Medieval tunes. Средневековые мелодии

33 Pages·0.791 MB·Russian

Contents
Page
Introductory notes 1-2
Troubadour & Trouvère 3-11
Estampies 12
English songs 13
Cantigas de Santa Maria 14-21
Italin Lauda 22
Guilliame de Machaut 23-24
14th Century Italian dances 25-26
Llibre Vermell 27-29
Sources 30
Bibliography 31
Index 33
Introduction
This is a collection of medieval tunes from 12th -14th Centuries. It is a very small selection from the
thousands of tunes written down in this period. It has been compiled mainly as a source of instrumental
pieces, though singers may also find it useful. We have tried to select some of the more 'catchy' melodies,
to emphasise that music of this period is not necessarily difficult to perform or to enjoy, and that there's a
lot more to it than 'chant'. We have also tried to list as many sources as possible for finding further music.
Almost all of the pieces are originally songs (as very little instrumental music was ever written down) but
we have found that most of this selection can work well on instruments alone. Playing a tune on whatever
instruments were available is the most likely period practice - pieces were not 'scored' for particular
instruments till the renaissance. Most of these tunes work well with a simple accompaniment (drones,
parallel octaves, fourths or fifths, 'shadowing', simple counter melodies, percussion, etc - but avoid
modern guitar-type 1-3-5 chords!). The tune could be played by a single self-accompanying instrument
(fiddle or other strings, harp, bagpipe, etc.) or two or three contrasting instruments (e.g. plucked + bowed
+ wind). Or, of course, they can be sung, with or without accompaniment. Our experience is that they are
not good pieces for large ensembles or recorder consorts - as is the case for almost all medieval music.
Relative Pitches
There was no notion of fixed pitch in the medieval period. A melody may have been notated as starting
on D but this was an indication of the mode (the disposition of whole and half tones in a scale) and not a
specific note as played on a piano. The melody would be sung at whatever pitch was convenient. The
songs included here have been notated in a pitch suitable for the instruments on which we play them.
They can be transposed to any pitch that is comfortable for your voice or that lies well on your
instruments. Few of the melodies have a range of more than a ninth.
1
Tempo
None of the melodies in the manuscripts have any indication of tempo. The limitations of a singer are
probably the best guide to tempo. They obviously would not have been sung faster than is possible to
sing - though you cannot rule out an instrumentalist getting carried away - but a tune also can get too
slow. A useful rule-of-thumb is that a line of text should be sung in one breath. If you cannot sing the line
without taking a breath it is probably too slow.
Lyrics
In most cases we have included only the first stanza of the songs. This is to save space and avoid
upsetting anyone over copyrights. The bibliography has references that should help you find the rest of
the words. Complete versions (sometimes with translations) can often be found on the internet usually by
searching on the first few words of the song; you may find more accurate transcriptions than we were
capable of doing. It is also worth noting that it was a period practice to invent new words to fit an old
tune, so feel free to supply your own.
Gaïta
Chris Elmes & Cait Webb
Phone: [phone]
1F2, 25 Haddington Place
Edinburgh, EH7 4AF
[email protected]
2
Troubadour and Trouvère
These tunes come from the 12th and 13th centuries, from what is now France. The Troubadours were
from the south (but also from parts of NW Italy and Catalonia) and wrote songs in Old Occitan. About
3000 songs, but only 300 with music, have been recorded in manuscripts. The Trouvères were from the
northern areas and wrote in Old French. They flourished slightly later than the Troubadours, but used the
same forms and similar style. There are thousands of Trouvère songs recorded in manuscripts.
Nearly all the troubadour (and many of the trouvère) songs were notated without any rhythm. It is likely
that most of them would have been performed freely (though this is hotly debated) and possibly
unaccompanied (even more hotly debated) but some are of a more popular style which can imply rhythm
and use of instruments. It is known that instrumentalists made arrangements of popular songs, so it seems
reasonable to play this music. One way to transform a troubadour or trouvère tune to an instrumental is to
arrange it in the estampie form (see below). We have included a late troubadour tune 'Pus astres' and our
own estampie arrangement of it as an example.
Generally, the structure of most troubadour and trouvère songs is strophic, that is, a series of strophes
sung to the same music. As stated earlier we have only included the first strophe.
Kalenda Maya
One of the better-known troubadour tunes. It was composed by Raimbaut de Vacqueiras and is said to
have used the melody from an 'estampida' played by two northern French fiddlers at the court of the
Count of Montferrat. It tells that none of the joys of May can please the singer until he has a message of
love from his Dona (the Lady - the object of his love).
(cid:0) (cid:1) (cid:2)(cid:3) (cid:4) (cid:4)(cid:3) (cid:4) (cid:4) (cid:4)(cid:3) (cid:4)(cid:3) (cid:4) (cid:5) (cid:6)(cid:7) (cid:6)(cid:7) (cid:6)(cid:7) (cid:6)(cid:7) (cid:6) (cid:6)(cid:7) (cid:6)(cid:7) (cid:6)(cid:7) (cid:6)(cid:7) (cid:6) (cid:6)(cid:7) (cid:6) (cid:6) (cid:6) (cid:8)

