Lettione seconda pur della prattica di sonare il violone d’arco da tasti, composta per Silvestro Ganassi dal Fontego desideroso nella pictura, la quale tratta. Donor challenge: Your generous donation will be matched 2-to-1 right now. Your $5 becomes $15! Dear Internet Archive Supporter,. I ask only. Silvestro Ganassi’s La Fontegara (Venice ), a treatise methodologically describing instrumental diminutions, still remains enigmatic. By offering a contextual.
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Sylvestro Ganassi’s Fontegara
Silvestro di Ganassi dal Fontegoalso given as Sylvestro di Ganassi dal FontegoSilvestro Ganasi dal Fontegoand Silvestro dal Fontego 1 January —  was a Venetian musician and author of fontegarz important treatises on instrumental technique. Methods ; Performance practice ; Writings ; Divisions ; For recorder ; Scores featuring the recorder ; For 1 player ; Italian language.
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Men in art Silvestro Ganassi dal Fontego. Views View Edit History.
None [ force assignment ] First Pub lication. Sylvestro Ganassi This image may not be in the public domain in these countries, which moreover do not implement the rule of the shorter term. I can say that if you wished to play a piece which is in four or five parts while singing the fifth, you would need to use a longer bow than is customarily used.
Note that a few countries have copyright terms longer than 70 years: Summary [ edit ] Description Ganassi fontegara.
Opera intitulata Fontegara, la guale insegna a sonare di flauto chon tutta l’arte opportuna a esso istrumento massime il diminuire il guale sara utile ad ogni istrumento di fiato et chorde: Title Opera intitulata Fontegara, la guale insegna a sonare di flauto chon tutta l’arte opportuna a esso istrumento massime il diminuire il guale sara utile ad ogni istrumento di fiato et chorde: His treatises are now available in modern editions.
This is because the hairs on a longer bow would be less stretched, allowing one to draw the bow with less pressure on the strings while playing a chord. In a later passage, however, Ganassi makes it clear that the hair may be tensioned with the fingers in at least some circumstances, for example when playing chords to accompany a song:.
This page was last edited on 23 Novemberat Some interpretations of this passage conclude that the bow is to be held without touching the hair,  whereas in later bow-holds the fingers tension the hair in order to allow louder or accented playing without the stick of the bow hitting the string. Ganassi’s Regola Rubertina is among the earliest sources of advice to the viol player on how to hold the bow.
Opera Intitulata Fontegara
Retrieved from ” https: The revival of interest in historically aware musical performance has resulted in renewed interest in Ganassi’s writings. From Wikimedia Commons, the free media repository.
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