129:(lower right, opposite) appears to show this hold. 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. 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:
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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. 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
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You know that the bow is to be held with three fingers, that is to say the thumb, the index and middle fingers. The thumb and middle finger ensure, in holding the bow, that it does not fall, and the index finger serves to strengthen and stabilize it, keeping it on the strings and exerting more or
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The revival of interest in historically aware musical performance has resulted in renewed interest in
Ganassi's writings. His treatises are now available in modern editions.
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85:(Venice, 1543). They cover both technicalities of playing and the subtleties of expression. There is also guidance on
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playing a chord. Then you could use the fingers to stretch the hairs when playing fewer strings or a single string.
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Wordplay - Madrigals and chansons in virtuosic instrumental settings from 16th century Italy
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Brown, Howard Mayer, and Giulio Ongaro: "Ganassi dal
Fontego, Sylvestro di".
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Liuteria veneziana, 1490–1630 / Viol and Lute makers of Venice 1490–1630
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Philippe
Verdelot, Silvestro Ganassi : Madrigali Diminuiti
311:, translated by Richard Bodig (S.l.: Saraband Music, 2002)
73:(Venice, 1535). His second (in two volumes) is about the
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Regola
Rubertina and Lettione Seconda (Venice, 1542–3)
219:, Musica Antiqua of London directed by Philip Thorby
54:(1 January 1492 – 1565) was a Venetian musician and
356:Œuvres complètes, volume I: La Fontegara (1535)
254:, Doulce Mémoire (Denis Raisin Dadre), Ricercar
108:is among the earliest sources of advice to the
358:, Christine Vossart (editor) (Mardaga, 2002)
240:, More Hispano (Vicente Parrilla), Carpe Diem
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377:Free scores by Silvestro Ganassi dal Fontego
381:International Music Score Library Project
294:(Oxford: Oxford University Press, 1989)
277:Florid early baroque songs and polyphony
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238:Glosas: Embellished Renaissance Music
121:less pressure according to the need.
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261:, Ensemble arcimboldo (Thilo Hirsch)
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351:(S.l.: Oxford Music Online, 2001).
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231:Sylvestro Ganassi: Io amai sempre
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116:. In Chapter III, Ganassi says:
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58:of two important treatises on
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48:Silvestro Ganasi dal Fontego
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279:, ensemble Cantate Violini
112:player on how to hold the
71:Opera intitulata Fontegara
65:His first treatise covers
166:, section 2.6, pp. 80–81.
412:Italian music theorists
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60:instrumental technique
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245:Discorsi delle comete
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268:, Le Concert Brisé (
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81:(Venice, 1542) and
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210:Discography
391:Categories
139:References
104:Ganassi's
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164:Crum 1989
69:playing:
152:Pio 2011
91:passaggi
67:recorder
383:(IMSLP)
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89:—
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