Holtzach Fragment: Difference between revisions
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[[File:Holtz3r.png|thumb|right|Folio 3r, on which the organ keyboard is depicted.]] | |||
[[File:Holtz4r.png|thumb|right|Folio 4r, explaining tablature notation.]] | |||
The fragmentary manuscript '''CH-Bu F VI 26c''', signed "Osswald Holtzach / von Basel 1515" on the cover, is written in [[Old German Tablature Notation|Old German tablature]] and contains several pieces of pedagogical music along with other repertoire typical of the time. | The fragmentary manuscript '''CH-Bu F VI 26c''', signed "Osswald Holtzach / von Basel 1515" on the cover, is written in [[Old German Tablature Notation|Old German tablature]] and contains several pieces of pedagogical music along with other repertoire typical of the time. | ||
| Line 15: | Line 17: | ||
| 4v || Lauffwerck || | | 4v || Lauffwerck || | ||
<score> \relative c' { \omit Score.TimeSignature \set Timing.measureLength = #(ly:make-moment 2/4) \clef soprano c8 d16[ e] f[ e d c] d8 e16[ f] g[ f e d] \bar "" } </score> | <score> \relative c' { \omit Score.TimeSignature \set Timing.measureLength = #(ly:make-moment 2/4) \clef soprano c8 d16[ e] f[ e d c] d8 e16[ f] g[ f e d] \bar "" } </score> | ||
| Fingering exercises | | Fingering exercises (five patterns are given). | ||
|- | |- | ||
| 5r || (''at end of previous page'')<br>Hie nach folgend Beschluss und / | | 5r || (''at end of previous page'')<br>Hie nach folgend Beschluss und / lauffwerck mit Beiden henden / zubruchen uff alle Thon und zu / dem Ersten in das ut || | ||
<score> << \clef alto \omit Score.TimeSignature | <score> << \clef alto \omit Score.TimeSignature | ||
\relative c'' { \set Timing.measureLength = #(ly:make-moment 2/4) c8 c,16[ d e f g a] g[ a b c] d[ c b a] \bar "" } | \relative c'' { \set Timing.measureLength = #(ly:make-moment 2/4) c8 c,16[ d e f g a] g[ a b c] d[ c b a] \bar "" } | ||
| Line 31: | Line 33: | ||
>> </score><br>Fa<br> | >> </score><br>Fa<br> | ||
<score> << \clef alto \omit Score.TimeSignature | <score> << \clef alto \omit Score.TimeSignature | ||
\relative c' { \set Timing.measureLength = #(ly:make-moment 2/4) | \relative c' { \set Timing.measureLength = #(ly:make-moment 2/4) c2*1/2\rest c16[ b c d] e[ d e f] g[ f g a] \bar "" } | ||
\\ \relative c { \set Timing.measureLength = #(ly:make-moment 2/4) f16[ e f g] a[ g a bes] \once \omit Stem c4*2 \bar "" } | \\ \relative c { \set Timing.measureLength = #(ly:make-moment 2/4) f16[ e f g] a[ g a bes] \once \omit Stem c4*2 \bar "" } | ||
>> </score><br>Sol per bmolle<br> | >> </score><br>Sol per bmolle<br> | ||
| Line 46: | Line 48: | ||
\\ \relative c { \set Timing.measureLength = #(ly:make-moment 2/4) d16[ e f g] a4 g16[ a b c] d4 \bar "" } | \\ \relative c { \set Timing.measureLength = #(ly:make-moment 2/4) d16[ e f g] a4 g16[ a b c] d4 \bar "" } | ||
>> </score> | >> </score> | ||
| Short phrases demonstrating | | Short phrases demonstrating possible realisations of cadences. | ||
|- | |- | ||
| 6v || Salve Regina / In Re. Hans / Kotter || | | 6v || Salve Regina / In Re. Hans / Kotter || | ||
| Line 54: | Line 56: | ||
\\ \relative c' { \set Timing.measureLength = #(ly:make-moment 2/4) \override NoteHead.duration-log = #2 a1*1/2 bes \bar "" } | \\ \relative c' { \set Timing.measureLength = #(ly:make-moment 2/4) \override NoteHead.duration-log = #2 a1*1/2 bes \bar "" } | ||
>> </score> | >> </score> | ||
| Different from the first verset of | | Different from the first verset of Kotter's Salve in [[CH-Bu F IX 22]]. | ||
