THE FALSE CONSONANCES OF MUSICK BY NICOLA MATTEIS SELECTED EXAMPLES William F. Long
Introduction th
Nicola Matteis was a 17 century violinist and guitarist who settled in London in 1672. His text, T HE F ALSE C ONSONANCES ONSONANCES OF M USIC USIC O R I NSTRUCTIONS FOR THE PLAYING A TRUE B ASSE UPON THE GUITARRE … teaches how to realize a figured bass on the instrument now known as the “baroque guitar.” It was published in Italian in 1680 and in English two years later. The baroque guitar is in appearance appe arance similar to the modern classical guitar (see Watteau’s sketch on the title page) but is rather smaller with 9 or 10 strings arranged pair-wise into 5 “courses.” The tuning of the baroque guitar is similar to that of the classical guitar—give or take the occasional octave. The lowest two courses of the baroque guitar are tuned an octave higher than on the classical guitar, a so-called “re-entrant tuning” reminiscent of that of the ukelele. Sometimes one of the strings of one or both of these lowest courses was tuned down an octave. The tuning Matteis used is shown below, but his instructions should work for any of the common tuning variants.
Classical guitarists are accustomed to using mensural notation, all the notes being placed on a treble staff, sounding an octave lower than notated. But in folk and popular music tablature notation is common. Tablature tells the guitarist which strings to pluck and which frets to stop. Sometimes tablature includes additional information about note duration, slurs, and special effects. Tablature inevitably produces a mbiguities, but so does mensural notation. In popular music publications nowadays, the two are often combined to give a clearer idea of the execution of the music. In Matteis’ time, tablature was the rule for solo music on fretted instruments. Continuo players, however, had to learn to read a figured bass from mensural notation and to supply appropriate chords. Matteis bridged the gap between solo performance and accompaniment by showing the figured bass and the the corresponding accompaniment in tablature format. Of special interest is T HE S of Matteis’ book since it ECOND P ART of provides many practical examples of figured bass realization in various time signatures, styles and keys. The following pages consist mainly of examples selected from T HE S ECOND P ART . In them I’ve rendered Matteis’ tablature into modern form with the help of Finale notation software.
The tablature symbols will be familiar to modern guitarists with a few ex ceptions: 1. The five strings are represented by the five lines on the TAB staff. The highest highe st course, the E string or strings, is represented by the top line, the B string course is nd represented by the 2 line down, and so forth. 2. Consistent with 17th century practice, the fret positions are indicated by letters, a st nd being an open string, b a string stopped at the 1 fret, c a string stopped at the 2 th fret, etc. The letter j is is omitted since it wasn’t used in the 17 century. 3. Up and down arrows ! " below the tab staff indicate the direction of a strummed chord. A down arrow " means to strum toward the floor. In mensural notation this would correspond to an arpeggio going upward. An upward. An up arrow ! means to strum away from the floor, a downward arpeggio arpeggio in mensural notation. Note, then, that “up” and “down” are different for the right and left hands. Go figure. And it’s even worse if you take into account the re-entrant tunings and octave doublings in the courses. 4. A right parenthesis ) after a note means a trill on that note. In Matteis’ realizations this is invariably a cadential trill, and should start from the upper note. 5. Ordinarily, tablature notation tells when a note starts, but it is left to the performer to decide how long to hold the note. A right slash / behind a note, however, indicates that that note is to be sustained, though it gives no idea how long the note should be sustained. Above the tablature notation I’ve placed a “mensuralized” version of the tablature calculated by Finale. There is no attempt to work out the voice leading in this version, and the notes won’t sound exactly like the notation looks because of the re-entrant tuning. Nonetheless, it makes it easy to see how Matteis’ realized the figures, and a classical guitarist playing the baroque guitar from this version will pretty much get the music right. When I’m quoting Matteis’ original text I’ll use a calligraphy font reminiscent reminiscent of the typeface Matteis used. Curiously, Matteis’ English translation includes a good d eal of Italian, especially with musical examples. I have presented Matteis’ text just as I found it, orthographic eccentricities and all. My own contributions are in the Times font. Occasional notes have been changed to correct obvious errors. These are indicated with square brackets, [ ]. William F. Long
© 2005, William F. Long. Reproduction for non-commercial use permitted.