(cid:9) (cid:10) (cid:11)(cid:12)Ka - le(cid:11)n-da(cid:11)(cid:12) ma - (cid:11)(cid:12)ya, (cid:11)(cid:12)ne (cid:11)(cid:12) fuelh(cid:11) de(cid:13) (cid:11)(cid:12) fa-(cid:11)(cid:12)ya(cid:11)(cid:12) ni(cid:11)(cid:12) cha(cid:11)n d'a(cid:11)(cid:12)u - (cid:11)(cid:12)zel(cid:11)(cid:12) (cid:11)(cid:12)ni fl(cid:11)or d(cid:11)(cid:12)e g(cid:11) la (cid:11)- y(cid:11) a,
(cid:8)

(cid:9) (cid:10) N(cid:11)(cid:12) on (cid:11)truep(cid:11)(cid:12) que.(cid:11)m (cid:11)(cid:12)pla-ya(cid:11)pros (cid:11)(cid:12)do-n(cid:11)a (cid:11) ga(cid:11) -ya (cid:11)(cid:12) tro (cid:11)c'un(cid:11)(cid:12) ir - (cid:11)nel (cid:11)(cid:12) mes(cid:11) - sa(cid:11)(cid:12)-tje (cid:11)n'a (cid:11)- (cid:11)ya,
(cid:8) (cid:8)

(cid:9) (cid:10) (cid:11)(cid:12)Del vo(cid:11)s-tr(cid:11)e (cid:11)(cid:12) bel, c(cid:11)ors(cid:11) (cid:11)(cid:12)que.m(cid:11) re -(cid:11)(cid:12) tra (cid:11)- y(cid:11)a, (cid:11) (cid:11)Pla(cid:11) - zer no - vel c'a - mors m'a - tra - ya,
(cid:8) (cid:8) (cid:8) (cid:8) (cid:8) (cid:8)

(cid:9) (cid:10) Q(cid:11)(cid:12) u'ieu(cid:11) (cid:8) a(cid:11)-(cid:8) ya(cid:11)(cid:12), e.m(cid:11) (cid:8) tra(cid:11)-(cid:8)ya(cid:11)(cid:12) vas (cid:11) vos,(cid:11)(cid:12) do - n(cid:11) a ve (cid:11)(cid:12)- ra-y(cid:11)a, (cid:11) (cid:11) (cid:8) (cid:11) (cid:8) (cid:11) (cid:8) (cid:11)

