luis milan historical background modal analysis

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I. Introduction

The fantasia was an instrumental genre first cultivated in Italy and Spain in the

early 1530’s and was quite popular among composers because it imposed no set rules or

form thus allowing e!perimentation with numerous styles and compositional techniques"

#omposers used the fantasia as a way to write with complete freedom not restrained by

any pree!isting structure$ this often resulted in improvisatory treatment of musical

material" %irst developed by Italian lutenists such as %rancesco #anova da &ilano and

Spanish vihuelists such as 'uis &il(n the fantasia eventually became )nown all over

*urope" Throughout the history of this genre the fantasia is often connected to an earlier

form called the ricercare " #omposers and writers of the si!teenth century either made

loose distinctions between these genres or could not agree on how to e!plain them

which resulted in some confusion about the terms"

II. Purpose

In this paper I will supply a historical bac)ground and draw a distinction between

the genres of the ricercare and fantasia with references to influential composers such as

%rancesco #anova da &ilano and 'uis &il(n" In addition I will select a fantasia from

'uis &il(n’s El Maestro +153,- to be transcribed for modern guitar" I will supply a brief

historical overview of &il(n’s wor)s as well as an outline of the transcription process a

style analysis of the selected wor) and solutions to some performance issues" &y

adaptation will attempt to ma)e a clearer reali.ation of &il(n’s contrapuntal writing in

ways that are idiomatic to the guitar"

1



III. Problematic differences between ricercare and fantasia

There is much information on the connection between the genres of ricercare and

fantasia " To have a clear understanding of how these genres are related a historical

bac)ground is necessary" In this section I will provide an e!planation of these genres

and how they are lin)ed to one another"

In the early 1500’s some Italian composers began to e!plore a new style of

writing that epitomi.ed freedom and innovation" These composers were interested in

moving away from pre/set forms and structures" hat resulted were compositions that

showed the composer see)ing out2 +hence the Italian name ricercare - various modes

melodic ideas sounds and colors created on their instruments in an improvisatory

fashion" The earliest e!amples of these see)ing out2 compositions can be traced to both

the repertory of lute and )eyboard" %or a period of about fifty years +1500’s/15 0’s- the

ricercare underwent various transformations resulting in two distinct types of ricercare

that e!isted concurrently namely the preludial and imitative types"

The preludial type was primarily a homophonic wor) that contained a thin te!ture

and lac)ed formal organi.ation in its structure and thematic coherence$ composers who

wrote in these styles used free mingling of chords that were interspersed with running

passagewor) reminiscent of an improvisation" 1 The earliest usage of the term ricercare

e!ists in %rancesco Spinacino’s 1504 collection entitled Intabulatura de lauto libro

primo " This two/boo) collection contains two instances whereby the preludial function is

suggested +for e!ample Ricercare de tous biens because of its reference to the chanson

1 on &ichael 6andal ed" The Harvard Concise Dictionary of Music and Musicians +#ambridge&assachusetts7 8arvard 9niversity :ress 1;;,- 5,1"

<



De tous biens, which was intabulated earlier in the volume-" < The following year the

preludial function of the ricercare appears to have been considered differently in wor)s

found in =">" al.a’s 150? Intabolatura de lauto libro quarto " In this boo) a distinction

is drawn when the ricercare is of a more substantial or rhapsodic type" >ccording to

al.a’s boo) a particular type of prelude would introduce this more comple! ricercare "

'isted in al.a’s contents are pieces that are intended as a @tastar de corde con li soi

recercar drietro’ +testing the strings with a ricercare following-" This suggests that the

@testing of the strings’Awhich allowed the performer the opportunity to ma)e last/minute

adBustments to the tuning of the instrument through the playing of passagewor) whileloosening the performer’s fingers for the contrapuntal comple!ities of the ricercare that

followedAwas used as a prelude to the rhapsodic ricercare "3 Cf the five pieces that are

indicated as @tastar de corde’ only one is not followed by a ricercare " >s the style

evolved comparable names such as @tastar2 @taDer’ or @tiento’ were also commonly used

to refer to the ricercare "

