The Lute Instructions of Jean-Baptiste Besard.pdf

The Lute Instructions of Jean-Baptiste Besard Author(s): Julia Sutton Source: The Musical Quarterly, Vol. 51, No. 2 (Apr., 1965), pp. 345-362 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/741275 . Accessed: 28/10/2013 17:28 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp

. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

.

Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly.

http://www.jstor.org

This content downloaded from 192.87.31.20 on Mon, 28 Oct 2013 17:28:50 PM All use subject to JSTOR Terms and Conditions

THE LUTE INSTRUCTIONS OF JEAN-BAPTISTE BESARD

J

By JULIA SUTTON

BurEAN-BAPTISTE BESARD (c. 1567-c. 1625), a peripatetic

gundian gentlemaneducated in Italy who workedin Germany,was a man of wide interests;he seems to have been at once a jurist, a physician,and a lutenist.He was responsiblefor five books, two published in Cologne in 1603 and 1604, and threepublishedin Augsburg in 1617. The volume of 1604 was part of a seriesof collectedhistorical documents: Mercurii Gallobelgici,sive rerumin Gallia et Belgio potissimum Hungaria quoque: Germania, Polonia, Hispania, Italia, Anglia, alijsqu [sic]; ChristianiorbisRegnis,& Provincijsab Anno 1598 usq; ad Annum gestarum.' One of the volumes of 1617, the Antrumphilosophicum, was a large compendium of medical knowledge of the time. The otherthreepublicationsconcernus here. The firstis Besard's ThesaurusharmonicusdiviniLaurenciniRomani, nec non praestantissimorum musicorum,qui hoc secolo . . . excellunt, selectissimaomnis generis cantus in testudine modulamina continens ... (Cologne, 1603).2 It is a major collectionof lute music in French tablaturecontaining403 compositionsdivided into ten books according to genre.The musicis forsolo lute,or lute and voice (threecompositions are for two lutes), and representstwenty-onedifferentcomposers. In addition to the ten books of music, Besard appended to the Thesaurus on how to play the lute, the De Modo in testudine a set of instructions 1 This collection of European treaties and internationallegal documents enacted between 1598 and 1604 was one of a series brought out by Gerhard Grevenbruch,the most prominent printer of his time in Cologne. Grevenbruch had printed Besard's Thesaurus harmonicusin 1603 at Besard's expense, and one may speculate that Besard, acting on the basis of his trainingas a lawyer (he had been granted a Licentiate and Doctor of Laws by the Universityof D1le in 1578), undertook the editing of these historicaldocumentsin order to pay forthe Thesaurus. 2 Joseph Garton, J. B. Besard's Thesaurus harmonicus (unpublished doctoral dissertation,Universityof Indiana, 1952), has transcribeda portion of the contentsand made a studyof the Thesaurus.

345


346

The Musical Quarterly

libellus.As mightbe expected,the music fromthe Thesaurus found its way into many othercollectionsof the period, both printedand manualso attained script.What is ratherunusual is that the lute instructions considerableimportance.In 1610 Robert Dowland included an English translationof them in his Varietie of Lute-Lessons.3The instructions also appeared in various MSS, e.g. Hainhofer's collectionfor lute of 1603 and 1604, with the examples transcribedinto Italian tablature.4 The success of the Thesaurus and its instructionsapparentlyled the Besard to publish anothercollectionof lute music with instructions, The siue concertationes . . . Novus partus, mvsicae (Augsburg,1617).5 collection,in French tablature using the G tuning,consistsof only 59 compositions,but it is of considerableinterestbecause 24 of them are forlute ensemble (twelve forthreelutes and two voices or viols, twelve for lute duet), forminga major contributionto this rather unusual are also significant:theyare an emendamedium.The lute instructions tion and expansion of Besard's instructionsin the Thesaurus, under a differenttitle: Ad artem Testudinisbreui, citraque magnum fastidium hisce subiecit." capescendam,facilem & methodicaminstitutionem The Novus partus,with the Ad artem,was publishedin September 1617. Earlier in the same year, in June, Besard had brought out a pamphlet called Isagoge in artem testudinariam.Das ist: Griindtlicher Underricht/uber[sic] das Kiinstliche Saitenspil der Lauten.7 Despite 3 Facsimile ed. published by Schott, London, 1958. Dowland entitled his translation "Necessarie ObservationsBelonging to the Lute, and Lute-playing." This is a good translationof the De modo, withveryminorchanges,but its floridityfollowsthe original to such an extentthat it remainsdifficultto understand. 4 Philipp Hainhofer, a prominentcitizen of Augsburg,a European diplomat, and an indefatigablediarist and correspondentto whom we are indebted formuch information on this period, wrote (or more probably had someone write for him) a large and beautifullyillustratedcollection of lute music which was never printed.The titleof the collection is Lautenbiicher, darinnen begriffengaystl.Hymni, Psalmen, Kirchengesting und Lieder so von vilen gueten Maistern in italienischertabulatur auf der lauten zu spielen. It consistedof twelvebooks of varyingsizes in two volumes (564 pp.), in Italian tablature. Wilhelm Tappert, Philipp Hainhofer's Lautenbiicher, in Monatshefte fur Musikgeschichte,IV (1885), 29-34, reviewsthe collectionverycritically;its chiefclaim to fame was apparentlyover two hundred finecopper engravingswhich by the time of his writinghad been removed and placed in various museums.Hainhofer may have had Besard's instructionscopied into his collection because of friendshipwith their author. In the dedication of the AntrumphilosophicumBesard states that he left Cologne for Augsburg to be with Hainhofer, his friendand formerfellow-studentin the arts. 5 New Volume, or, Musical Concerts ... 6 Short and Methodical Instructionsin the Art of Lute-playing: Brief, and to Be Learned Without Great Weariness. 7 Method in the Art of the Lute. That is: Basic Instructionin the Art of Playing the Lute.


