Campanelle in Seventeenth-Century Guitar Music, Bells and Riddles

Lex Eisenhardt

Giovanni Battista Granata’s preface to his Novi Capricci Armonici (Bologna, 1674) may be the only Italian guitar source using the word ‘campanelle’, to compare ‘cascading scalar passages’ to bell ringing.2 Coincidentally, Gaspar Sanz’s Instrucción de música, the other important source speaking of this idiomatic effect (campanelas in Spanish), was published in Zaragoza in the same year. The effect of using the high octave strings, which are present on the fifth and fourth courses in any of the current stringing arrangements of the time, in treble melodies, appeared for the first time in a printed guitar tablature in Angelo Michele Bartolotti’s Primo Libro, in 1640  Campanelle had been used before in Bellerofonte Castaldi’s Capricci (1622) for the theorbo, and in Girolamo Kapsperger’s Libro terzo d’intavolatura (1626). On that instrument higher-sounding notes on stopped lower courses were mixed with notes on the first and second courses, which were tuned an octave down …)
Campanelle in Seventeenth-Century Guitar Music, Bells and Riddles


This entry was posted in Analisys of musical works, Historical research, THE SPANISH GUITAR. Bookmark the permalink.

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