The imitative or polyphonic type of ricercare developed the techniques seen in

the learned contrapuntal styles from =osquin de :re.’s generation" Ricercare of this

nature used melodic figures in an imitative fashion that were well/suited for the te!tural

and idiomatic possibilities of both the lute and the )eyboard "5 In general the earliest

types of the imitative ricercare were sectional and would feature contrapuntal devices

such as point/of/imitation and paired imitation" %ollowing these imitative gestures were

< =ohn #aldwell7 @6icercare’ , Grove Music nline ed" '" &acy +>ssessed 3 >pril <00?-Ehttp7FFwww"grovemusic"comG3 in)o %abris7 @Tastar de corde’ Grove Music nline ed" '" &acy +>ssessed 3 >pril <00?-Ehttp7FFwww"grovemusic"comG =ohn #aldwell7 @6icercare’ , Grove Music nline ed" '" &acy +>ssessed 3 >pril <00?-

Ehttp7FFwww"grovemusic"comG5 on &ichael 6andal ed" The Harvard Concise Dictionary of Music and Musicians +#ambridge&assachusetts7 8arvard 9niversity :ress 1;;,- 5,1

3



episodes of running passagewor) characteristic of instrumental writing" , These

techniques found in the imitative ricercare laid the foundation for its successor the

fugue" >ccording to 8arry #ollin Slim interest in symmetry and balance within

fle!ible rhythmic structures plus the artful s)ill in manipulating compositional techniques

employed by composers of =osquin’s generation2 can be seen in wor)s by lutenists such

as &arco all’ >quila and %rancesco #anova da &ilano and )eyboardist Hiacomo

%ogliano composers who constitute a more elevated or classical2 phase of these abstract

pieces" 4 Cf the above composers %rancesco da &ilano is unique because of his

masterful treatment of manipulating and developing short melodic motifs that at timeswere used as a single subBect throughout the piece creating some of the earliest e!amples

of monothematic ricercare "2?

>s mentioned before instrumental composers of the lute and )eyboard primarily

developed the solo ricercare " y the mid/fifteenth century however the first appearance

of an ensemble ricercare was seen in a 15 0 publication in Jenice entitled Musica

!ova" # or)s in this collection are of particular interest because they show a preference

for adapting the imitative comple!ities found in motets" In &ilton Swenson’s edition of

selected ricercare from Musica !ova the editor states that these wor)s use numerous

repetitions of thematic material and frequent appearance of learned contrapuntal devices

of augmentation diminution inversion and retrograde"2 10 In addition the author

believes that these wor)s because of their high level of contrapuntal difficulty and

, Ibid" p" 5,1"4 8" #olin Slim ed" Musica nova" $ccommodata per cantar et sonar sopra or%ani et altri strumenti,composta per diversi eccellentissimi musici" 2 +#hicago7 9niveristy of #hicago :ress 1;, - !!!viii"? %ranco :avan @%rancesco +#anova- da &ilano ’ Grove Music nline ed" '" &acy +>ssessed 3 >pril<00?- Ehttp7FFwww"grovemusic"comG; &ilton Swenson ed" Ensemble Ricercare 2 +&adison isconsin7 >/6 *ditions 1;4?- vii"10 Ibid p" vii"



structural unity are not a part of the improvisatory tradition developed earlier by lutenists

and )eyboardists but are modeled after the refined contrapuntal structures evident in the

musical languages found in vocal music" 11 This new style influenced lutenists such as

Jalentine a)far) +8ungary- and &elchior Kewsidler +Hermany- to create lute ricercare

which featured the cultivated contrapuntal devices of part/writing found in these

instrumental ensemble ricercare "

