In this chapter, I explain the criteria I used to analyze Bovicelli’s ornaments. After this explanation, you can find my handwritten analysis in a PDF file within this chapter. The findings and discussions I have drawn from this handwritten analysis can be found in the next chapter: findings and discussion.
C. Intervals
In Renaissance music, diminutions with primarily stepwise motion are common.1 With this in mind, one could say that larger intervals (from a third onward) are an exception to the ‘rule.’ Therefore, in this section, I will notate every interval larger than a second when used within an ornament. These intervals will be labeled simply by their name (‘third,’ ‘fourth,’ etc.).
D. Melodic sequence
A melodic sequence refers to a motif that repeats itself, starting either on the same note or on a different one. However, for it to be considered a true melodic sequence, the repetitions must occur directly after one another. I will notate this motif on a music staff, using a symbol to indicate the first note of the sequence. Similar motifs with different rhythms also fall into this category.
E. Rhythm + rhythmic sequence
Renaissance music is described as having a regular rhythm, with notes divided in twos.1 Deviations from this pattern, like dotted rhythms or triplets, will be notated by indicating only the note value, if nescessary marked with a number indicating how often they occur (e.g., "2x"). Repeating rhythms, which can include dotted rhythms but don’t necessarily have to, will be marked the same way, with the addition of the word “sequence”.
F. Standard figures
In the Renaissance style, standard figures like the trill and trill with turn are common.3 These are (short) ornaments with a standard pattern and can start on any note. I will notate the standard figures on a music staff, with the name of the figure written above.
G. Musica ficta
Musica ficta, or musica falsa, can easily be explained as accidental signs that are not written down but still need to be performed.2 In early music, this relied on the knowledge of the musician; they were expected to apply rules in order to determine whether to apply ficta or not. The application of ficta was controversial and remained until late in the 17th century.
According to Bent (2001), three common rules of ficta are:
- Leading notes should be raised by adding a sharp.
- A note above the la of a hexachord always has the function of a fa and should therefore be a half tone step. This is called the fa super la.
- Dissonant intervals (such as tritones) should be avoided and altered.
If ficta appears in Bovicelli’s ornament, the note with the accidental will be included in the analysis.
H. Retention of original notes
This analysis applies only to figures longer than two notes plus the longa, including all ornaments from numbers 10 to 15 in table no. 1. The focus is on whether and how the original notes are preserved within the ornament. I assign a color to the original notes, and the point at which each note should have occurred in the original figure is marked with the same color. At a glance, it shows whether the original note is preserved or not.
According to the above-mentioned criteria, I have analyzed all of Bovicelli’s ornaments from Chapter 3 of his Regole, passaggi di musica, 376 ornaments in total. The complete handwritten analysis is included below as a PDF file. This represents only the analytical work; the findings and context will be addressed in the next chapter.