The Lute Instructions of Jean-BaptisteBesard

347

the Latin in the title,it is a set of lute instructions in German. Although it has an earlier publication date than the Novus partus, it is a free translationand emendation of the instructionstherein (the translator, known to us only as "I. N.," was obviouslyalso a lutenist,and added some of his own commentsto Besard's). Many inaccurate statementshave been made with regard to the two Augsburglute publications,e.g. that the Isagoge is a second edition of the entireThesaurus harmonicus;sthat the Isagoge is Besard's second treatiseon lute pedagogy;9 that Robert Dowland's Necessarie Observations is a translationof the Isagoge;`o and that the Isagoge was published in 1614.11The exact musical contentsof the Novus partus have been known to a few scholars (Chilesotti among them),12 but even here we can still find errorsin recent publications-e.g. Boetticheris wrong in his comparisonbetween the composersin the Novus partus and the Thesaurus13-whilein older articlesthe errorsare legion. To recapitulatebriefly:Besard included in his Thesaurus of 1603 set a of lute instructions, the De modo in testudinelibellus. This was translatedinto English, with minor changes, by Robert Dowland in 1610 as "Necessarie Observations Belonging to the Lute, and Luteplaying,"whichappeared in his Varietieof Lute-Lessons.In 1617 Besard included in his Novus partus a revisionof the De Modo, the Ad artem, which also appeared at the same time as a separate pamphlet in German, the Isagoge. Since the instructionsof the Novus partus may be considered to representBesard's final thinkingon lute techniques,theywill formthe basis of our discussionhere.14As we read them today, we discoverthat theirapplicabilityto modern lute and guitar playing is still fresh,and their commentson the foibles of teachers and studentsare universal. 8 Auguste Castan, Note sur Jean-BaptisteB&sard de Besangon cdlebre luthiste,in Mdmoires de la socidtdd'dmulation de Doubs, Ser. 5, I (1876), 27 f. 9 L. de la Laurencie, Les Luthistes, Paris, 1926, p. 96. 10 Gustave Reese, Music in the Renaissance, New York, 1954, p. 844.

11Wolfgang Boetticher,Besardus, in MGG, I (1949-51), 1815. 12Oscar Chilesotti, Musiciens frangais: Jean-BaptisteBesard, et les luthistes du XVle sidcle,in Congras internationald'histoirede la musique, Paris, 1900: Documents, memoires et zoeux, Solesmes, 1901, pp. 179-90. 13Boetticher,op. cit., col. 1816. 14 This article is based on a modern English translationby Dr. Virginia Moscrip (Universityof Rochester) and the author. Every attemptwas made in the translation to simplifythe floridBaroque styleof the original in favor of clarity.