In addition to the concurrent usages of these above/mentioned ricercare the term

fantasia was also used to describe an imitative type of instrumental composition" This

interchangeability appeared to have been common" In fact writers and composers of theday sometimes used the terms in reference to the same type of piece" >n e!ample of this

is given in :ontus de Tyard’s description of %rancesco da &ilano’s improvisatory playing

as @a rechercher une fantaisie’" 1< &oreover the non/e!clusivity of these terms is obvious

in the music of %rancesco da &ilano who ma)es little or no distinction between

fantasia and ricercare "213 >nother e!ample of the multiple uses of these terms appeared

in reprints of Musica !ova in %rance" 8ere what was once called ricercare are now

listed as phantaisies "1 =udging by the fle!ible usage of this term fantasia seems to have

been more of a colloquial name than a truly descriptive term"2 15

The earliest source of the term fantasia appeared in &ilan in 153, in the music by

&arco all’ >quila and %rancesco da &ilano "1, *ven though the terms were shared the

fantasia grew into its own type of piece which was considered a wor) of imaginative

11 Ibid p" vii"1< #hristopher "S" %ield7 @%antasia’ Grove Music nline ed" '" &acy +>ssessed 3 >pril <00?-Ehttp7FFwww"grovemusic"comG13 Ibid"1 Ibid"15 Ibid"1, Ibid"

5



style that could feature a mi!ture of free improvisatory techniques to strictly

contrapuntal and more or less standard sectional forms"2 14

y the middle of the si!teenth century the popularity of the fantasia grew across

*urope resulting in the publication of treatises on how to learn and teach this style" Two

Spanish treatises are worth noting7 iego Crti.’s 1553 Trattado de %losas and Tomas de

Santa &arLa’s 15,5 $rte de ta&er fantasia" oth wor)s describe the process of

improvisation of a fantasia in regard to a particular instrument" %or instance Crti.’s

treatise is intended for the viol and to some degree the harpsichord while Santa &aria’s

is suitable for the )eyboard vihuela or any other instrument" >lthough both treatisesdiscuss and e!plain the art of this free imaginative style Santa &arLa’s treatise

specifically addresses the technique of a new style found in Spanish music that is the

chordal improvisation or playing in consonancias a prevalent feature in many of

fantasias by Spanish vihuelists especially 'uis &il(n" This new style favored a strong

balance between the treble and bass voice while filling in the consonant pitches to

strengthen the sound of the harmony" Scholar &iguel 6oig/%rancolL further states that

the Santa &arLa’s treatise was the earliest published complete description of an

improvisational and compositional technique based on the supremacy of the treble/bass

duet filled in with vertical sonorities"2 1?

> loo) into the 'uis &il(n’s fantasias from his 153, treatise El Maestro supports

&il(n’s preference toward this style because there are several wor)s in this collection

which are indicated for the study of consonancias" 2 The practice of chordal

improvisation as mentioned in Santa &arLa’s treatise reflects what was popular and

14 Ibid"1? &iguel >" 6oig/%rancolL :laying in consonances 2 Early Music Jol" <3 Ko" 3 +>ug" 1;;5- ,1/ 41"

,



current2 in the music of Spanish composers of the mid/1500’s" >s a result the chordal

improvisations combined with imitative techniques gave rise to a distinct Spanish

fantasia " To gain a deeper perspective of this Spanish fantasia a loo) into the pieces

from 'uis &il(n’s El Maestro is essential" The ne!t section will provide a brief history

of &il(n and his wor)s with particular interest in his vihuela de mano treatise El

Maestro"

IV. Historical overview of Luis Milan and his treatise El Maestro (153 !

'uis &il(n +c" 1500/15,1- was a courtier at the court of %ernando de >ragMn in

Jalencia Spain" 8e in addition to being a musician was also a poet and a writer"uring his life &il(n wrote three te!ts" The first which was published in Jalencia in

1535 was entitled 'ibro de Motes de damas y cavalleros intitulado el (ue%o de mandar

and dealt with parlor games that were popular in the courts of Jalencia and Italy" The

second boo) portions of which are the focus of this paper was entitled El Maestro

+153,-" El Cortesano, the third and last te!t published in 15,1 was a boo) that describes

the day/to/day interactions conversations and entertainments of court life in the spring

of 1535"2 1;