E cha-ya de pla-ya ge - los ans que.m n'es - tra - ya.
3
Be m'an perdut
This is a song by the most famous of the troubadours - Bernart de Ventadorn. Strictly speaking, this is a
Canso - the highest form of the troubadour songs. Many people believe they should be sung a-
rhythmically and unaccompanied. The melodic structure (AAB) is a common one in this repertory,
though here the first part of the melody is repeated with a slightly different ending. This form was to
influence the Ballade form of later periods. This is our own rhythmic arrangement for playing
instrumentally - the tune is too good not to use. Bernart complains of being exiled from Ventadorn
because his lady is angry at him - for loving her too much.
(cid:14) (cid:15) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:16) (cid:17)
(cid:18) (cid:19) (cid:20)Be m(cid:20) 'an (cid:20) (cid:20) (cid:20) (cid:20) p(cid:17) er-dut(cid:20) lay (cid:20) en(cid:20) (cid:20) -(cid:20) ves(cid:20) (cid:20) (cid:20) V(cid:20) en(cid:20) - (cid:20)ta (cid:20) - (cid:20) d(cid:20)orn (cid:17) (cid:21)
3
(cid:22) (cid:23) T(cid:24) uih(cid:24) mei(cid:24) (cid:24) (cid:24) a -(cid:24) m(cid:24)ic pos(cid:24) ma (cid:24) (cid:24)do (cid:24) - (cid:24) na (cid:24) (cid:24) no(cid:24) m(cid:24) 'a (cid:24) -(cid:24) (cid:24) ma(cid:25)
(cid:22) (cid:23) (cid:24) Et (cid:24) es (cid:24) (cid:24) (cid:24) (cid:24) b(cid:25) e drei(cid:24)hz qu(cid:24)e (cid:24) j(cid:24)a (cid:24) (cid:24) mai(cid:24)s (cid:24) (cid:24) (cid:24) lai (cid:24) n(cid:24) o(cid:24) (cid:24) tor(cid:24)n (cid:24) (cid:25)
3
(cid:22) (cid:23) C(cid:25) 'a-des (cid:24) (cid:24) es -(cid:24) tai (cid:24) v(cid:24)as (cid:24) m(cid:24)e sal(cid:24) - (cid:24) vat(cid:24) (cid:24) - (cid:24) j'e (cid:24) gra(cid:24) (cid:24) (cid:24)- (cid:24) ma.(cid:25)

(cid:22) (cid:23) V(cid:24) eus p(cid:25)er (cid:24) que.m(cid:25) fai(cid:24) sem(cid:24) -(cid:24) bla(cid:24) n (cid:24) (cid:24) i (cid:24) - r(cid:24)at (cid:24) (cid:24) (cid:24) e (cid:24) mor(cid:25)n:
3
(cid:22) (cid:23) (cid:24)Car(cid:24) (cid:24) en(cid:24) (cid:24) s'a(cid:24) - (cid:25) mor (cid:24) mi (cid:24) de (cid:24) (cid:24) - (cid:24) lieg (cid:24) (cid:24) (cid:24) em(cid:24) (cid:24) so(cid:24) (cid:24) - (cid:24) (cid:24) jorn (cid:25)
3
E de res als nos ran - cu - ra nis cla - ma.
4
A l'entrada del tens clar
Another well-known tune that, curiously, has found its way back into the modern Provencal folk canon.
We have given two arrangements here. Our favourite is the first in 7/8 which gives it a lively momentum.
For those of a more delicate disposition we also include a version in 6/8.
(cid:26) (cid:27)(cid:28) (cid:29) (cid:30) (cid:30) (cid:30) (cid:30) (cid:31) (cid:30) (cid:30) (cid:30) (cid:30) (cid:30) (cid:30) (cid:30) (cid:30) (cid:30) (cid:30) (cid:31) (cid:30) (cid:30) (cid:30) (cid:30) (cid:30) (cid:30)