348

They are of course by no means unique,15 and like many of the other of the Renaissance and Baroque theyconstituteprisets of instructions a marily fingeringmanual. Nevertheless,they are the most extensive instructions to appear on the Continentin the firsttwo decades of the 17th century,and they representthe only instructionsto appear in England between Thomas Robinson's Schoole of Musicke (1603) and Richard Mathew's The Lutes [sic] Apologyfor her Excellency (1652) ." They are eminentlypracticaland fairlycompletewithintheirgenre,and reflecta period of changingstylesin lute music."7

manner are organizedin a somewhat Besard'sinstructions pyramidal intoeightsections:" 1) 2) 3) 4) 5) 6) 7) 8)

remarks introductory Purely How to choosea lute Practicetechniques Left-hand techniques techniques Right-hand Tempoandbodycarriage Ornaments remarks Concluding

4 and 5 sections in character; 1-3are essentially Sections introductory secofthetext,andareofconsiderable themainmatter contain length;

fundamentals tions6-8 againare short.Besardwastesno timediscussing understands the reader of music.It is assumedthat principles rhythmic and "diminutions" and notation,and such thingsas dottedrhythms

thestart. passages)appearfrom (i.e.sixteenth-note

Here Besardexplainsthathis reasonfor remarks. 1) Introductory is the success bringingout anothereditionof the originalinstructions

that hiscritics of 1603.He forestalls edition byexplaining ofthefirst totaketheplaceofa liveinstructor, theseinstructions hedoesnotintend nor indeed are they nor are theymeantfor anyonebut beginners, W. Prynne,in Grove's Dictionary of Music and Musicians, 5th ed., London, Vir1954, V, 437-38, gives a selected list of eighteen instructionbooks, beginningwith und dung's Musica getutscht(1511) and ending with Baron's Historisch-theoretische praktischeUntersuchung(1727). According to Daniel Heartz, Les premieres'Instructions' pour le luth, in Jean Jacquot, ed., Le Luth et sa musique, Paris, 1958, p. 77, most lute collections published up to 1550 contained instructions. 16 Thurston Dart, La Methode de luth de Miss Mary Burwell, in Jacquot, op. cit., 121. p. 17 Karl Scheit, Ce que nous enseignentles traitesde luth des environsde 1600, in Waissel Jacquot, op. cit., pp. 93-105, compares the De modo with Robinson (op. cit.), others. (1592), and Le Roy (1574), findingBesard's workin general agreementwith the He does not, however, discuss the Besard in detail. 18These divisionsare mine, but are based upon the major subheads of the original. 15 M.


ofJean-Baptiste Besard The LuteInstructions

349

theone-and-only lutemethod:"Do notthink... intendedto represent thatI wishto detractin anywayfromdifferent approachesto thelute skill."He than mine,whichmanyplayersmay use withconsiderable forsuccessin lutestudy-youthand thenproceedsto listthe requisites talent,practice ("not the unlimited healthyphysicalcharacteristics, butwithinlimitsand without themselves, practicebywhichmanytorture and patience. muchintermission"), lutesuited a ten-course 2) How to choosea lute.Besardrecommends in order than to force smaller to the student'shand,but largerrather for of the hand."'He goeson to discussvariousexercises thestretching which fails to the he the of hand; specify although increasing flexibility theleft. handhe means,it is obviously thelute; evenwithout often thefingers pullandlengthen forcibly, Manyplayers a table on hand the individual while someofthem sideways fingers resting spread In ItalyI saw orthey thefingers withoiloftartar. orsimilar support; mayanoint thelute. whilepracticing thick leadenrings rather andheavy wearing many players ofall I not do evenwhileplaying. Andsomeapplygloves,20 disapprove Though as clean as I should hands often and them rather to wash this, keep urgeyou your therepeated thegoodlookswhichpleaseeverybody, besides moistening possible; ofthe totheagility ofthemuscles is a greathelptothestrength and,as a result, exercises inviolent never tobecome involved hand.Takecare,however, requiring theuseofthehand. the methodsof developing Here we see somepopularand fairlyextreme a to with extension and polyphonicstyleof necessary cope strength Besard'sstrong with a wide fingerboard. playingon an instrument ratherdifreflects forfrequent recommendation hand-washing quaintly ferentcustomsof physicalhygienefromours. By "violentexercises" as we learn Besardprobablymeanssuchgentlemanly gamesas fencing, fromtheIsagoge,whereitis spelledoutbythetranslator.2' is quite pragmatichere, Besard'sdiscussion 3) Practicetechniques. student.He and would strikea familiarnote for any instrumental before recommends goingto frequentand regularpractice,"especially but onlywhenone is bed at nightand afterarisingin the morning," forhard in the mood,forthenone can capitalizeon the inclination it is until to stick one the student that He work. suggests composition mastered,insteadof "runningthroughthe whole book or skipping the abouthereand there."One shouldnotpracticeby "goingthrough 19The instructionsin the Thesaurus are for an eight-courselute, as is all the music. 20Original: chyrotecae. 21 "But you must also make sure that you refrainas much as possible fromall such exerciseby which the hands are exercisedtoo much (as forexample fencingor any other such hard work)."