El Maestro, dedicated to =oNo III the Oing of :ortugal is 'uis &il(n’s only

treatise which is devoted to the pedagogy of the vihuela de mano "<0 The wor) is original

in that it is one of the first handboo)s that attempt to use a graded didactic approach in its

layout" In the introductory notes &il(n writes that the boo) is intended for those who

have never played the vihuela"2 <1

1; avid Hrimes The Complete )antasias of 'uys Milan +:acific7 &el ay :ublications Inc" <000- viii"<0 Ibid" p" viii"<1 Ibid" p" viii"

4



The te!t is divided into two main sections or boo)s$ the first contains easier2

music and the second more difficult2 music" In addition to the fantasias the treatise

also contains pavanas +based on the Italian dance- plus concluding each boo) three

groups of songs to be accompanied by the vihuela such as villancicos, romances, and the

Italian sonetos "<< >n outline of the contents of El Maestro is as follows7

oo) I %antasias 1/;" %antasias 10/1? +consonancias y redobles-

%antasias 1;/<<%antasias <3/ <? +pavanas-Jillancicos 1/,6omances 1 and <

Sonetos 1/3oo) II %antasias <;/3;

" %antasias 0/ 3 +tientos-%antasias /50Jillancicos 4/1<6omances 3 and Sonetos /,

>lthough the boo) contains many different types of music the fantasias are the

most innovative and artful" =ohn Hriffiths mentions that

Pthe composition of the original fantasias was the pinnacle of the vihuelist’s artand the fantasias in &il(n’s El Maestro are fundamentally distinguished from those by allsubsequent composers in that they are less dependent upon techniques derived from vocalcompositions and more closely connected to instrumental improvisation"2 <3

Cf the compositions found in this te!t the ones that are of considerable interest to

me are the fantasias which e!plore the chordal improvisational styles discussed in Santa

&arLa’s treatise" I have chosen )antasia no" *+ because I believe it is an e!cellent

<< Ibid" p" i!"<3 =ohn Hriffiths @The Jihuela7 :erformance :ractice Style and #onte!t 2 from erformance on 'ute,Guitar, and -ihuela. Historical ractice and Modern Interpretation ed" Jictor >nand #oelho +#ambridge7#ambridge 9niversity :ress 1;;4- 1,5"

?



representation of this style" In the following section I will discuss the transcription

process for this wor)" The details discussed below will help inform my eventual

transcription of the wor) for modern guitar"

V. "ranscription Process

#. "unin$

The music written for the lute and vihuela de mano is comparable in its playing

principles to that written for the guitar" 6eading from the original tablature only requires

the understanding of the tuning and the method of tablature +i"e" Italian or %rench-" %or

the vihuela the tuning was based on the intervals of th

/th

/&aB"3rd

/th

/ th

beginning withthe lowest string and resulted according to &il(n in the pitches >/d/g/b/e’/a’" >bsolute

pitch was not necessarily a concern for &il(n" 8e even suggests that the tuning of the

vihuela must depend on the si.e of the instrument" ith this in mind &il(n indicates

that the first string can be tuned as high as possible" That string is therefore the starting

pitch on which all other strings are based" < In comparison with the tuning of the guitar

only the interval between the fourth and third strings is different" Since the guitar is based

on * with the standard intervals of a th/ th/ th/&aB"3rd/ th only an adBustment of the

interval between the fourth and third strings is required to read straight from the original

notation"

%. "ablature

Tablature is a graphic representation of the si! courses +strings- of the vihuela de

mano but the tablature systems used by the %rench and the Italians differ in the way in

which they designate the lines and the indications of the left hand" In the %rench style of

tablature the top line represents the first string of the vihuela" 'etters +i"e" a b c etc"-

< avid Hrimes The Complete )antasias of 'uys Milan +:acific7 &el ay :ublications Inc" <000- !i"

;



were used to indicate which fret is to be stopped by the left hand and the rhythmic values

were placed above the line" In contrast the Italian style of tablature indicates that the

bottom line represents the highest course thus resulting in a mirror image representation"

&oreover >rabic numerals were used in place of letters and li)e in the %rench style the

rhythmic values were written above the top line"

