Chromatic fantasia

A chromatic fantasia is a specific type of fantasia (or fantasy or fancy) originating in sixteenth-century Europe. In its earliest form, it is based on a chromatically descending tetrachord which arises naturally out of the dorian mode. Consequently the chromatic fantasia is almost invariably in D minor (D-E-F-G-A-B♭-C rather than D-E-F-G-A-B-C) even as late as Bach.

Among the earliest examples are two celebrated lute pieces by John Dowland, the Farewell and Forlorn Hope Fancy. These were obviously highly influential of Jan Pieterszoon Sweelinck whose own Fantasia Chromatica in many ways forms a link between the Renaissance and the Baroque.

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Fantasia (music)

The fantasia (Italian: [fantaˈziːa]; also English: fantasy, fancy, fantazy, phantasy, German: Fantasie, Phantasie, French: fantaisie) is a musical composition with its roots in the art of improvisation. Because of this, like the impromptu, it seldom approximates the textbook rules of any strict musical form.

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-O MELANKOLIJI---

English society during the Early Modern era was fascinated with the idea ofmelancholy. Scholars studied it, poets wrote of it, and aristocrats spent long hourswallowing in it. This interest in the darker side of life is reflected even in the musicof the time, most notably that of John Dowland. In examining his music, I havedistinguished several different types of melancholy, and I feel that Dowland’streatment of these types is more nuanced then has yet been recognized. Whilescholars from the Early Modern era realized that the complaint of melancholy was ahighly complex, multi-faceted issue, modern scholars tend to identify the melancholytendencies of Dowland’s music as a one-dimensional concept. By exploring theexpression of religious melancholy in the music of Dowland through the lens ofcontemporaneous medical and religious treatises, I am applying the earlyseventeenth-century conception of melancholy in my own interpretation ofDowland’s religious-themed music. I categorize the melancholic types of Dowland’s music according to the contentof their text. The first I am calling “true melancholy.” Simply put, true melancholyis similar in today’s parlance to clinical depression. The second is love melancholy, or erotic melancholy.2 We might refer to this as lovesickness or the pangs ofunrequited love. The third relates to failed ambition, the often extraordinary lengthsto which a person will go to achieve their goals, and the depths to which they will

sink should they fail to attain them. The final type evident in Dowland’s music is akind of spiritual or religious melancholy.3 Of all the types of melancholy outlined,the musical characteristics associated with religious melancholy are the moststrikingly consistent in Dowland’s works. Therefore, this is the focus of my study.

StringsA topic regularly discussed by lute players is the correct choice of strings, especially by thoseplayers concerned with authentic interpretation. Indeed, this topic seems to be more relevant to lutesthan any other stringed instrument.Lute strings in general have a lower tension than nylon strings on modern guitars and otherstringed instruments. Table 1 below shows the modern standard string tensions for lutes.

1st course 2nd course other courses octavesRenaissance lute 36 N 30 N 28 N 26 Nguitar 40 N 32 – 35 N

Kao da koristimo super soft zice za gitaru.

uz to glasnjaca je vrlo blizu- u odnosu na gitaru, a zice meke, i trzamo ih dvije u komadu –gadjamo izmedju zica-to se sve osobitosti radi kojih je tehnika bas takva. nokti ne smetaju jer je prst polozeniji i uglavnom trza jagodicom, vise nego na gitari

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oko 500 prezivjelih lutnji iz 16 i 17 st postoji. zasto je to tako mali broj, u usporedbi s ostalim inst, i znajuci po brojnim pisanimtragovima i po brojnim umjetnickim slikama da je lutnja bila siroko rasprostranjena, gotovo najpopularniji instrument- jer su lutnje lagane i tanke. kao perce. da bi lutnja imala zvuk koji treba, potrebno je da bude sto fragilnija, tanja, laksa, lijepljena i premazana prirodnim sredstvima