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Nicola Matteis—The False Consonances of Music, page 27
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Nicola Matteis—The False Consonances of Music, page 28
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Nicola Matteis—The False Consonances of Music, page 30
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Nicola Matteis—The False Consonances of Music, page 31
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Nicola Matteis—The False Consonances of Music, page 34
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Nicola Matteis—The False Consonances of Music, page 35
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Nicola Matteis—The False Consonances of Music, page 36
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Nicola Matteis—The False Consonances of Music, page 37-38
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Nicola Matteis—The False Consonances of Music, page 37-38
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Nicola Matteis—The False Consonances of Music, page 40
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Nicola Matteis—The False Consonances of Music, page 41
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Nicola Matteis—The False Consonances of Music, page 42
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Nicola Matteis—The False Consonances of Music, page 43
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Nicola Matteis—The False Consonances of Music, page 44
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d d a a b
d d a c d a b
b d c
b b c d a
! " " ! "
! "
a c c c a
a c c c a
b b c d a
b b c d c d a a
! " "! " 6 4
3
!
!
"
! " " ! "
! "
! " " ! "
!! 6 4
"
3
d b b f d b f d a f d c d b d a d
!"
!
3
a d
c
a
!
Nicola Matteis—The False Consonances of Music, page 45
b d c
4
3
Bass
Baroque Guitar T A B
4
!
"
!
"
!
b d c a a
b d c a a
d d a a b
d d a a b
a d c c a
!
"
!
"
!
"
!
"
b b c d a
b b c d a
b b c d a
b b c d a
!
"
!
"
d
d
d c
!
!
!
"
!
"
b d c a a
a b c c a
a b c c a
b d d d b
b d d d b
!
"
!
"
a
!
a
b
3
!
b b a d d
d c
!
4
!
"
b b c d a
b d b d c a c d d a
! "
!
!
d
d a
!
"
!
"
!
a b a c d
a b a c d
b d d d b
b d d d b
a c c c a
!
"
!
"
a
3
4
! a d c c a
d
!
d c
!
"
!
"
b d c
b d c
b d d d b
b d d c d b
d
! "
! "
a
! 3
! d a
c
d
a
a d c c a
a
!
c
d b d c a a
!
Nicola Matteis—The False Consonances of Music, page 46
!
a
Bass p p p i mi
Baroque Guitar T A B
d d
d d
d
a
d d
d
a
a
d
a
a
c
d d
d
a
a
c
d d
d
a
a
c
d d
d
a
a
c
d d
d
a
a
c
d d
a
c
d
a a
c
c
p p p i m i
d d
d d
d
a
d
a
a b
d d
d
a
a b
d d
d
a
a b
d d
d
a
a b
d d
d
a
a b
d d
d
a
a b
d d a
a b
a b
Nicola Matteis—The False Consonances of Music, page 47
d
Here, the "aforesaid Sixt" is actually indicated below by a (6) instead of by a star.
(6)
7 6
(6)
7
! !
!
6
(6)
(6)
Bass
! " ! !
Baroque Guitar T A B
d d a a c
d d a a c
c d c a a
a b a c d
! " ! !
! d d a a c
d c d b d c a a a a c
c d c e a
d d c c
! ! ! !
!
!
c
c d c a a
!
d d c
a b a c d
!
!
! c b
d d a
a
c
a
d d c a a
!
Nicola Matteis—The False Consonances of Music, page 48
c
d d a a c
!
(6 )
(6)
7
6
Bass
!
"
!
d d a a b
d d a a b
c d c e a
!
"
!