'uis &il(n’s method of tablature is a mi!ture of these two styles" 8e borrows

from the %rench tablature style the indication that the top line represents the first course

and from the Italian style the use of >rabic numerals instead of letters" <5

&. "onal centers

6eading from the original tablature transposes the music down to * on the guitar"

:laying from the original on the guitar with the third string tuned to % sharp sometimes

lac)s the resonance and proBection of the original" 8owever by using a capo on the third

fret of the guitar the tone color is brighter and more sonorous" In addition the use of a

capo facilitates the passagewor) by utili.ing higher closer positioned frets"

'. #daptin$ to modern notation

hen adapting )antasia no" *+ for modern notation it is necessary to preserve

and capture the free spirit of the music as e!emplified in &il(n’s introductory notes that

precede these fantasias of El Maestro "

The fantasias of these ne!t fourth and fifth sections that we now begin show aQtype ofR music that is li)e testing the vihuela with consonancias mi!ed with redobleswhich are commonly called playing dedillo " >nd to play it with its natural air you willhave to follow this manner" *verything that is consonancia play with the pulse slow andeverything redobles play with quic) pulse "<,

<5 'uis H(sser 'uis Milan on /i0teenth1Century erformance ractice + loomington7 Indiana 9niverity:ress 1;;,- p" 153"<, avid Hrimes The Complete )antasias of 'uys Milan +:acific7 &el ay :ublications Inc" <000- <0"

Dedillo a technique used by many vihuelists is the pluc)ing up and down of the inde! finger on scales passages and redobles refer to passagewor)"

10



The idea of @testing’ is not foreign here since its first usage was seen earlier in =">"

al.a’s 150? treatise" ut in this case the @testing’ pertains more to the sounds and

colors found when e!ploring the consonancias and redobles on a vihuela as opposed to

al.a’s intentions to refine the tuning of the instrument and warm/up2 the fingers"

&il(n’s notes suggest a fle!ible character one which allows for rhythmic freedom

in the passagewor) of the redobles as well as the sweet sounds of the chorale/li)e

consonancias " Kow how does an arranger capture this spirit in a transcription The first

thing that needs to be considered in a transcription is a visual representation of the

character of this piece" To the modern musician the rhythmic values that are indicatedgive the impression on a slow/paced wor) the opposite of its intent +*!" 1a-" To give a

clearer impression of the virtuosic quality of this piece the values of the rhythmic

notation have been cut in half +*!" 1b-"

*!" 1a" Cpening of )antasia no" *+ section 1 original notation"

*!"1b" Cpening of )antasia no" *+ section 1 adapted to modern notation with increased

rhythmic values"

11



The ne!t part that needs to be considered is the vertical lines that cross the staff2

which appear to function as bar lines" 8owever according to avid Hrimes these

vertical lines in the tablature serve only to mar) off equal units of a single pulse$ and are

not the same as our modern bar lines which indicate repeated patterns of stronger and

wea)er beats" <4 >lthough the standard meter divisions force the music to have a

particular beat accent thus resulting in the loss of an organic2 and free quality the

absence of any type of grouping of the beats +i"e" no bar lines for instance- would seem

unnatural and not as visually accessible to the modern musician" The best way to adapt

this wor) is to group with measures but to perform with a free rhythmic feeling onewhich does not necessarily accent the beats within a meter according to modern practice"

The inclusion of measures will also aid in grouping of the fantasia into sections +see *!"

1a and 1b-"

. )eali*in$ the counterpoint

Simply a direct adaptation from the original tablature does not give a clear

representation of which notes should and can be sustained to clarify the contrapuntal

intention" This was a criticism made by Thomas 8ec) in a review of 'eo Schrade’s

edition of 'uis &il(n’s El Maestro " 8ec) mentions that the transcriber’s responsibility is

not a literal representation of the music but an interpretive approach to free2 the music

imprisoned within the tablature"2 <? >t this point of the process the arranger has to ma)e

a decision about which notes are no be sustained" The following passage is a reali.ation

of this procedure +*!" <-"

<4 Ibid" p" !"<? Thomas 8ec)" *l &aestro by 'uis &ilan$ #harles =acobs 2 2ournal of the $merican Musicolo%ical/ociety Jol" <5 Ko" 3 +>utumn 1;4<- ?4"