'Now divine aire, now is his soule ravisht, is it not strange that sheepes guts should hale soules out of mens bodies?' —William Shakespeare, Much Ado about Nothing.  Obviously there is a level of sophistication in his songwriting: they are art songs, but at the same time they are songs to be sung around a table by whoever wants to sing them.CAN SHEgalliard-omiljeni ples elizabete prve, plesala bi svako jutro nekoliko plesova- promjene u naglascima 3 na 2 6/4 na 3/2can she excuse- table layout, razliciti sastav (madrigal-vok, ili komb inst vok, ili lutesong)-je li d bio pjevac

-galliarda-instr.verzija earl of essex galliard- po tome najvise zakljucujemo da je earl autor teksta- dowland je uglazbio From silent night njegovu pjesmu.-no earl of essex galliard dowland je posthumno posvetio earlu. to je ucinio tek kad je bilo sigurno- nakon obezglavljenja earla, ukinut je njegov naslov grofa od esseksa i tek kad je ponovo vracena ta titula njegovom sinu, dow.je posvetio galliardu Essexu., iza toga je ovakva pricaCan she excuse je skrivena aluzija na Kraljicu i earla- koji je bio u kućnom pritvoru na selu, u sumi,godinama, i na kraju je ostao bez glave jer je kovao neuspjelu zavjeru protiv kraljice. Kroz ljubavne stihove govori se zapravo o politici- on moli oprost-moze li ona oprostit mi grijehe?quota poznatu baladu the woods so wilde-naziv Breamovog albuma eng lut glazbe- u trecem dijelu. byrd pisao najpoznatije varijacije na temu tu, njega doslovce quota dowland.muzicko politicka zagonetka, politicka sifrirana poruka.earl je kao i ostali aristokrati bio umjetnik, pjesnik.malcom gladwell 10000 sati teorija-popular psih, ali kaze da je toliko potrebno da se postane majstor u bilo kojem polju-to je 7 godina vjezbanja po 4 sata.a za misicnu memoriju steci potrebne se tisuce ponavljanja, ali i vrijeme. taj proces ucenja svi smo prosli u zivotu, poznat nam je, no uceci svirati srodni instrument ulazimo sa novom svijescu u to-ne kao dijete, vec kao gotovi muzicari, svjesni procesa, svojih ruku, svojih prednosti i mana.to cini ovaj proces novim i interesantnim iskustvom. u mnogocemu pomaze osvjescivanju jos korak vise svog motorickog sistema, jer svirajuci gitaru, vecina nasih pokreta i navika su toliko automatske jer to radimo otkad znamo za sebe.tako sviranje lutnju npr. mnogo osvjescuje nacin produkcije tona na gitari- odjednom pokret koji je automatiziran primjecujemo s novom svjesnoscu, a to znaci i kontrolom.a za misicnu memoriju steci potrebne se tisuce ponavljanja, ali i vrijeme. taj proces ucenja svi smo prosli u zivotu, poznat nam je, no uceci svirati srodni instrument ulazimo sa novom svijescu u to-ne kao dijete, vec kao gotovi muzicari, svjesni procesa, svojih ruku, svojih prednosti i mana.to cini ovaj proces novim i interesantnim iskustvom. u mnogocemu pomaze osvjescivanju jos korak vise svog motorickog sistema, jer svirajuci gitaru, vecina nasih pokreta i navika su toliko automatske jer to radimo otkad znamo za sebe.tako sviranje lutnju npr. mnogo osvjescuje nacin produkcije tona na gitari- odjednom pokret koji je automatiziran primjecujemo s novom svjesnoscu, a to znaci i kontrolom.a za misicnu memoriju steci potrebne se tisuce ponavljanja, ali i vrijeme. taj proces ucenja svi smo prosli u zivotu, poznat nam je, no uceci svirati srodni instrument ulazimo sa novom svijescu u to-ne kao dijete, vec kao gotovi muzicari, svjesni procesa, svojih ruku, svojih prednosti i mana.to cini ovaj proces novim i interesantnim iskustvom. u mnogocemu pomaze