|- | |- | ||
| 7v || (''untitled'') || | | 7v || (''untitled'') || | ||
<score> \relative g' { \omit Score.TimeSignature \set Timing.measureLength = #(ly:make-moment 2/4) \clef soprano r2*1/2 g4 g8 a32[ g f g] f16[ e] \bar "" } </score> | <score> \relative g' { \omit Score.TimeSignature \set Timing.measureLength = #(ly:make-moment 2/4) \clef soprano r2*1/2 g4 g8 a32[ g f g] f16[ e] \bar "" } </score> | ||
| Colorised version of "Fortuna d'un | | Colorised version of "Fortuna d'un grand tempo" (attr. Josquin). | ||
|- | |- | ||
| 8v || Min Gmut / unnd plut. || | | 8v || Min Gmut / unnd plut. || | ||
| Line 66: | Line 68: | ||
\\ \relative g { \set Timing.measureLength = #(ly:make-moment 2/4) \override NoteHead.duration-log = #2 g1*1/2 d \bar "" } | \\ \relative g { \set Timing.measureLength = #(ly:make-moment 2/4) \override NoteHead.duration-log = #2 g1*1/2 d \bar "" } | ||
>> </score> | >> </score> | ||
| Colorised version of a song | | Colorised version of a song sometimes attributed to Andreas Silvanus. Incomplete. | ||
|} | |} | ||
| Line 75: | Line 77: | ||
Merian, W. (1916). ''Die Tabulaturen des Organisten Hans Kotter''. Doctoral dissertation, Basel University. | Merian, W. (1916). ''Die Tabulaturen des Organisten Hans Kotter''. Doctoral dissertation, Basel University. | ||
[[Category:Manuscripts]][[Category:Swiss Manuscripts]][[Category:Renaissance manuscripts]][[Category:Renaissance]][[Category:Swiss]] | |||
Latest revision as of 19:47, 13 November 2024
The fragmentary manuscript CH-Bu F VI 26c, signed "Osswald Holtzach / von Basel 1515" on the cover, is written in Old German tablature and contains several pieces of pedagogical music along with other repertoire typical of the time.
It begins with a general introduction to musical notation (using a diagram of the gamut and several solmisation exercises), as well as an explanation of the specific notation used for organ music. The manner in which this latter part is presented is remarkably similar to that found in one of Kotter's tablatures.
Contents
| Folio | Title | Incipit | Notes |
|---|---|---|---|
| 2v | (untitled) |
 |
Solmisation exercises. |
| 4v | Lauffwerck |
![\relative c' { \omit Score.TimeSignature \set Timing.measureLength = #(ly:make-moment 2/4) \clef soprano c8 d16[ e] f[ e d c] d8 e16[ f] g[ f e d] \bar "" }](/wiki/images/lilypond/g/f/gfzuv8ewsh783fw5t71tbn3ztqdgrhd/gfzuv8ew.png) |
Fingering exercises (five patterns are given). |
| 5r | (at end of previous page) Hie nach folgend Beschluss und / lauffwerck mit Beiden henden / zubruchen uff alle Thon und zu / dem Ersten in das ut |
![<< \clef alto \omit Score.TimeSignature
\relative c'' { \set Timing.measureLength = #(ly:make-moment 2/4) c8 c,16[ d e f g a] g[ a b c] d[ c b a] \bar "" }
\\ \relative c' { \set Timing.measureLength = #(ly:make-moment 2/4) c4 c,16[ d e f] e[ f g a] b[ a g f] \bar "" }
>>](/wiki/images/lilypond/a/x/axcgos2leb1zdm3bokqage1s419zczw/axcgos2l.png) Clausel / in .la. ![<< \clef alto \omit Score.TimeSignature
\relative c' { \set Timing.measureLength = #(ly:make-moment 2/4) d16[ c d e] f[ e f g] a[ g f e] f[ e f d] \bar "" }
\\ \relative c { \set Timing.measureLength = #(ly:make-moment 2/4) d4 d16[ c d e] f[ e f g] a[ g a b] \bar "" }
>>](/wiki/images/lilypond/n/r/nrznrin35yhoosb3dkybdwza4e3pa2x/nrznrin3.png) Mi ![<< \clef soprano \omit Score.TimeSignature
\relative c'' { \set Timing.measureLength = #(ly:make-moment 2/4) e8\noBeam c\mordent d32[ c b c] b16[ a] g4 r8 a \bar "" }
\\ \relative c' { \set Timing.measureLength = #(ly:make-moment 2/4) \once \omit Stem e4*2 e8 c4 b16 a \bar "" }
