p.5 [ALFABETO IN TABLATURE WITH THE ROOTS OF THE CHORDS SHOWN IN STAFF NOTATION]
p.6 DIAGRAM
showing to which notes [of the scale] both the open strings, and the strings stopped at each of the frets correspond, so that you may understand the whole range of the guitar. To achieve this it must be understood that a G represents G sol re ut, an A, A la mi re, the B, B fa b mi, the C, C sol fa ut, the D, D la sol re, the E, E la mi, the F F fa ut. This sign # indicates that the note is sharpened; this b that it is flattened.
The five open strings. First fret. Second fret. Third fret.
Fourth fret. Fifth fret. Sixth fret. Seventh fret.
Eighth fret. Ninth fret. Tenth fret. Eleventh fret. Twelfth fret.
p.7 EXPLANATION OF THE ABECEDARIO AND OF THE SECOND DIAGRAM
The symbols of the Abecedario are explained by writing them out in fret tablature. In this the five lines are assumed to be the five strings of the guitar, beginning to count from the lowest [line], which represents the first course. Ascending in this way, the second line will be the second course of the guitar, and the third line will coincide with the third course, and likewise the fourth and fifth [lines will be] the fourth and fifth courses.
The numbers which are found on the lines [of the tablature] indicate the frets which have to be stopped, so that if there is a 1, the first fret has to be stopped (on the string where it [the 1] is placed); if there is a 2, the second fret will be stopped, and so on for the rest.
The small dots are supplied so that you may know with which fingers the strings should be stopped to achieve the best position of the left hand. When one dot is found [the strings] are stopped with the index finger; when there are two, with the middle finger; if there are three, with the ring finger; if there are four, with the little finger.
The stave (below the letters) is supplied so that you may know to which note, in the bass clef, each letter [of the Abecedario] corresponds.(Note1) Note that this sign - 3# - above [the bass note] indicates that that note is accompanied by a major third; and this sign - 3b -, that it is accompanied by a minor third. Even if these signs are found above the [bass] note ( as has been explained) without a 3 before them, they indicate the same thing, for then the sign # indicates that note sharpened; and if it has this b, it is flattened.
EXPLANATION OF HOW TO FIND THE NOTES WHICH THE BASS REQUIRES TO ACCOMPANY IT, AND ALSO HOW TO KNOW BY MEANS OF GENERAL RULES (WHICH ARE NECESSARY FOR COMPOSITION) THE WAY OF ACCOMPANYING ANY SUSPENSIONS WHICH MAY OCCUR.
p.8 Having memorized the whole fingerboard of the guitar, to which the notes of music correspond, (both those on the open strings and those stopped at each of the frets), the diligent aficionado (who wishes to make progress in their use) will be able to transpose whatever chords he likes to any part of the instrument. He will also be able to find easily the notes which the [bass] note requires to accompany it. For this purpose it is necessary to know with which note[s] the bass note ought to be accompanied. This is impossible, if the accompanist does not understand the rules of composition, unless he makes use of general principles. In spite of the extensiveness of the problems involved, these will be set out here, for all the notes without accidentals, and for all those with them, which the aficionado may encounter in any music, whether Spanish or foreign. They will include, as will be seen, all kinds of suspensions and chords.
First of all, to find the note which the [bass] note requires to accompany it, one has to count from the [bass] note itself to the right (Note 2) from note to note until it is found. Then the string nearest to where it occurs will be chosen according to the place where the hand happens to be, without displacing it; for one of the most important points to which he who accompanies or plays must pay attention, is the proper position of the left hand.
For example, if a 6 is found above the note G sol re ut, it needs a sixth to accompany it, and to find this, you will count six [notes] from that note saying G sol re ut, one; A la mi re, two; B fa b mi, three; C sol fa ut, four; D la sol, five; E la mi, six; which is either the open first course, or the second course stopped at the fifth fret. Then you will choose from these two the one most suited to the position in which the hand is found. If it is a 6b it will be given E la mi flat, and so on for any other note which the [bass] note may require.
