35 - Târentella Italy, Spain, 17ú a t8th c.

)=rm

a)la Carpinese(traditional / Kircher)

llr

(6) * ü f;

Transposition (6) $Transposition f9 t

35a - Tarentella'Napoletana'

b)

a)

Kircher ü

7 f

#etc

35b - Tarentella del Gargano, traditionalo= l0O

üsuggested melody

fr

*

a)

f,

H

Transposition

35c - LaTareÍrtela, Sanz$;ru)

Ossia: Bb

il ^,\ l\tl il h

94

35d - Tarantelas, Mu rcia (ütq)

ü O

b iletc

35e - Tarantelas, Saldivar Codex(c.tZ2o)

Note the harmonic similarity to the beginningof Marizapalos (n'19, p.65).

35f - LaTarantela, Huete (tzoz)

In this bass variation, the C sharp appearing in the harmony is ignored, even if it means creating cross-relations (bar 7).

35g - Tarantella Italiana, cid(l7sr)

* This last example comes from the Tarantismo observa.do... (Madrid,1787), a treatise whose author, the physician Francisco Xavier Cid,describes the benefits of this dance in healing the consequences of a tarantula bite. Kircher (1641), Covamrbias (1674), Iraíeta y Jaúregui(1784) and many others also agree on the therapeutic virtues of theTarentello. According to Cid, it is a lively dance, like theFanlango,Folías ot Canario, and is more effective on patients when played on the guitar accompanied by the violin, rather than on one or two guitars.Weber, Rossini, Chopin, Rachmaninoff, Wolff, Fauré, Cui and Absil, amongst others, have continued to pay tribute to theTarãntella.

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)=too17 - Villano

(rillano, Vilan di Spagna)

Spain,Italy,l6th a llh c.

+

a)after Cuerau

a) I..L..,I-J

I

J

etc

17a - Villan di Spagna , Carbonchi(1643)

_l _l tl

17b -Villanos

# ltttfttltE

ü6 etc

Vlllano (continued)17c - Villanos, Saldivar Codex(c.tZ2A)

<t ,t|\\^

^ )t -i -l -t ili

J -1

I

-l

* The.Wllano probably appeared in the second half of the l6úc. A".oráing to N.gri, it was u "h"..f-I,.*.,,,iriul

du*In Spain' the more common refrain was: "Al villarw se lo dan / la cebollã con eí pan,,. Esquivel Navarro detailed itschoreographic aspects' which include dangerous kicks(boleos)and pirouenes lgtràdas). Húe sometimes enriches thechord progression I / IV I I I Y I I (El viltano Cavallero) or, on the contrary,

'ieduces it to a simpre uouiaà n (Wanos

4.::Í!:1:!:)::1T: Rd:-c,._-y:"d gasp,T§anz's version as well as his canníios, Dance de tas Hàchas and Espafrotetain the FanÍasia para un Gentilhombre (t os+;, a concerrante work for guituiãrá ãr"h.rt*.

18 - Passacaglia / Pasacalle Italy Spain,tTúc.(French style Passacaílle: cf n" 38, p.102)

).= +e

asuggested melody

7

The_harmonic progression and outline are close to úose of conde claros(n' 5, p. 4ó), of which certain pasacalles variations ctearty Uear ttre mait<

l8a - Passacalle inminormode

asuggested melody

(fi)b *

In Spain, the Pasacalles de proporción (in triple time) often alternate with those de compasillo(in duple time) :

)=n l8b - Passacalle de compasillo, Sanz 00ru)

This harmonic base, quite often.modified, has given rise to hundreds of different .versions of which only a few are providedhere' taken from the Snanish and ltalian tep"tto'ir" for h3rp, guitar, keyúara L, "t

itu.ron", especially generous in this regard.One may improvise on each one or on linking several of them. and collect or even invent others.

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