1<



*!" <" 6eali.ation of the counterpoint of the opening of )antasia no" *+ section 1"

+. Performance issues

To ma)e some of the passagewor) more virtuosic and idiomatic on the modern

guitar slurs should be added" The following are some e!amples of added slurs from two

different sections +*!" 3a and 3b-"

*!" 3a" Slurs in measures 3/10 from section JI of )antasia no" *+"

*!"3b Slurs in measures ,/4 from section JII of )antasia no" *+"

VI. ,t-le #nal-sis of Fantasia no. 10

#. Mode

%or 'uis &il(n mode was a )ey element" 8e believed it was essential for the

student to understand which modes were being used and how these modes structure the

fantasia " #onsequently all the instrumental wor)s in El Maestro are preceded by an

13



e!planation about modality" <; &il(n’s emphasis on modality can be observed in the

preface to his fantasias which in addition includes some information on tempo"

Two things are to be considered in the following fantasias of the present boo)"

Cne that they QfantasiasR are to be played with a fast or slow tempo as the author wishes"The other to observe well the tones they QfantasiasR follow because they show how thetones are to be played on the vihuela "30

>dditionally scholar 'uis H(sser adds that &il(n’s typical e!planation of a mode in

reference to a specific piece would be7

Cbserve well this fantasia the cadences it forms through what range Qor placeson the fingerboardR it goes and where it finishes because in it will be seen all that thefirst mode legitimately may do" 31

This statement by &il(n indicates that the cadences range and final tones govern the

mode and furthermore supply the student with the necessary understanding of what to

e!pect in these wor)s" 3< In order to have a clear picture of principles presented in modal

theory a short e!planation is necessary at this point"

The main components that define each mode are the modal octave + ambitus - its

division into species of a fourth and fifth and the three essential single/pitch modal

functions7 the finalis theconfinal +a fifth above the finalis - and the tenor +repercussa3 "33

To discuss all eight of the modes +authentic and plagal- in these terms would be outside

the scope of this study$ therefore I will only apply this modal thin)ing to the material

used in )antasia no" *+ "

<; 'uis H(sser 'uis Milan on /i0teenth1Century erformance ractice + loomington7 Indiana 9niversity:ress 1;;,- p" 1" 30 Ibid p" <"31 Ibid p" <"3< Ibid p" <"33 &iguel >" 6oig/%rancolL &odal :aradigms in &id/Si!teenth/#entury Spanish Instrumental#omposition7 Theory and :ractice in >ntonio de #abe.Mn and Tom(s de Santa &arLa 2 2ournal of MusicTheory Jol" 3? Ko" < +>utumn 1;; - <50"

1



'uis &il(n indicates that the )antasia no" *+ uses both modes I + orian- and II

+8ypodorian-" The associations of a somber and sad nature as mentioned by the

si!teenth century Italian theorist Hioseffo arlino can be seen in both modes because of

the presence of a minor third at the beginning of each mode formed by the lowest tone

and a third above it" The following e!amples present both modes in scalar form +*!" -"

*!" " &odes used in )antasia no" *+" 3

orian 8ypodorian

%. &adences

The structural importance of finalis and tenor are further e!emplified in the way

they are treated in the conte!t of this wor)" These pitches can be observed at cadence

points" &oreover these cadences form sections in the wor) and as will be discovered

are )ey features in organi.ing the fantasia " Uet in addition to these primary notes other

pitches in these modes tend to be seen as resting points +for instance cadences on the

third and fourth above the finalis and one tone below the finalis -" H(sser classifies

cadences on the tonal levels of a third above the finalis and one tone below the finalis as

secondary cadence types ma)ing cadences on the finalis tenor and fourth above the

finalis primary types 35 +*!" 5a-" Since this wor) is transposed to * on the guitar I have

also provided a transposed e!ample in > orian which will be the tonal center used in

my transcription and from this point on how this wor) will be analy.ed +*!" 5b-"