>>](/wiki/images/lilypond/a/i/ainsjq46abo5fx5t7126emon1hgmoez/ainsjq46.png) Fa ![<< \clef alto \omit Score.TimeSignature
\relative c' { \set Timing.measureLength = #(ly:make-moment 2/4) c2*1/2\rest c16[ b c d] e[ d e f] g[ f g a] \bar "" }
\\ \relative c { \set Timing.measureLength = #(ly:make-moment 2/4) f16[ e f g] a[ g a bes] \once \omit Stem c4*2 \bar "" }
>>](/wiki/images/lilypond/b/q/bq13txzhx3f8jt94gtk5ty8xqosla4u/bq13txzh.png) Sol per bmolle ![<< \clef tenor \omit Score.TimeSignature
\relative c' { \set Timing.measureLength = #(ly:make-moment 2/4) g16[ a bes c] d[ e f g] a[ b] c8 bes16[ a g f] \bar "" }
\\ \relative c { \set Timing.measureLength = #(ly:make-moment 2/4) g8.\noBeam a16 bes[ c d e] f[ g] a8 g16[ f e d] \bar "" }
>>](/wiki/images/lilypond/9/p/9phg2rb6t19s60fjy2npggr5tloz3sj/9phg2rb6.png) sol per ♮ durum ![<< \clef soprano \omit Score.TimeSignature
\relative g' { \set Timing.measureLength = #(ly:make-moment 2/4) g16[ fis g a] b[ cis d b] c[ b a g] a[ g a fis] \bar "" }
\\ \relative g { \set Timing.measureLength = #(ly:make-moment 2/4) g4 g8 g a16[ g a b] c[ b c d] \bar "" }
>>](/wiki/images/lilypond/q/j/qj7g460dde2lfx6n5cndwcpxcn98sp8/qj7g460d.png) Re ![<< \clef alto \omit Score.TimeSignature
\relative c' { \set Timing.measureLength = #(ly:make-moment 2/4) d4 c16[ d e f] g4 f16[ g a b] \bar "" }
\\ \relative c { \set Timing.measureLength = #(ly:make-moment 2/4) d16[ e f g] a4 g16[ a b c] d4 \bar "" }
>>](/wiki/images/lilypond/n/6/n6s41pcvuoyrs1njpmhrpiedsd9assi/n6s41pcv.png) |
Short phrases demonstrating possible realisations of cadences. |
| 6v | Salve Regina / In Re. Hans / Kotter |
![<< \clef tenor \omit Score.TimeSignature
\relative c'' { \set Timing.measureLength = #(ly:make-moment 2/4) a8\mordent bes16[ a a g f e] d[ e f g a bes] g8\mordent \bar "" }
\\ \relative c { \set Timing.measureLength = #(ly:make-moment 2/4) d4 r8 c bes4 g \bar "" }
\\ \relative c' { \set Timing.measureLength = #(ly:make-moment 2/4) \override NoteHead.duration-log = #2 a1*1/2 bes \bar "" }
>>](/wiki/images/lilypond/j/u/juekqrqt6sntlh5bcs1wfstc7w9zefk/juekqrqt.png) |
Different from the first verset of Kotter's Salve in CH-Bu F IX 22. |
| 7v | (untitled) |
![\relative g' { \omit Score.TimeSignature \set Timing.measureLength = #(ly:make-moment 2/4) \clef soprano r2*1/2 g4 g8 a32[ g f g] f16[ e] \bar "" }](/wiki/images/lilypond/3/q/3qf827wy7zfw9psmwaqbse99rx2qcd9/3qf827wy.png) |
Colorised version of "Fortuna d'un grand tempo" (attr. Josquin). |
| 8v | Min Gmut / unnd plut. |
![<< \clef alto \omit Score.TimeSignature
\relative g' { \set Timing.measureLength = #(ly:make-moment 2/4) g8\noBeam fis16\noBeam g\noBeam a[ g f e] f4. g8 \bar "" }
\\ \relative g { \set Timing.measureLength = #(ly:make-moment 2/4) \once \override NoteHead.duration-log = #2 g1*1/2 d'8[ c16 d e d c b] \bar "" }
\\ \relative g { \set Timing.measureLength = #(ly:make-moment 2/4) \override NoteHead.duration-log = #2 g1*1/2 d \bar "" }
>>](/wiki/images/lilypond/j/3/j32vpfbbnsqhcs5rl72ht3euzjcajsl/j32vpfbb.png) |
Colorised version of a song sometimes attributed to Andreas Silvanus. Incomplete. |
References
CH-Bu F VI 26c Online facsimile: e-manuscripta.ch accessed 13 November 2024.
Marx, H. J. (ed.) (1967). Tabulaturen des XVI. Jahrhunderts / 1, Die Tabulaturen aus dem Besitz des Basler Humanisten Bonifacius Amerbach. in: Schweizerische Musikdenkmäler. Basel, Bärenreiter-Verlag.
Merian, W. (1916). Die Tabulaturen des Organisten Hans Kotter. Doctoral dissertation, Basel University.