Baroque Guitar T A B
4
!
!
d d a a b
b c e
d d
d c d
b
b
!
!
3
6
!
"
!
!
"
d e d b b
d e d b b
b b d d b
b d d d b
b d d d b
!
"
!
!
"
c
d e d b b
!
b
a
a d
b d
c d c a a
!
!
!
c d c a a
c d c a a
b d d d b
b d d d b
!
"
!
!
4
3
! c b
c b
a
a
d d d
d d c a a
d
!
! d e
"
(6)
4
!
!
3
! d a
d d c a a
c
d d a a b
!
Nicola Matteis—The False Consonances of Music, page 49a
c
6
5
5
6
(6)
7
6
Bass
Baroque Guitar
!
"
!
a b c c a
a b c c a
d a a a c
!
"
!
T A B
b
!
"
a b a c d
a b a c d
!
"
! a a b
!
"
!
!
"
!
!
a a b c c
a a b c c
a b a c d
a b a c d
a b a c d
b b c d a
d b a a
!
"
!
! "
! 4
!
a a b c c
!
a a d
d
a a a
a b c d a
a
!
!
!
"
a b a c d
a b a c d
!
"
d
e d e a a
3
!
a a c c a
a b c c a
b
d
3
!
!
a b c c a
d
! 4
c
!
!
Nicola Matteis—The False Consonances of Music, page 49b
a
4
3
(6)
7
6
Bass
!
"
a c c c a
a c c c a
!
"
Baroque Guitar T A B
3
4
4
!
a d c e a
b
3
a a e f f e e e e e a a
a a b c c
a a b c c
!
!
"
!
a
b
a d c c c a
a a b
a e
(6)
d c
e
a
c d c a a c a c
!
e
a
a a b c c
a c c c a
!
!
3
!
f f
!
a
4
!
!
e
!
6
"
!
a a c c
!
!
!
!
a a c c
!
!
b
d
a c c c a
!
Nicola Matteis—The False Consonances of Music, page 50a
6
5
3
4
4
Bass
!
"
c d e e c
c d e e c
!
"
6
5
!
"
c c d e e
c c d e e
!
"
!
!
"
!
c c e e c
c d e e c
c d e e c
a d c c a
!
"
!
Baroque Guitar T A B
!
"
c d c a a
c d c a a
!
"
c
d c e
!
a c c c a
!
d c e
d d a
!
!
a a a
c c
!
"
d d a a c
d d a a c
!
"
d
! 5
(6)
c
d c
6
5
a a b
d
!
a a
d c
c
c
c c d e e
a
c c d
c d e
!
6
! d d a c
a
6
b c e
7
!
c a c
4
!
"
!
"
!
c d c a a
c d c a a
a a a c c
a a a c c
c c d e e
!
"
!
"
!
c d e c
3
!
!
c c e e c
c d e e c
!
d
!
Nicola Matteis—The False Consonances of Music, page 50b
2
(6)
5
6
Bass
!
!
c e e e c
c e e e c
!
!
!
!
!
!
a a b c c
c c d e e
!
!
Baroque Guitar T A B
3
c c e e c
c c d
a
c e e e c
c c d
c a b
b
c c d e e
! 4
4
c a b
!
3
7
6
7
c a b
a
a
6
7
6
e
e b c
c
!
a a b
c d e
c
c e e e c
c e
d
c c d
d e
! 7
c c
6
a
7
a a
b e
6
c c d
5
a
4
!
!
"
!
c e e e c
a a b c c
a a b c c
c c d e e
!
"
!
!
b e
c
a a b c
3
!
!
c c e e e
c e e e c
!
d
!
Nicola Matteis—The False Consonances of Music, page 51a
(6 )
(6 )
4
3
(6)
Bass
!
!
!
b d d d b
b b c d a
d d a a b
!
!
!
Baroque Guitar T A B
b d a
4
!
!
!
d e d b b
b b c d
d d a a b
!