3 The breves indicate the finalis and the whole notes indicate the tenors of these modes" The brac)etsgroup the mode according to the species of the fourth and fifth"35 'uis H(sser 'uis Milan on /i0teenth1Century erformance ractice + loomington7 Indiana 9niversity:ress 1;;,- p" 3" The blac)en bo!es indicate the secondary cadence types and the whole notes indicatethe primary cadences types"

15



*!" 5a" #adence types in )antasia no" *+ in orian"

*!" 5b" #adence types in )antasia no" *+ in > orian"

&usic written during the si!teenth century was governed by consonant and

dissonant intervals" #onsonances were the unison perfect octave perfect fifth and maBor

or minor thirds and si!ths" issonances were the perfect fourth maBor or minor second

and maBor or minor seventh" In orian mode the seventh scale degree preceding the

cadence is normally raised by a half/step + musica ficta - to increase the tension in the

music thus creating a greater sense of repose at the cadence" *ach )ey modal pitch

would have a characteristic or formulaic type of cadential gesture that would lead to its

eventual resting point on a consonant interval" The following are musical e!amples of

cadential gestures in &il(n’s fantasia +*!" ,a and ,b-"

*!" ,a" #adential gestures in section II of )antasia no" *+"

1,



*!" ,b" #adential gestures in measures 11/1 of section JI of )antasia no" *+"

&. Phrase structure

The following chart outlines the cadence types that are found in )antasia no" *+

and illustrates the phrase structure and the number of measures in each section +*!" 4a-"

The notational portion simply gives a clearer picture of how these cadences relate to the

finalis +*!" 4b-"

*!" 4a" :hrase structure of )antasia no" *+" 45

Sections &easures &ovement begins #adence

I ? a/////////////////////////*

II 4 e////////////////////////a +no 3 rd-

III 1 a////////////////////////*

IJ ; e////////////////////////a +octave-

J 11 ///////////////////////*

JI 1 #///////////////////////d +octave-

JII 1< H///////////////////////a +octave-

3, 9pper case letters identify a maBor sonority and lower case letters identify either a minor or anincomplete sonority +see analysis on page <0-"

14



*!" 4b 34" > notational reali.ation of the cadence types in relation to the finalis of

)antasia no" *+"

hat can be noticed about this wor)’s structure is that although it is free in its

conception the cadences and phrase structures are all governed by the mode"

It can be argued that the musical languages used in &il(n’s fantasias greatly

influenced Spanish composer and writer Tomas de Santa &arLa" >s mentioned before

Santa &arLa’s 15,5 treatise $rte de ta&er fantasia published twenty/nine years after El

Maestro outlines how to engage in the process of playing the fantasia" Specifically the

author states that it is a sectional genre in which sections are surrounded by opening

imitative e!position followed by a closing cadence"2 3? In addition Santa &arLa also

includes cadential schemes that are stri)ingly similar to &il(n’s usage ma)ing Santa

&arLa’s te!t a document that codifies the performance practice of this art form"

VII. &onclusion

Kumerous transcriptions of 'uis &il(n’s fantasias are available but more often

than not the adaptations lac) an informed perspective" Studying a fantasia in the ways

outlined above gives much insight into the comple!ity of this style and the musical

language used by &il(n" The e!traordinary artistic merit of these fantasias is the reason

this music has outlived the instrument it was originally written for"

34 The 6oman numerals above the pitches identify the cadential pitch of each section"3? &iguel >" 6oig/%rancolL &odal :aradigms in &id/Si!teenth/#entury Spanish Instrumental#omposition7 Theory and :ractice in >ntonio de #abe.Mn and Tom(s de Santa &arLa 2 2ournal of MusicTheory Jol" 3? Ko" < +>utumn 1;; - <5,"

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Slim 8arry #olin editor" Musica nova" $ccommodata per cantar et sonar sopra or%ani et altri strumenti, composta per diversi eccellentissimi musici" #hicago7 9niversity of #hicago :ress 1;, "

Swenson &ilton editor" Ensemble Ricecare " isconsin7 >/6 *ditions 1;4?"

luis milan historical background modal analysis

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