All that remains for you to understand now is that if the bass note is on the fifth course of the guitar, from the fourth course downwards can be used to look for the accompanying voices; if it is on the fourth, from the third course downward; if on the third course, on the second and first courses.
As to the general rules for harmonizing the voices, it should be noted that with suspensions of a fourth resolving on to a third (which are the most usual), the fifth should be used, or in its place, on some occasions, the octave, so as not to displace the hand.
In suspensions of the sixth resolving on to a fifth (when the [bass] voice makes a cadence) the sixth is accompanied by a fourth and afterwards the sixth resolves on to a fifth, leaving the fourth suspended, and then the fourth resolves on to the third.
All sixths and sevenths should be accompanied by a major or minor third, as the key signature demands or the note indicates.(Note 3)
The diminished fifth is accompanied by the third or sixth, and if possible by both.
The ninth is also always accompanied by the third.
Suspensions of an augmented fourth are accompanied by a second or a sixth, and if possible in any place by both. The said suspensions [of an augmented fourth] resolve on to a sixth in the next chord.
The diligent reader will see all this put into general practice in the following pages.
p.9 DIAGRAM
to illustrate all the modes, both the eight standard ones and the other transposed ones, according to the final note on which the bass part ends.
p.10 First mode - 1st mode a tone lower - 2nd mode - 2nd mode a tone lower
3rd mode - 4th mode (little used) - 5th mode
6th mode - 6th mode a tone lower - 7th mode - 7th mode a tone higher
p.11 8th mode natural - 8th mode "por el final"
8th mode a tone higher - "Segundillo" - "Segundillo" a tone lower
"Segundillo" with a flattened third - Third mode a tone higher - 8th mode "por el final" a tone higher.(Note 4)
p.12 The note of G sol re ut with the chords and suspensions which commonly accompany it.
p.13 On G sol re ut sharp as it is found in sharp keys
On G sol re ut flat
p.14 On A la mi re natural
p.15 On A la mi re sharp
On A la mi re flat
p.16 On B fa b mi natural
p.17 On B fa b mi flat
p.18 On C sol fa ut
p.20 on C sol fa ut sharp - Suspensions on this note with a sharp
p.21 On D la sol re
p.23 On D lasolre sharp.......The rest of the suspensions for this note are the same as for E la mi flat as can be seen under that note
On D lasolre flat.........The rest of the suspensions for this note are the same as for C sol fa ut sharp
p.25 On E la mi sharp - On F fa ut.................The rest of the suspensions for this note are the same as for F fa ut natural
p.26 On F fa ut sharp
Suspensions on this note sharpened
p.28 Scale [in the clef] of F faut without any flats.
Note that although the scales ascend a long way, and the notes descend as far as the tenth fret, this is only in order to give the full range of natural notes. In practice the accompanist may repeat the same thing from the second G sol re ut.
[Second stave] Scale in the clef of C sol fa ut as it is accompanied transposed in the melodies of Spain in the old style.
[Third stave] Scale in the clef of C sol fa ut as it is accompanied untransposed in the Italian style.
In all the scales in this clef of C sol fa ut untransposed in the Italian style it should be understood that of the two rows of notes set out in this first example, the one in the lower register is the one which is at the same pitch as the notes of the other two scales. They will be arranged in the same way in all the other examples. Then the example on last stave illustrates what to do when it rises further.
In cantatas in the Italian style, composers use the clef of C sol fa ut untransposed, because the clef of F fa ut does not rise far enough [without the use of ledger lines]. For this reason note that when the treble assumes the role of [the bass part] , (that is when it [the real bass part] has a rest), the accompaniment is better played as on a single string [i.e. as a single line] if the note values are short. However if the note values are long and the voice [continues to] sing, the accompaniment is is played with full chords as is demonstrated.
The last stave in each of the [sets of] scales serves as an example for when it [the accompaniment] is on a single string.
p.29 With one flat
p.30 With two flats
p.31 With three flats
p.32 With one sharp
p.33 With two sharps
p.34 With three sharps
p.35 Diagram showing how to write out a treble part for the guitar, both in the clef of G sol re ut and in that of C sol fa ut. Note that this first example is transposed up a fifth. This is the way of writing in this clef in the Spanish style when it is used for vocal music.