! (cid:29) (cid:30) A(cid:30) l'e(cid:30) n-t(cid:30)ra(cid:31) -da (cid:30) de(cid:30)l te(cid:30)ns clar(cid:30), (cid:30)e -(cid:30)y - a! (cid:30) (cid:30) (cid:30) (cid:30) (cid:31) Pi(cid:30)r jo(cid:30)i-e (cid:30)re (cid:30)-(cid:31) co-m(cid:30)en-c(cid:30) ar,(cid:30) e(cid:30) (cid:31)- y-(cid:30) a! (cid:30) (cid:30) (cid:30) (cid:30)
3
! (cid:29) e(cid:30) t p(cid:30) ir j(cid:30)a-l(cid:30)"ous (cid:30) ir-(cid:30) ri-(cid:30) ta(cid:30)r, (cid:30) e -(cid:30) y-(cid:30) a! (cid:30) v(cid:30)ol l(cid:30)a(cid:31) re-(cid:30) gi(cid:30)- ne(cid:30) m(cid:30) o s-tar(cid:30) te'el(cid:30)e e(cid:30) st(cid:30)-s i a - mo - rou - se.
! (cid:29) (cid:30)A l(cid:30)a v(cid:30) i-(cid:30)e" , (cid:30)a (cid:30) la (cid:30) vi(cid:30) - e(cid:30),(cid:31) Ja(cid:30) -lo(cid:30) us,(cid:30) (cid:30) las-saz nos, (las-saz nos),
Bal-lar en-tre nos, en-tre nos
! #$ % & & ’ & & ’ & & ’ & ( & & ’ & ( & & ’ & & ’ & & ’ & ( & & ’ & (

) % & A& ’ l'e& n-t&ra’ -da & de&l’te&n(s clar&, &e’ -&y( -a!& & ’ & & ’ Pi&r jo&i’-e & re&-’ co-m&en-&ca’ r,& e& ’- y-& a! & & & & (
) % e& t p&* ir&ja-&*lous& ir&*-ri& -t&ar,& e&- y&-a! & &vol&la’ re&-gi& - n&e m& (os-tar& te'el&e &est&-s(i a - mo - rou - se.
) % &A l&*a v&i-e&*, &a &la v& i&- e,& ’ Ja&-lo&us,& & ( las-saz nos, (las-saz nos),
Bal-lar en-tre nos, en-tre nos
5
Pus astres and estampie
This is a refrain song by the late troubadour Guiraut Riquier. It tells of the poet's wish to be instructed in
the ways of true love amoungst the noble and gracious ladies of Catalonia (presumably written for the
court there).
The estampie is made up from sections of the original tune. The 'open' and 'close' are the two halves of
the refrain. This form allows you to add extra sections if you wish - variations, freely composed,
improvised, etc. (See Estampies Real for more on this form.)
+ , , , , , , , , , , - , , , , , , , , , , , , -
3
+ ,Pus, as ,- , tre,s no, m'e, s ,do, - , nat-z Qu,e de, , m, i-d,ons, , bes m,'es , -, c,ha-i,a, -
3
+ N, i nu, lhs , , mos p, la - z, ers, n,o.l, - platz, , Ni,ai, ,po-,der, ,que.m, n,'es , -, ,tra-,ia,,
3
3

+ ,Ops, m'es , ,qu'ie, u si -, a, f,on, -- datz , E, n v, i , - ,a ,d'a , -, mo,r ve, -, ,ra ,- ia;
3
3 3

+ ,E ,puesc, n, 'a-p,en, - re, as , - , satz, , En, Ca , - , ta,-lue , -, nh, a la, ,ga-, ia,, , -
Refrain
3
En tre.ls Ca-ta - lans va - lens E las do-nas a - vi - nens.
Estampie on Pus astres
+ , , , , , , , , , , - , , , , , , , , , , , , .
1st Punctum 1.Open
/
2.0Clos0e 0 0 0 0 0 0 0 03 0 1

/ .
02nd 0Pun0 ctum0 0 0 0 03 0 1 1.0Ope0n 0 ... 2.0Clos0e 0 ...