osvjescivanju jos korak vise svog motorickog sistema, jer svirajuci gitaru, vecina nasih pokreta i navika su toliko automatske jer to radimo otkad znamo za sebe.tako sviranje lutnju npr. mnogo osvjescuje nacin produkcije tona na gitari- odjednom pokret koji je automatiziran primjecujemo s novom svjesnoscu, a to znaci i kontrolom.sve to govorim jer nema mjesta strahu da ce lutnja istisnuti ili potisnuti ili unazaditi vasu gitaristicku tehniku. mozemo uvijek izaci iz forme, ali se i vratiti u formu, ali ono sto vec imamao uvijek ce tu ostati. radi se o misicnoj memoriji koja je trajna-pravo pitanje je kako lutnjisticku tehniku pospremiti u misicnu memoriju- za to naravno treba kako smo rekli, puno ponavljanjai treba vremena-a koga uhvati inspiracija, nece mu biti tesko uloziti napor.tu cu stati. ako netko zeli nesto pitati?hvala, idemo nesto pojesti pa na koncert!Flow my tears. potpis slajd-toliko poznata da se potpisivao.najpopularnija komp.17 st. aranzirana, prepisivana, preko 100 manuskripta se pojavljuje diljem europe.prvo je napisana kao Lachrimae pavan, spori dostojanstven ples-u usporedbi s galliardom od prije, can she, a rijeci se vjeruje da je sam dow.napisao,a li tko bi znao, uglavnom se autori stihova kod dow.nepoznati.lacrimae ili sedam suza-sedam consort komada, za gudacki ansambl viola (tada nestandardizirane, ali recimo inacica danasnjeg gud.kvarteta), od kojih je prva suza, lacrimae antique, Flow my tears.motiv padajuce suze-agfe-nije ga dowland izmislio, ali ga je ucinio svojim lajtmotivom. fallen tear motiv je moguce posudio iz marenzijevih madrigala, buduci znamo koliko su semedjusobno cijenili i bili u kontaktu, kao sto je sigurno od njega posudio ostale madrigalisticke manire,kao kromatiku i oslikavanje rijeci, tj uglazbljivanje.ali taj motiv je bio dio glazbe i estetike ren.vreemna, i tog prijelaznog perioda pogotovo, monteverdi, strozzi. koliko je samo pasakalja napisano sa tim silaznim nizom.‘Aut Furit, aut Lachrimat, quem non Fortuna beavit’ (‘He whom Fortune has not blessed either rages or weeps’).kaze  na naslovnici, ali to je ta dvojnost melankolije.sto kaze o suzama-u predgovoru lacrimae seven teares: Pleasant are the Teares Which Music Weepes: moja percepcija "melankolije"- da je to onaj osjecaj koji muzika pobudjujje, ganuće do suza koje ne mozemo nazvati niti jednim drugim osjecajem. tuga i ganuce, isti simptomi a drugi polaritet. sve ima svoju suprotnost, i cesto nisu daleko-mrznja od ljubavi-to su duboka tuga i ganuce, a srecu se tu, u suzama.melankolija-puno rijeci za nesto sto se ne moze opisat rijecima, jer osjecaje je nemoguce oisati rijecima. ali svi ih zato vrlo dobro razumijemo i komuniciramo- zato postoje i rijeci kao sevdah, saudade, fado blues-sto je to neg li melankolija, samo u nekoj drugoj kulturi i drugom vremenu?

Što je to sevdah, upitaše jednom prilikom jedno desetogodišnje sarajevsko dijete.

"Sevdah je ono kad babo istovremeno pjeva i plače."eto, to je to. sve je rekao.