Notes with sharps
Notes with flats
When there is a B flat in the key signature
When there are sharps in the key signature
As far as here the clef of G sol re ut transposed has been explained. What follows shows how the music is written out when composing for the violin in the Italian style.
p.36 Notes with sharps
With flats
When there is a B flat in the key signature
p.37 With two flats - With three flats
The rest of the notes will be played as has already been explained. If the said clef [of G sol re ut] is found with more flats, examine the accidentals to see which space or line the flat occupies, so as to give its equivalent when it rises or when it falls.
With one sharp
With two sharps
With three sharps
Here will be understood the same as was noted for the flats.
p.38 Example of the same clef of G sol re ut placed on the first line [of the stave] from below, which is how it is used only in France. This is the equivalent of the clef of F fa ut on the second line from above. [That is, if the bass clef is substituted for the G clef the series of notes will be the same].
Notes with flats
Notes with sharps
The rest of the notes are played as the examples illustrate
p.39 Example of the clef of C sol fa ut on the first line.
Notes with sharps
Notes with flats
The rest of the notes will be played in this clef both with flats and with sharps, as it is set out in the first example of the said clef of C sol fa ut.
p.41 VARIOUS EXAMPLES IN THE USUAL METRES (Note 5) OF MUSIC, WHICH SERVE AS A GUIDE FOR THE ACCOMPANIST, AND ILLUSTRATE WHEN IT IS NECESSARY TO PLAY FULL CHORDS , AND WHEN TO PLAY THE BASS ALONE WITHOUT ACCOMPANYING VOICES (ACCORDING TO THE METRE)(Note 6)
p.42 EXAMPLE 1 IN THE METRE OF COMPASSILLO(Note 7)
This metre, when it goes very slowly, is called de nota negra [of the black notes] in Spain and largo in Italy. Then because of its gravity, the crotchets are harmonized in full, the quavers in pairs and the semiquavers in groups of four. They should always be treated in this way, both in this example and in all the others, depending on the technical skill of the accompanist.
EXAMPLE 2 IN THE SAME METRE
When the said metre goes in half the time, that is rather quickly, the down-beat and the upbeat of the bar only are harmonized in full, together with such [bass] notes as may need a particular note [to accompany them]. Its movement [i.e. that of the bass line] will always be the reason for executing them in this way in any of the metres, if there is occasion to and [the player has sufficient] skill for it.
EXAMPLE 3 IN THE METRE OF COMPÁS MAIOR
This metre in which the notes are double the value (of those in the metres which have already been explained) is accompanied rapidly. For this reason, the full chords will be played on all the minims, the crotchets harmonized in pairs and the quavers in groups of four. And it may be realized in this way if the player is skillful. Otherwise the down- and up-beats will be harmonized in full, considering it like compassillo ayroso(Note 8)
EXAMPLE 4 IN THE METRE OF 2 BY 4
There is another metre in Italian and French music called gavotte metre, which is indicated by a 2 and a 4. This goes very quickly, because there are half the number of notes in it as there are in compassillo, since it is usually made up of one minim, two crotchets, four quavers or eight semiquavers. The full chords will be played on the down- and up-beats of the bar.
p.43 EXAMPLE 5 IN THE METRE OF PROPORCIÓN
There is variety in this metre (as will be seen in the examples), especially in the Italian style. In the Spanish [style], when it goes slowly, the semibreves, and the first and second minims, or crotchets (which are of the same value in this metre (Note 9)will be given full chords, and also the last [minim] if it requires a chord. The black semibreves (three of which equal two bars) will be given full chords, or two chord to each one. On the smaller note values, the down- and up-beats of the bar [will be given full chords]. (Note10)
EXAMPLE 6 IN THE METRE OF PROPORCIONCILLA
This metre is the one which is usually used for the juegetes of Spain, and it is so called because of its speed; but the notation is the same (as in proporción). Full chords will be played depending on the skill of the accompanist, but it is essential, in any metre (as is indicated in all the others) to play them on the down- and up-beats of the bar. However taking into account here the brevity [of the notes], they should be placed on [the note which makes up] the greater part of the bar, being governed in this as in all the others, by the examples at the end.