/ .
03rd P0 un0ctum0 0 0 0 03 0 1 1.0Ope0n 0 ... 2.0Clos0e 0 ...

/ .
04th P0 un03ctu0 m 0 0 03 0 0 0 0 0 0 10.Ope0n 0 ... 20.Clos0e 0 ...

6
Domna, pos vos ai chausida and Tant es gaya
These are two examples of Dansas or dance songs. They are some of the very few troubadour melodies to
be written in mensural notation (i.e. the manuscript indicates note duration as well as pitch value). It is
also common that dansas only have one strophe in the manuscript. The structure of these is similar to the
virelai (AbaA - see Cantigas de Santa Maria) where the first two lines act as a refrain, followed by a new
section of music, then a repeat of the first section's music to new words, then a repeat of the first section
(refrain). This fo3rm differs in that it has no more stanzas to follow.
2 3 4 4 4 3 4 4 4 4 3 5 4 3 4 4 4 4 3 5
2 D3 om - n4 a, p3 os v4os a4 i c3 hau - s4i 4 4- 4 da3 ,5 fa4tz-m3 e b4el s4em4 4 - 3bl5ant,
3
2 q4u'ieu4 sui 4 a4 4 to - ta ma4 vi4 -4 4 da4 3 5 a vos - tre co - mand.

2 3A vo4s 4 - 4 4 tr4e 4 co -4 m4 an4d 4se 4 - 4 4rai4 4 4 3 5
3

3
2 a4 4 to4ts 4 lo4s jorn4 s de4 4 m4 a 4 vi 3 5 - a,

2 3e ja4 4 4 4 d4e 4 vos 4 n4o'm4 p4 ar 4 - 4 4tra4i 4 4 3 5
3

2 3per 4 de -3 gu 4 - 4 na3 au - tra4 4 4 4 q3ue5 si 4 3- 4a, 4 4 4 3 5
2 3qu'E - r4 ecs 3 non 4a - m4 et E3 - n4 i 4 4 -4 d3a5 t4ant ni'I3 - seu4ts T4ris4 4 - 3ta5n
2 c3 om i4eu v3 os, d4 om -4na 3gra - 4si 4 4 -4 3da5 , 4qu'ieu3 am 4 ses4 en 4 4 - 3ga5 n
2 D3 om - n4 a, p3 os v4 os 4ai c3 hau - s4i 4 4 - 4 d3a,5 fa4tz-m3 e b4el s4em4 4 - 3b5lant,
qu'ieu sui a to - ta ma vi - da a vos - tre co - mand.
7
Tant es gaya
7
6 7 8 8 8 8 8 8 8 8 8 7 9 7 8 7 8 7 8 7 8
7
6 7Tant 8 es8 ga 8- y8'et 8 8 a -8 v8i 8 7-9 nentz7 8 mi - 7dons, 8 que7 fin8 pret8z 8am8 - pa7 9 - ra,
7
7 8 8 8 8 8 8 8 8 8 8 7 9
6 e sa beu - tats si pla - sents per qu'ieu l'am e la tenh ca - ra.

6 8Tant 8 la 8 8 sai 8 d7 e joi8 8 com 8 -8 pli7 -8 7da9
7
7 8 8 8 8 8 8 8 8 8 8 7 9
6 que non n'a par, sees men - ti - re;