350


compositionfrom beginningto end without repeating anything,"but should "examine each section carefullyand practice it, if necessary repeatingit a thousand times." Obviouslystudents'bad practice habits were much the same in 1617 as theyare now! Practicingby memoryis recommended,"for while the mind is intenton investigatingwhat is on the printedpage the hand is less ready to performits duties." Our accepted custom of proceeding from easier to more difficultpieces is suggested,but Besard's passage here reveals that this method was not accepted by everyonein his day: passages firstin orderto Though thereare manywho practicethe more difficult forfearthat have an easiertimewiththerest,I do notrecommendthisto beginners such difficulty may cause themto feel disgustedand in consequenceto give up the

in which an easypieceofmusicat first to prescribe instead, study;I shouldprefer, doesnothaveto be therearenotso manygrifs[i.e.chords] . . . , so thatthefinger acrossthe neck. stretchedfrequently

or changing thereshouldnotbe manycomplicated Alsoin thisfirstcomposition

adheredto,thelearnercannothave For ifrhythmic changesare notstrictly rhythms. of the melody,and if he does not have thishe cannotderive a good understanding any pleasurefromthe study- and it is pleasurewhichmustfirstof all attractand arousethebeginner.

4) Left-hand techniques.In this section Besard firsttakes up the fingeringof runningpassages, includingthose that require movinginto higher positions-i.e. placing the firstfingeracross the second fretor higher,in order to be able to reach the fifthfret ("f") or more (in the Novus partus the twelfthfret,"n," is required at one point). The followingexamples illustratea) fingeringfor passages with low frets (Ex. 1) and b) fingeringfor passages with high frets(Ex. 2). When Ex. 1

a bi

d4 a b

d4

a

bl d4 a b!

a d3

b!d3l

b

c2d3

a2

d3

a

aa62

c2Gd

d13

a c2

AA

1

112

3

2

3

3

2

3

2

fretshigherthan "d" are used, and no open stringis required,the first



351

as in Example 2, or across fingermay be placed acrossseveral courses,22 the entirefingerboard(Ex. 3). Ex. 2

h~

f2 01

hi

.

.

e1

f2 ha

.

.

1

.

f2 e1

f2 h

f2 e1

hi

h4

f2

.h4 h4.Q..

..:v221

fA

4

d2 f411

v2

22

d2

4.4

f2 ha- eh

1

f2

ol2Q

1 e3

IT2

01l f2 e1

cl p3

f4

cl ft

c2 es

c1

f44

o fi c1 I3

r

2 1311

1342341 _3_4_2_3 4

4

1

The complicated matterof fingeringchords is handled by dividing this subject into sectionsfor chords containingthe firstfret ("b"), the second fret("c"), and the thirdfret("d"). In each case the fingering, carefullyworkedout, is designedto make possiblethe polyphonicrealization of the tablature. Besard makes a specific plea for this kind of performanceat the end of this section: there is nothing more pleasant and tasteful than for the parts which create the harmony to be maintained, keeping a balanced proportion. This cannot be done if the fingersare removed fromthe strings,since the voice is lost as soon as it ceases to be fingered . .. Hold your fingersdown whenever possible, therefore,especially when playing a bass note, which should be held while the other fingersare busy on other strings,until another bass note occurs. Also, hold both bass and treble notes, if possible, while there is motion in the inner voices. If this is impossible, owing to lack of fingers,it is preferable to release the fingerthat is playing the treble note, for it is usually better to lose this voice than the bass . . . In short, consider it as a basic "French:

barrie.


352


rule that the fingersought not to be released from the stringsunless necessary.23

With regard to chords containingthe firstfret,Besard statesfirst,that when a chord contains two "b's" on neighboringhigh courses,the tip of the firstfingershould be placed on both "b's" at the same time; if theyoccur on neighboringbass coursesthe whole fingershould be laid across the entirefret,or theyshould be played by the firstand second fingers.Second, if the two "b's" have open stringsbetween them,they must be played by two fingersrather than one. Third, fingeringof these chords should be so planned that a note or notes (other than open strings) that follow can be played withoutremovingthe fingers fromthe chord-again a provisionfora polyphonicsound (Ex. 4; an S means that the firstfingermust be placed across the strings).

Ex. 4

U]

[d]] c2

bi

.,

,.e

bi

b....k 4bbIbhi

E DJ1 []

h bi

d

hd

d3

L

3i

I

"

S

S

S

S

S

a bl "2 bih

.