EXAMPLE 7 IN THE METRE OF PROPORCIÓN MAYOR
In this metre, the dotted breve equals one bar; without a dot, a semibreve is needed [to make up the bar]. Three semibreves, six [white] crotchets, or twelve [white] quavers make up another [bar]. Full chords are played on all the semibreves, which are equal here to the minims [of the previous metre]; assuming these [the minims in this metre] to be crotchets, the first and fifth are harmonized in full. Only the first of the quavers, which are like semiquavers [is harmonized in full].
EXAMPLE 8 IN THE METRE OF 3 BY 4
As far as here the kinds of triple time used in the Spanish style have been explained. However, these same [metres] are also used (as can be seen) in foreign music, although with a difference in the notation; as for example, the metre of 3 by 4, whose tempo is the same, when it goes slowly, as that of proporción and [the same] as that of proporcioncilla when it goes quickly. [The only difference is] that the minim is worth two parts [of a bar]; when dotted, a bar. Three minims make two bars, three crotchets, one. There are six quavers to a bar, and twelve semiquavers. The full chords will be played observing that which was said previously about proporción.
p.44 EXAMPLE 9 IN THE METRE OF 3 BY 8
There is another metre [used] in Italian music which is indicated by a 3 and an 8, in which the dotted crotchet is worth one bar; without the dot, [it is worth] two thirds of it. It is made up of three quavers and six semiquavers. This metre, for the most part, is for fast arias, and then the first note of the bar will be harmonized in full. If it is used in arias which go slowly, full chords will be given to the down- and up-beats, or wherever a particular note demands it, treating it [in the same way] as the metre of proporción.
EXAMPLE 10 IN THE METRE OF SEXQUIALTERA
There are other metres which are called sexquialtera, sexquidozena and sexquinovena. These three metres differ in the way in which they are notated. Thus sexquidozena, which is the metre most commonly encountered in many cantatas or tocatas is indicated with a 12 and an 8. If [the tempo] is very fast, the full chords will be played on those notes which fall on the down- and up-beats of the bar, when this is composed of quavers; but if it is composed of dotted crotchets, these will all be harmonized in full. An example of this metre is placed at the end.
Sexquialtera is indicated by a 6 and a 4, and often with a 6 and an 8. The full chords will be given to the down- and up-beats of the bar.
Sexquinovena (less often used) is indicated with a 9 and a 6. The full chords in this metre will be played, following the same rules as the preceding ones for sexquialtera and sexquinovena.
As well as reading the theoretical explanation, the diligent player who wishes to put it into practice should study the examples [which follow] with care. In these the music is placed above, and the tablature below; they will provide him with enlightenment, and rules for those [similar] situations which he may come across in other accompaniments.
(1.) The notes in question represent the roots of the chords. Return to text
(2.) That is, as if the intervening notes were set out successively on the stave. Return to text
(3.) That is, as the figures in the bass line indicate, or according to whatever degree of the scale the bass note falls on. Return to text
(4.) The terms "Por el final" and "segundillo" do not have English equivalents. Literally they mean "by the final" and "little second. Return to text
(5.) Tiempo = metre. In seventeenth century Spanish, the word conveys the idea both of metre, i.e. the number of beats in a bar, and their denomination, and to some extent, the speed or tempo at which they are to be executed. Return to text
(6.) I.e. which notes of the bass line should be harmonized, and which treated as unessential or passing notes. Return to text
(7.) Compassillo = compas menor. Return to text
(8.) Compassillo ayroso - possibly a name for the metre illustrated in Example 2. Return to text
(9.) As all the notes are written as white notes, a minim = a crotchet, of which there are three to a bar. There are then six white quavers or twelve white semiquavers to a bar. Return to text
(10.) Black notes are used when syncopation occurs. They are otherwise of the same value as the white notes of the same denomination. Return to text