6 8ga 8- ya, 8 8 pr8os 7 et ei8s -8 s8er 8 - 8 ni8 8 8- 8 d7a9

7
6 7 per q8u'ieu8 8 8l'am8 ses8 8 8 8con7-9tra - 7 di8 7 - 8 7 re; 8 7 8

7
6 7e 8pa8r es 8- lu8 -8 me8-na8 8 8- 7 9 ments, 7 tant8 a7 fres8 - ca 7 co 8- lor8 c8a 8- ra.7 9
7
6 E7 t a8 8 tots bons8 8 com-8pli8 8- 8 m8 ents7 9 e 7va - lo8r qu'e7n ren8 no's7 va 8 - 7 ra. 8
7
6 7Tant 8 es8 ga 8- y8'et 8 8 a8- v8 i8 7 -9 nent7z 8 mi - 7 dons,8 qu7e fi8n pr8etz8 am8 - 7pa9 - ra,
e sa beu - tats si pla - sents per qu'ieu l'am e la tenh ca - ra.
8
Three Caroles – Tuit cil, Que ferai and C’est la fins
Medieval caroles have no particular connection to Christmas but rather are a type of dance song. The
popularity of caroles can be measured by the large number of medieval sermons denouncing the dancing
of caroles (often in the church graveyard). Unfortunately, we do not have any record of what the dance
was apart from various painted depictions which show dancers in a line or a circle. The three caroles
included here (the first in Occitan; the other two in Old French) show the standard form of these songs.
The capitalised text is sung by all the dancers; the rest by the soloist - a form that you can be echoed by
an instrumental group. There is never more than one stanza recorded for caroles. People appeared to have
spent hours caroling so, presumably, they repeated them many times, made up new words (on the trot, as
it were), strung a number of caroles together, or used any other idea to keep the dancers moving.
: ;< => = = = = => = => = = = = = = = = = = = = => =
=
: => TUIT= = CI=L = Q=>UI SU= NT=AN= - A= -MOU-RAT=> VI=E -= G= NEN=T DA= N=-C=AR, = L=>I AU= -TRE NON!

: L=> a re= -= gi=-ne= le => com= - m=> en-= dat=! = = T=UIT = C=IL= =QUI= SU= NT= = AN= -= A-=MOU-RAT

: =>Que l=i = ja=-lous= soi -=> ent fu= s-t=>at = For=s = = de= l=a dan = - = ce = d'un= = b=as-ton= . = = = ?
TUIT CIL QUI SUNT AN - A-MOU-RAT VIE - GNENT DAN-CAR, LI AU - TRE NON!
: @ = = = = A = A = = = = = = = = = A ?

: @ LI RE - GART D= E SEA S V=ER=Z EUZ M'O - C= IST A = =
= = = = A A = = = = = A A =
: @ =Que= = =fe - Arai, =biau Asi - =re = Di=ex? = = LI = R= E= - G=ARTAD?E SES VERZ EUZ

: @ =J'ai= =- = ten -A drai = pou A a - = voir = m= ieux= = = mer= = -= Ac?i

LI RE - GART DE SES VERZ EUZ M'O - CIST
9
C'est la fins
B C D D D D D C D D C D D D D D D C

B CC 'EST LD A FDINSD C KOI D QUCE NUSC EDI-E, C J'A -D ME D - RAD ISC. D C C E
B CC'est Dla Djus D enD D mCi le D preD C C'EDST DLAD FIDNS D JED C VUL A - MER.

B CJus Det D bausD D i D a C le - D ves; D BeC-le D a D -D miDe D ai. D C

C'EST LA FINS KOI QUE NUS DI-E, J'A - ME - RAIS.
J'a nun hons pris
Attributed (by some) to Richard Lionheart and said to have be written whilst he was being held captive in
Austria. It is basically a complaint that no-one is paying his ransom - but a lovely tune. This one is good
to sing or play fairly freely - don't let it become a waltz.
F G H H H H H H H H H H H I J

K G HJ'aH nunH honsH prisH nH eH diH - raI sa H raHi - sIoJn,
3

K G AH -droH i-teH - mHent, H sHe doH - laH nH - Hte-meHnt InoJ n.

K G HMais pH arHef - Hfort pH ueH t Hil Hfai - Ire chaHn -H sonI ,J
3

K G MH outH ai Ha - Hmis, H mH ais pHov -H reH H sunHt liH dI on.

K G HHonH-teiH a - H vronI t, se Hpor H mH a reH - aIn - sonI J
3

Sui ca Deus y - vers pris
10