.b

d

- I

S

S

S

In the next set of examples Besard shows us the complicatedacroBesard is carefulto point out here thatit is not appropriateto hold fingersdown in running passages ("diminutions") or where improper dissonances would result; here he cites the example of major or minorseconds,xhich, he says,are not allowed to sound simultaneouslyexcept "in certain cases, such as at cadences, etc." (obviouslya reference to cadential suspensionfigures). Cf. Mace, Musick's Monument, London, 1676, II, 85, "take notice of This, for a General Rule (both in Lute, and Viol-Play) That you never take up any Stopt Finger, (after you have struck it) till you have some necessaryUse of It or that your holding of it so Stopt, may be inconvenientfor some other performance. ." 23



353

batics necessary to the fingeringof the early-17th-century chordal vocabulary.These examples,he says, illustratecases of chords with the firstfretfor which there can be no formalrules (Ex. 5). Ex. 5

U] d!

d31 .

d

1db1

ca2

d3

S

bi 3 62

hi c2 s4

S

S

b -e2 d3

b1 z2 d4

el

d3

S

bi

bi

d3

-2 d3

a bi

a

d3

Hh 4

bi1

1

d3 bl S

d4 a bi 42

c3

h b1 d2 bb

bo S

dd

d2

Q3 d2 bi S

blS

f l d2

be d3

c3 a a bl,,

d4 hi a

:

c2 03

bi

l

l @4

bi

d2 bi

bi

ea

S

S

S

S

I s

S

S

S

S

rc 2 a

bl "& S

r"

SS SSS

bi

bi

d

Is

s

S SSS-

Besard then enunciatesthe principlethat chords should be so fingered that single notes beforeor afterthe chords may also be played easily; thus identicalchordsmay be fingereddifferently, dependingupon what precedesor followsthem. In discussingthe fret"c," Besard pointsout the differences of opinion on fingeringchords that involve two or more "c's" and open strings. As ever, he is courteousto those with whom he disagrees (those who use second and third fingerson two "c's"), while recommendinghis own method of using firstand second fingersfor such chords. In this, and in other matters,Besard consistently favois moving up into higher positionswhereverpossible, so that the firstfingeris usually on the


354


lowest fret called for in a chord, leaving the other fingersfree for higher frets (Ex. 6).

Ex. 6

d] e2 cI

c2

c3 c2 cl

cl

c2 a

c3 a

a

o

b: c2

cl

a a e2c1

a

a

bm c2

Ui]

c2 d d3 a

a

a a bi 42

bI c2

d3 b2 d2 4d

a

a el d2

c el d2

f dl

f4 r1 d2

1d g4 :1

cl S

d2

fI Gl

2 f2 f4

S

S

e2 f

2

,S

P R E

ci l d2 ar1

S

cl S

s

Q

Eb

f4

c1

d4

f4

1

S

cc2

c2

8A a

3

s

e3

cl

c2

3

S

1

, i

S

cl

]i

a c

d a

a

d2 M fa3

1

d3

c2 d3 c1 a

S

A

s

s

s

As for the fret"d," Besard's examples are clearer than his words, and follow the principleshe has laid out before.One point is emphasized,however: thatwhen two "d"'fretsare to be played simultaneously, "the 'd' on the lower stringis played by the fourthfinger,and . . . the 'd' on the upper stringis played by the thirdfinger."It is obvious from to the actual, physicalpositionof his examples that Besard is referring the strings,his "upper string"actuallybeing the lower in pitch (Ex. 7). Besard is also consistentin this matterwith fingeringsfor the "b" or "c" frets,but had previouslynot called attentionto this point (see Ex. 4). For chords involvingthe "lower letters,"as he calls them,by which he means those closer to the bridge (higher in termsof pitch on each course,lower physically),Besard advocates the same methods; he states,however,that in most cases these chords will require placing



Ex. 7

d4

r

d3

a

uel 3

02 fQ

d3 d

d3

a

11J dl dl

dH1 dl

dl f2

d3

-

1

dl f2

d3

h4

1 d! IM dl fi4d3 e2

bl

d

d3

-d

a

bl

a [J] b

,

b l &

f2

3 cl br

b1

d2

d.1

.