!
!
d
d d c a a
!
!
!
d e d b b
b b d d d
b d d d b
!
!
3
! d e
!
c
c
!
b b a
b b a d d
b
!
"
d d a a b
d d a a b
!
"
b b c d a
c
!
(6)
!
!
b
d a
d a
d a
! 4
b
b
3
!
!
!
d e d b b
b b d d b
b d d d b
!
a
b
c
!
The 2nd note in measure 5 is an F in Matteis book.
Nicola Matteis—The False Consonances of Music, page 51b
!
7
(6 )
Bass
!
"
a b a c d
a b a c d
!
"
Baroque Guitar T A B
d d a a c
d
a a
6
!
!
!
"
a b c c a
c b c a a
d d a a c
d d a a c
!
!
!
"
(6)
b b c d
c
!
!
b d c a a
d d a a c
c
e
!
4
!
d d c
!
(6)
d d c a a
!
!
6
a b a c
d
b b c
b a a d
c
a
!
c
c
d
!
d d a a c
d d a
! 4
!
a d
3
!
a b a c d
d b
b b c d a
! 3
!
a b a c d
d b a a
!
!
a
b c d
Nicola Matteis—The False Consonances of Music, page 52a
c
a
(6)
7
6
d d d
d b b
b
Bass
!
"
!
d e f f d
d e f f d
d e f f d
!
"
!
Baroque Guitar T A B
(6)
b a b
!
b b b d d
d a a
b b b
d b a a
d
d d a a b
d d a a b
!
"
d e
a
d d d
d
! 3
!
!
d
b
d
a
b b b
d b c a a
! 4
b
7
6
!
(6 )
"
(6)
!
!
!
a
3
4
!
!
d a a a c
6
b
d
d b a a
!
a
d e f f d
!
Nicola Matteis—The False Consonances of Music, page 52b
c
(6)
4
3
(6)
7
6
a
f d d
d
Bass
!
Baroque Guitar
b d
T A B
a
b d c
d
a
a d c c a
a
d
c
! 4
!
!
!
f c c c a
b b c d
b b a d d
!
!
3
6
b b c d a
c
a
"
b d c a a
b d c a a
!
"
3
a d c c a
!
c
"
b d c a a
b d c a a d
!
"
d
!
"
!
"
b d d d b
b d b a d d d a d b a
a c c c a
a b c b c a c a c c d d a a
! " 7
7
!
c
5
! "
!
d
a
! 4
d a c
b b b c d a a d
!
7
a d c a b
c a a
d d a
d d c c a
!
!
6
! a d c a b
!
!
c
b d c a a
!
Nicola Matteis—The False Consonances of Music, page 53
4
3
6 5
(6 )
Bass
Baroque Guitar T A B
4
!
"
!
"
!
!
!
"
!
!
!
"
c d c a a
c d c a a
a c c c a
a c c c a
a a c c a
a a b c c
a c c c a
a c c c a
c d c e a
c d c e a
a d a
a d a
!
"
!
"
!
!
!
"
!
!
!
"
3
4
! a d c c a
c
!
!
"
c d c a a
c d c a a
!
"
f f
f f
e
e
6 5
(6 )
5
3
!
"
!
!
"
c d c a a
c d c a a
a a c c a
a c c c a
a c c c a
!
"
!
!
"
b
6 5
(6 )
4
!
!
!
"
!
!
!
"
!
"
!
"
!
c d c e a
c d c e a
a d a
a d a
a c c c a
a c c c a
c d e
c d e
c d c e a
c d c e a
a d a
a d a
a d c c a
!
!
!
"
!
!
!
"
!
"
!
"
!
3
!
c
Nicola Matteis—The False Consonances of Music, page 54a
c d c a a
!
6
(6)
7
6
(6 )
Bass
!
"
!
a a a c c
a a a c c
c e e e c
!
"
!
!
!
"
a a a c c
a a a c c
!
