Libro Primo (Transcriptions)


				Lute Works of Ser Marco dall'Aquila: Opera Omnia Libro Primo (Transcriptions)



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Ser Marco dall'Aquila,

sonador de lauto

Libro primo: Ricercari e Canzoni intabulati

Authorized edition

Transcribed and edited by

Arthur J. Ness

  1. Ricercar senza Canto (Sol)

          (posted 2009)

2. Ricercar (Fa)    (posted 2009)
3. Ricercar (Fa)    (posted 2009)

4. Ricercar (Fa)    (posted 4/2010)
5. Ricercar (Fa)   (posted 5/15/2010)

6. Ricercar (Re)   (posted 5/15/2010)

7. Ricercar (sol) (posted 5/20/10)
8. Ricercar (sol)  (posted 7/30/10)

9. Ricercar (do)     (posted 2009) Rev. 7/30/10
10. Ricercar (Sol)     (posted 4/2010 Rev. 7/2010)

11. Contre raison  (posted 7/30.10)

          (Sermisy) (sol)
12. A l'adventure l'entreprise

          (Willaert) (sol) (posted 7/30/10)

13. Il est bel e bon

          (Passereau) (re)  (posted 5/13/2010)
14. Amour me voyant (Remainder posted

          (Sermisy) (Fa) 8/28/2010)
15. Je ne fais rien que réquérir

          (Sermisy) (Fa)
16. Las, voules-vous qu'une personne

          (Vermont) (Fa)
17. Mauldicte soit la mondaine

          richesse (Sermisy) (Fa)
18. La rousée du moy de may

          (Rousée) (Fa)
19. J'aime le cueur

          (Sermisy) (Fa)
20. Aupres de vous secretement

          (Sermisy) (Si bemolle)

The Marco Motive

Josquin's motet "Benedicta es" was one of the most popular vocal compositions used for intabulations by lutenist-composers of the Renaissance. Francesco da Milano also composed a parody (No. 87 in my Harvard Uniiversity Press edition, with an anonymous intabulation of the motet itself in the appendix, No. 30). Francesco's is especially interesting because it resembles a variation set, the opening phrases set several times, with contrasting dance-like harmonies.

I've never seen tablature with barlines drawn as here, with two semiminims in one bar alternating with another with one minim. It's the beat pattern of a triple tactus, that is two semiminims for the down stroke, and one semiminim up: down, down, up. Probably it is to inform the lutenist to play the two measures as triple meter (3/2, here), and not as compound duple (6/4). But compound duple is used later as a contrast in the final section (it's another instance of Marco's sense of musical shape by means of meter).

Some players extend the piece by omitting measure 44, taking a da capo al fine, and ending with the first chord of measure 29 (first two strokes).

Passereau's Il est el e bon enjoyed street-song popularity in Marco's day. It's a piece that is especially popular today with its patter. I rushed it onto these pages so you'd have more time to practice it.

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