I

S

S

S

S

a

37

Md dAi d l

AJ

di

fA

l

l

d1

ft

gi

-gi f2

A

f2 dl dl

a-Q

f3 dl S

a

355

dl

Al

dl

[d] blI bl

bl

hi

d3

d2

d2

h3 4

-da3

I: , . -. 1_W. ,_LA. S

t

S

the firstfingeracross the fret. The sectionon the lefthand is closed by a reminderto readersthat when layinga fingeracross a fret,the gut itself24 should not be touched that or the as an "unclear and others, by finger unpleasingsound will be produced." on the use 5) Right-handtechniques.Besard begins his instructions of the righthand with a vivid descriptionof the way it should be held: Firstof all, restthe littlefingerfirmly on the bellyof the lute,not veryclose to the rose (as theycall it), buta littlebelowit,and extendthethumbwithall thestrength of thehand,especiallyifyourhand is a littletoo short.Do thisin sucha waythatthe restof thefingers are carriedbelowthe thumbin the mannerof a fist.This will per. and somewhatdifficult. Those who have a veryshortthumb haps be a strainat first, imitate those who the while may pluck strings hidingthe thumbunderthe fingers; 24 Original:

ligaminaseu zonas,i.e. the fretitself.


356


if not an elegant position, it will at least be easier. Having chosen one of these two methods, accustom yourself to plucking the strings, whether one or more, quite stronglyand clearly.25

Two-note chords are to be plucked by the thumb and second finger, leaving the firstfingerfreefor the followingnote; three-and four-note chordsare to be plucked by threeand fourfingersrespectively;here the thumb is included as one of the fingers,unless it has been used just priorto a three-notechord fora singlebass note of the same timevalue (no reason is given for this rule). Chords on more than four courses require that the thumb and index fingerspluck two stringsapiece, althoughoccasionallypluckinga large chord with the index fingeralone is permissible-i.e. arpeggiatingthe chord with one finger.It must be "done properly,fittingly, and infrequently"('Ex. 8).'2 Ex. 8 Z2 p

r.z2 3 Q di d2I dp

dl

ap

12 3 2.1 1 ap

3 2iI

62 d d

l

aI1 rp ap

fjp r4 147;2 3w

2

p

ap

GP .

..

Right-handfingeringfor single notes is dependent upon the time values to be played: the thumband firstfingerare to be used in alternation, and the gist of the two rules and two exceptionsgiven in the at considerablelengthis that fingeringis to be so arranged instructions that the thumb (the strongestfinger) is always available to play the accented notes (Ex. 9). Besard then states that the firstand second fingersin alternation may be used in runningpassages on the highercourses (ratherthan the thumband firstfinger),when the thumbis requiredto play accompanying bass notes. Indeed, "many follow this procedure even outside of 25 Scheit, op. cit., p. 104, states that Besard is the only author of this period to describe two possible positions for the righthand. 26 The "p" in the examples signifiespollice, or thumb.



357

X Rx.

eg

c d p

a

1p 1

12

cil

c

11 p

c

d

AA

b. 3 82 cI zp

1--

a

Iga

I-m

A

c I

a p

d3 a2 I rp

I

P- I

=!

diminutions" [i.e. even in slow passages] so that while the thumb is busy pluckingsingle bass notes, a greaterfacilityis given to the hand, and that unseemlymotion of the whole arm, which we cannot guard against too carefully,will be most easilyavoided." Rapid passages without accompanyingbass notes,however,should always be played by the thumb and firstfinger(Ex. 10). Successive single notes on bass courses should be played by the thumbalone, unlesstheyare sixteenthnotes,when alternatingthe fingers is permitted.28 27 The word "diminutions" has been retained in the translationbecause it implies variations on a basic melody, and this meaning is in accord with much of the music in the Novus partus. 28 Thomas E. Binkley,Le Luth et sa technique,in Jacquot, op. cit., pp. 25-36, sums up the development of fingeringpatterns for rapid passages. The alternation of the thumb and index fingerwas firstmentioned by Spinacino (Intabolatura de Lauto, I,


358


Ex. 10

'A

21212d.

P

1 2

P

P

p

P

p

dc dca 2 1 2 1 2

P

p ap

21212121212d21212

ld

1

P

P

p

p

2p

P

p [P]

6) Tempo and body carriage. The two short paragraphs in this section constitutenot so much instructionas exhortation.First our teacher begs the beginner,in the interestsof accuracy, to play slowly at first,to be extremelycarefulto followthe tactus,and to play all the rhythmscorrectly.

If you are a beginner,.., do not be in a hurryto play more quickly than is rightand proper. I promise you sincerelyand without pretense that nothing is more profitable in this activitythan to be patient and unhurried from the beginning,for it is impossible for you to play your compositions correctlyon firstreading. Do not be eager, therefore,to do more than to play all the chords and interveningnotes well and clearly, even though [you play them] slowly; for after a short time, though you may not expect it, you will be able to play more quickly. You will surely not play accurately unless you become accustomed to doing so from the beginning. This accuracy no one, unless he is averse to reasonable thought,would fail to preferto all speed and unrestrained noise.