"
Baroque Guitar T A B
6
!
"
a b a c d
a b a c d
!
"
c c c
a a a
a a a
c
e c e
c e
!
5
c b
a
(6 )
a
a
!
"
c e e e c
c e e e c
!
"
!
a
a
a a a
a a a
a
! 4
a b c c a
a a c c
d
! 3
!
a a a
a b c
e
c e
a a
c
d
a
c
6
!
!
!
c a
7
(6)
c e e e c
c a
a a a c c
!
Nicola Matteis—The False Consonances of Music, page 54b
(6)
(6)
7
6
Bass
!
!
"
c e e e c
c e e e c
!
"
!
"
a a b c c
a a b c c
!
"
Baroque Guitar
a a b c c
T A B
e
a a b a
! 4
3
!
!
!
c c d e e
c c e e c
c e e e c
b
!
c
d
!
a a b
a c e
a
"
a a b c c
a a b c c
!
"
a a c
6
7
6
7
6
7
e
e e c
c
c a b
a
a c e
! 4
!
e
c
e
a
c
a e
!
!
c e e e c
a f e e a
!
a
!
3
!
e
a a b c c
!
Nicola Matteis—The False Consonances of Music, page 55a
e
b
6
e
(6)
6 5
4
3
(6)
7
6
Bass
!
"
!
"
!
d e d b b
d e d b b
b d d d b
b d d d b
d e f f d
!
"
!
"
!
!
Baroque Guitar T A B
!
b d d d b
e b b b d
e a b
!
d b d
b d d d b
!
a
b d a
3
!
!
"
d d
d d f f d
d e f f d
d e f f d
!
"
d b
d
!
e
!
"
e b b b d
e b b b d
b d d d b
!
"
!
e c
d
d
b
6
5
b b
e
a
3
!
!
e d
!
4
!
d e d b b
!
c
!
d
b
4
!
b e
b
6
(6 )
b e b
e a
!
a
b
b e b
d
d e d b b
!
Nicola Matteis—The False Consonances of Music, page 55b
(6)
4
3
(6 )
6
Bass
!
Baroque Guitar
!
b b c d a
T A B
b b c d a
b a c
!
d d a a c
!
b a c
a
!
(6)
!
b b
4
!
!
b b c d a
d b a a a
!
!
!
b d d d b
b b c d a
a d d
c
!
3
a b a c d
!
a
b d d d b
!
b a
b a c
a b a c d
a
!
(6)
!
b b
!
!
(6)
!
a
!
!
!
c d
b d c a a
!
!
b
b b a
4
3
!
!
b d d d b
b b c d a
!
a d d
c
!
Nicola Matteis—The False Consonances of Music, page 56a
(6)
(6)
4
3
6
7
6
f d e
d
Bass
!
!
!
b c d d b
b b b d d
Baroque Guitar
b b b d d
T A B
a
b b b
a
d
b a c
d
!
a d d
!
!
5 4
!
"
!
"
!
!
a b a c d
a b a c d
b b b d d
b b b d d
d a a
d b a a
!
"
!
"
!
d b
d
3
!
!
!
!
b b b d d
a b a c d
b b b d d
!
!
!
e
d
b
a b a c d
a b a c d
!
"
a
4
b
c
b a b
a d d
a
6
5
b a c
d
3
c
b b b d d
Nicola Matteis—The False Consonances of Music, page 56b
(6 )
(6)
7
6
6
5
c c d
a
Bass
!
"
c c d e e
c c d e e
!
"
!
!
"
b c b d e
b c b d e
!
"
Baroque Guitar T A B
6
!
"
c e e e c
c e e e c
!
"
5
c b d
c c d e e
a
c b d
c c
b
b
! 4 2
(6 )
3
6 4
5 4
3
!
e e e
c
b c e
b
c c d
e g c
e
h
e h e
g
c c d e e
!
Nicola Matteis—The False Consonances of Music, page 57a