Dowland’s mastery of fantasia writing for the lute is unparalleled by any of his Elizabethan contemporaries. Fantasias were freely composed pieces which did not rely on dances, ballads or vocal models for their form. These works usually began with points of imitation after which the composer would introduce contrasting chordal or homophonic textures, introduce new thematic material or continue developing the melodic ideas presented at the beginning of the piece. Dowland’s fantasias encompass all of these possibilities. Forlorn Hope is a true masterpiece of Elizabethan fantasia writing. Dowland uses the motive, a chromatically descending line, to create crunching dissonant harmonies that explore the depths of despair as well as anger over an unjust fate.Among the earliest examples are two celebrated lute pieces by John Dowland, the Farewell and Forlorn Hope Fancy. These were obviously highly influential of Jan Pieterszoon Sweelinck whose own Fantasia Chromatica in many ways forms a link between the Renaissance and the Baroque.napisao var na lachriame

Sweelinck represents the highest development of the Dutch keyboard school, and indeed represented a pinnacle in keyboard contrapuntal complexity and refinement before J.S. Bach. Sweelinck, and Dutch composers in general, had evident links to the English school of composition. Sweelinck's music appears in the Fitzwilliam Virginal Book, which further only contains the work of English composers. He wrote variations on John Dowland's famous Lachrimae Pavane.

o flow my tears -The lyrics express an intense melancholy of someone whose happiness has been abruptly shattered and desires to not be saved from this dark despair. The expression of melancholy, and notions of darkness, neglect, Time’s cruelty, spiteful age, were themes used by Elizabethan songwriters to prefigure the stark inevitability of death, and it remained a prominent feature of English literature and music in the time of Elizabeth I and Shakespeare.

Teardrops merge with drops of music insofar as they bring about the same effects. This is confirmed at the level of performance. The brief comment by the rock star Sting on “Flow my tears,” which he recorded in his collection of Dowland’s songs titled “Songs from the Labyrinth” (2006) is illuminating in this respect: “(…) A song about hopelessness, it is strangely uplifting.” [42] Melancholic music actually generates an uplifting sense of liberation from concerns and tribulations, as Burton explains: “Many men are melancholy by hearing Musicke, but it is a pleasing melancholy that it causeth, and therefore to such as are discontent, in woe, feare, sorrow, or dejected, it is a most present remedy, it expells cares, alters their grieved minds, and easeth in an instant.” [43] I submit that by playing and singing, the source of the medium expresses an analogous (cathartic) sense of pleasure. It is the pure medium of performance, actually, which allows the sender to thoroughly express himself and accomplish the desired effects.I submit that Dowland himself set these specific ideas not only to music but also to words.

The dedication of Lachrymae or Seaven Teares figured in Seaven Passionate Pavans to Queen Anne. Wife of James I and sister of Dowland’s Danish patron King Christian IV, closes with the following words: And though the title doth promise teares, unfit guests in these joyful times, yet no doubt pleasant are the teares which Musicke weepes, neither are teares shed alwayes in sorrowe, but sometime in joy and gladnesse. Vouchsafe then (worthy Goddesse) your Gracious protection to these showers of Harmonie, least if you frowne on them, they bee Meta- morphosed into true teares. [44] The composer could not be more explicit: the tears that music weeps are undeniably pleasant. Such tears sometimes cause grief, sometime joy. I am convinced that the “showers of Harmony” are so central to Dowland’s production that he even sealed this by way of renaming (or “surnaming”) himself. One of his pavans for lute is titled “Semper Dowland semper dolens.” [45] The suffering that seems to accompany, even to qualify, the composer’s persona in this motto almost enigmatically encodes a special sense of dolere, namely expressing sorrow through tears. The most famous signature of the lutenist is, not by chance, “Jo dolandi de Lachrimae”:

Richard Barnfield, Dowland's contemporary, refers to the lutenist in poem VIII of The Passionate Pilgrim (1598):

“If music and sweet poetry agree,As they must needs, the sister and the brother,Then must the love be great 'twixt thee and me,Because thou lovest the one, and I the other.Dowland to thee is dear, whose heavenly touchUpon the lute doth ravish human sense;Spenser to me, whose deep conceit is suchAs, passing all conceit, needs no defence.Thou lovest to hear the sweet melodious soundThat Phoebus' lute, the queen of music, makes;And I in deep delight am chiefly drown'dWhen as himself to singing he betakes.One god is god of both, as poets feign;One knight loves both, and both in thee remain.”