Next Besard emphasizesthe need fora relaxed and gracefulappearance

Venice, 1507), and thirtyyears later by Newsidler (Ein Newgeordnet Kiinstlich Lautenbuch,Nuremberg,1536). The alternationof firstand second fingers,with the thumb plucking accompanyingbass notes,is mentionedby Le Roy in his instructions(English translations1568 and 1574). Diana Poulton, La Technique du jeu du luth en France et en Angleterre,in Jacquot, op. cit., p. 115, states that the second method gradually replaces the firstduring this period.



359

while playing,even to the extentof bindingthe rightarm in such a way that only the fingersappear to move. Here we see a concern with the look of the performer, not merelywith his sound or technique,reflectan in which costume and carriage revealed the rank of a man. ing age Ornaments. Besard 7) completelybegs the question at this point: "If it were possibleto prescribehow to play sweet ornamentsand trills on the lute, I would make some remarksabout this here; since they cannot be explained, however,eitherorally or in writing,it will have to sufficefor you to imitate someone who can play them well, or to learn them by yourself."The fine art of improvisationhad apparently so strongan influenceas to preventBesard from codifyinghis ornamental technique. Later in the century,as we know, the clavecinists provided lists of ornaments,although they always emphasized their nature. Besard is like them,however,in stressingthe need improvisatory for good taste when adding ornaments. 8) Concluding remarks.Besard firstasks the studentto treat this "divine art . . . cultivatedby men of the highestposition" with proper respect.One should tryto learn to play well enough to please others; if, however,one develops professionalskill,be sure to charge adequately forone's performancein ordernot to cheapen the art! He asks teachers to be accurate, and to be sure that the studenthas mastered all the fundamentalsbeforeallowing him to go ahead (again the good pedagogue). He finallyexplains that he has not covered the principlesof intabulation from white notation because there is so much material already available in tablature books:

We have, for example, the book by Antonius Franciscus of Paris,2 the Psalmodia by Matthaeus Reymann,30 the two books of Flores musicae by Adrian Densius,31 the Florilegium and Deliciae musicae by Joachim von dem Hoffe,32a man very distinguished in this art, the preludes and fantasias of Joachim, Georg, and Leopold Fuhrmann,33and Martellius,34the Pratum musicum by Emanuel Hadrian,35 and my own 29 Antoine Francisque, La Tr'sor d'Orphie, Paris, 1600. 30Probably Matthaeus Reymann,Cythara sacra, sive psalmodiae Davidis, Cologne, 1613. This was published by Grevenbruch,Besard's publisher for the Thesaurus. Reymann also broughtout an earlier collection, the Noctes musicae, Leipzig, 1598. 31 Adrianus Denss, Florilegium,Cologne, 1594. This is the only publication by this author we know of today. Also printedby Grevenbruch. 32 Joachimvan den Hove, Florida, Utrecht, 1601; Delitiae musicae, Utrecht, 1612. 33 Original: "item eiusdem Joachimi, Georgij, item Lepoldi Fhurmanni [sic]." Who Joachim or Georg, or Joachim Georg, were or was remains a mystery.It seems more than likelythat Besard was referringto Georg Leopold Fuhrmannand his Testudo Gallo-Germanica, Nuremberg,1615. 34Probably Elias Mertel, Hortus musicalis novus, Strasbourg, 1615. 35Emanuel Hadrianus, Pratum musicum,Antwerp, 1584 and 1592; Copenhagen, 1600.


360


Thesaurus harmonicus ...

These works by differentcomposers should sufficefor our

newstudents untiltheyhavehad ampletraining and [can]plan independently to outnewcompositions in lutetablature.3" bring It mightnow be pertinentto observethat Boetticher'sbriefsummary in Die Musik in Geschichteund Gegenwartof the contentsof Besard's instructionsis incorrectin several important respects. According to Boetticher: In hisinstructions forplaying he [Besard]takesup theconsequences oftoolargea number ofcourses, whichcanbe overcome in spreading thefingers onlybyexercises to thestrings at widefretintervals a across Waissel, (similar 1592);bylaying finger (French, barree); by avoiding the use of the ring finger (similar to Fuhrmann's table of chords, 1615); by using firmbass slurringin triplets; and by developing the technique of fingerplacement (ability in sliding, length,and agility of each finger)."s

