Lettione seconda pur della prattica di sonare il violone d’arco da tasti, composta per Silvestro Ganassi dal Fontego desideroso nella pictura, la quale tratta. Donor challenge: Your generous donation will be matched 2-to-1 right now. Your $5 becomes $15! Dear Internet Archive Supporter,. I ask only. Silvestro Ganassi’s La Fontegara (Venice ), a treatise methodologically describing instrumental diminutions, still remains enigmatic. By offering a contextual.
|Published (Last):||28 January 2006|
|PDF File Size:||18.51 Mb|
|ePub File Size:||5.4 Mb|
|Price:||Free* [*Free Regsitration Required]|
Fonteagra work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 70 years or less. Contents 1 Performances 2 Sheet Music 2. The revival of interest in historically aware musical performance has resulted in renewed interest in Ganassi’s writings. Please obey the copyright laws of your country.
From Wikimedia Commons, the free media repository.
In other projects Wikimedia Commons. Retrieved from ” https: Retrieved from ” http: His treatises are now available in modern editions.
Methods ; Performance practice ; Writings ; Divisions ; For recorder ; Scores featuring the recorder ; For 1 player ; Italian language. Ganassi’s Regola Fontsgara is among the earliest sources of advice to the viol player on how to hold the bow.
Opera intitulata Fontegara Venice, His first treatise covers recorder playing: The thumb and middle finger ensure, in fontegra the bow, that it does not fall, and the index finger serves to strengthen and stabilize it, keeping it on the strings and exerting more or less pressure according to the need. This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights.
Title Opera intitulata Fontegara, la guale insegna a sonare di flauto chon tutta l’arte opportuna a esso istrumento massime il diminuire il guale sara utile ad ogni istrumento di fiato et chorde: Public domain Public domain fontegata false.
File:Ganassi – Wikimedia Commons
I can say that if you wished to play a piece which is in four or five parts while singing the fifth, you would need to use a longer bow than is customarily used.
The illustration from Regola Rubertina lower right, opposite appears to show this hold. You must also include a United States public domain tag to indicate why this work is in the public domain in foontegara United States.
Sylvestro Ganassi’s Fontegara
Ganasei from ” https: Views View Edit History. This page was last edited on 23 Novemberat They cover both technicalities of playing and the subtleties of expression. Silvestro di Ganassi dal Fontegoalso given as Sylvestro di Ganassi dal FontegoSilvestro Ganasi dal Fontegoand Silvestro dal Fontego 1 January —  was a Venetian musician and author of two important treatises on instrumental technique.
Note that a few countries have copyright terms longer than 70 years: This image may not be in the public domain in these countries, which moreover do not implement the rule of the shorter term.
Sylvestro Ganassi – La fontegara
The following other wikis use this file: From Wikipedia, the free encyclopedia. Summary [ edit ] Description Ganassi fontegara. There are some minor differences from the Forni Facsimile Edition based on the Bologna copycompare f. This page was last fontegaea on 26 Aprilat Treatise on playing the recorder and ornamentation, published in Venice Information on the source of the scan is lacking. IMSLP assumes no legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.
Views Read Edit View history. Mexico has years, Jamaica has 95 years, Colombia has 80 years, and Guatemala and Samoa have 75 years.
This is because fontegaea hairs on a longer bow would be less stretched, allowing one to draw the bow with less pressure on the strings while playing a chord. Sylvestro Ganassi Some interpretations of this passage conclude that the bow is to be held without touching the hair,  whereas in later bow-holds the fingers tension the hair in order to allow louder or accented playing ganasei the stick of the bow hitting the string. There is also guidance on ornamentation — passaggi.
Then you could use the fingers to stretch the hairs when playing fewer strings or a single string.