Jeanette Lajeunesse Zinggs consummate choreography included a moresca and two-step passamezzo
moderno near the beginning of Act II for the women, accompanied with authentic castanets and bells.
Based on the passamezzo
modemo bass, this large-scale, anonymous virtuoso work must have been copied from a now-lost source.
The most popular forms were stately dances for couples, for instance, the pavane, passamezzo
and allemande, during which the man led the woman on his right side, holding her hand, and gallantly attending to the lady's comfort.
Un analogo desiderio di facilita nell'intonare un canto all'impronta accompagnandosi da se e anche alla base della fortunata diffusione di giri armonici (o meglio di bassi) precostituiti, come la romanesca, il passamezzo
antico e moderno, la folia.
ALISON KINDER will be among the musicians of Passamezzo
who will also be donning costumes - this time from the Elizabethan era - for their concert in Warwickshire on Thursday.
From Busino's account the main masque dance was based on geometric figures, and the dances he named for the revels, the passamezzo
, corrente, canario, and spagnoletta are all found in the Italian manuals of Caroso and Negri.
However, the meeting took place when Philips was most active as a keyboard composer: the Passamezzo
Pavan and Galliard date from the previous year and share stylistic features with Sweelinck's keyboard music, suggesting a possible influence.
Besides, Elizabethan ears were well attuned to the relationship from their acquaintance with the passamezzo
antico, of which it was an intrinsic feature.
In brief, there are two different versions of this work; one voice also appears in a chanson by Jean Richafort; Henry's poem is in praise of gregarious fun whereas the French poem is a lament for unrequited love; and the chordal basis for the first two lines of Henry's music is very close to the chord sequence that later became known as the passamezzo
The practice of improvisation played a significant role among 16th-century Spanish instrumental performers and composers, as indicated by two major treatises of the period devoted to the codification of improvisational techniques - Diego Ortiz's Tratado de glosas (1553) and Tomas de Santa Maria's Arte de taner fantasia (1565).(1) Ortiz's well known treatise is a practical guide to three frequently used improvisational techniques: (1) extemporization on a previously composed vocal piece; (2) improvisation on a given cantus firmus (including such familiar ground basses as the romanesca, the passamezzo
antico and the folia); and (3) free improvisation.
96 G 2 statements of the bipartite passamezzo
moderno ground--A (32s) + B (16s)--as follows: AA'BB'A"A"'B"B"' 4 Passymeasures Pavan Ti f.