First,the phrase "the consequencesof too large a number of courses" is Boetticher's; nowhere does Besard even imply that the increasing numberof courseson the lute of the period is in any way undesirable. In fact, he speaks favorablyof the larger number of courses in the editionof 1617: "Take a lute with at least ten strings,or courses,unless you prefera larger one (as is the practicein Italy and elsewhere), for experiencewill teach us that the closer we come to the perfectionof sweet harmony,the closer we will be to the perfectionof music." Thus the techniques listed by Boetticherto solve a supposedly undesirable problemare given by Besard merelyas methodsfor developinga desirable agility.Second, I have been unable to findany suggestionin Besard for avoiding the ringfinger(third finger)of eitherthe leftor the right hand; the littlefingerof the righthand is not to pluck the strings,but to reston the bellyof the lute,but thisis certainlynot the "Ringfinger," nor is its positionanythingthat would tend to solve the problemof an increasingnumber of courses. Third, there is no mention whatsoever by Besard of slurring in the bass, nor of triplets (Boetticher's "Triolen").38 Fourth, none of Besard's instructionson the left hand 36Note that all of the publications referredto above are in French tablature. 37Boetticher,op. cit.,col. 1819. 38Slurring,i.e. plucking once for several successive notes, is used in one piece in the Novus partus, the Bergamasco I. B. B .... (fol. M4'), and the sign forthis (~-~) is explained at that point. There is no mention of this technique in the instructions, however,and its use in the Bergamasco is not fortriplets.Diana Poulton, op. cit., p. 118, says with regard to slurring,"L'ancien style,selon lequel chaque de la deuxi6me d6cade du XVIIe siecle, en un stylequi se sert librementdu Slur et du Slide. C'est probablement vers 1617, ou un peu plus tard, qu'on l'introduiten Angleterrepour la premi6re fois." We see, then, that Besard was quite aware of currentdevelopmentsin lute technique in France.


The Lute Instructionsof Jean-BaptisteBesard

361

mention sliding ability; they do, however, discuss the use of higher positionsfor the left hand, which may be what Boetticheris implying. The lute instructionsin the Novus partus that we have just discussed are, as Besard himselfsays, a revisionof those in the Thesaurus. Despite the fact that the Ad artem is approximatelyfive pages longer than the De modo, however,there are fewerbasic changes than one mightexpect. Some of the increasedlengthof the Ad artemis due, for instance,to Besard's addition of subtitles,or to the introductory paragraphs in which he explains his reasons for undertakinga new edition. Most of the increasedlengthresultsfrompurelysemanticchangeswhich reflectan attempt to clarifywhat was said (a not always successful Besard suggestsa ten-course attempt,it may be added). Significantly, lute in the second edition,while the firstcalls for an eight-courselute. Here Besard is certainlyreflectingthe general trendof his time towards additional bass coursesto increase the harmonicpotentialof the instrument. He is also considerablymore detailed in his second edition when coveringleft-handfingeringsfor chords using the "d" fret; for righthand fingeringsof chords he aims at greater flexibilityof the hand. The concludingremarks-the exhortationto teachersto be as accurate as possible,and the long listof lute tablaturesavailable-are new to the second edition. If Besard's chiefconcernin the Ad artem was to clarifyand emend the De modo, his translator ("I. N.") seems to have been equally anxious,in the Isagoge, to clarifyand emend the Ad artem.The Isagoge is considerablylonger than the Ad artem, even when one allows for differencesbetween Latin and Gothic types,or for a somewhat more colloquial manner,e.g. "what cannot be liftedmust be left lying." No new examples are added, however. The major changes occur in the section on right-handtechniques.Here the translatordiffersmarkedly fromBesard on the positionof the righthand: where Besard says the littlefingershould be placed "on the belly of the lute, not very close to the rose . .. but a littlebelow it," the translatorsays the littlefinger should be placed "as close as possibleto the bridge." Both positionsmay be seen in picturesof the period. Also added are explanationsof fingerings dependent upon the rhythmof certain dances, e.g. passamezzo, galliard,or courant,which begin with upbeats (the thumbmust always be freeto play the downbeat). Clarificationof rhythmicnotationis also provided here, e.g. dotted rhythms.There is a ratherlengthynote on mostof which apparentlycoincide "Joachimvon den Houe's" fingerings, withBesard's rules,but some of whichdiffer;in truepedagogical fashion


362


"I. N." takes the opportunityto point out some typographicalerrorsin van den Hove. In general, however,the Isagoge is simply a wordier (and occasionallyclearer) versionof the Ad artem.


The Lute Instructions of Jean-Baptiste Besard.pdf

Recommend Documents