The Improvising Consort

"The Art of Playing ex tempore to a Ground"

"Dal sonare sopra'l basso con tutti li stromenti"

We divide instruments into two classes:

1. Omnivoca or 'fundamental' instruments are those which guide and support the whole body of instruments and voices, and which can play all the parts of a song; and

2. Univoca or 'ornamental' instruments are those which play a single part scherzando e contraponteggiando - playfully and contrapuntally - making a song more delightful and sonorous: their only purpose is to ornament the piece and enhance its beauty, indeed, to add spice to the consort.

(after Agostino Agazzari, 1607 &
Michael Praetorius, 1619)

One is to play the Ground, Subject or Bass ...; the Other ... plays such variety of Descant or Division in concordance thereto, as his skill and present invention do then suggest.

(Christopher Simpson, 1665-67)

The harpsichord or other instrument plays the complete work in all its parts: or the bass, accompanying it with consonances and a little counterpoint; and what the viol does is to accompany and to add grace to what the harpsichord plays, delighting the listeners with variations on one of the written parts, or by making up a new part

(after Diego Ortiz, 1553)

Fundamental instruments:
- organ, positive, regal, large harpsichords &c.

Ornamental instruments:
- violins, viols, flutes &c.

Common to both:
- spinets, lutes, theorboes, citterns, guitars, harps &c: in quiet music with just a few voices they may be used as the fundament; but in noisy music with a lot of different voices, they are better as ornaments.

(after AA/MP)

The instruments of the two classes are played differently, according to their two different functions. The fundamental instruments need to be played simply, without a lot of runs and divisions, keeping the harmony steady with a variety of beautiful counterpoints, blossoming forth and making lovely melody, according to the instrument's own character:

  • the lute played with invention and variety, gentle strokes and repeated notes, gruppi, trilli & accenti weaving the parts together;
  • the violin with long and clear runs, little imitations, expressive accents;
  • the harp plucked sweetly both high and low, one hand answering the other with trilli &c.
  • and always one having respect for the other and waiting his turn, not twittering all at once like sparrows, or all trying to be cock-o'-the-roost at once.

(after AA/MP)

This manner of play is the perfection of any instrument... It is a perfection which some excellent hands have not attained unto, as wanting those helps which should lead them to it; the supply of which want is the business we here endeavour. True it is, that Invention is a gift of Nature, but much improved by Excercise and Practice.

(CS)


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Diego Ortiz, Trattado de Glosas, Roma 1533
Agostino Agazzari, Del sonare sopra'l basso, Siena 1607
Thomas Morley, Consort Lessons, London
Michael Praetorius, Syntagma Musicum iij, Wolfenbüttel, 1619
Christopher Simpson, The Division Viol, London 1665-67

More practical details coming soon! In the meantime you can read more about Musica Pedagogica Practica here