, ut and fa,...

Tim Braithwaite


John Arnold on Collective, Florid Psalm Singing (1761)
Of the Several Graces Used in Music: The first and most principle grace, necessary to be learned, is the trill or shake; that is, to move...

Tim Braithwaite
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