Fauxbourdon

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Fauxbourdon

 

(French, “false bass”), a type of polyphonic singing that developed in the 15th and 16th centuries. In faux-bourdon, the cantus firmus was placed in the highest voice, and the middle voice followed in parallel fourths; the bass moved in parallel sixths or octaves with the highest voice, which was often embellished and filled out with musical ornaments. The term refers to the basic structure of the fauxbourdon, which was conceived and notated as a series of parallel triads in which the lowest voice was to be sung an octave higher than written.

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A esta conclusion llega despues de analizar el fabordon: "El haber encontrado un proceso de composicion-improvisacion que puede generar el esquema armonico-melodico de folia a partir de simples melodias, permite mirar desde otra perspectiva la cuestion del origen y primera difusion de este esquema y de otros esquemas armonico-melodicos.
Las formas incluyen pregunta-respuesta, canon, ostinato, chacona, rondo, quodlibet, fabordon, recitativo y danzas.
89; why Torres indicates simple intervals directly in the figured bass is not clear--would not simple intervals normally be inferred?); and Torres's version of fabordon (p.
On some feasts and special days of the liturgical calendar, such as Holy Saturday, at least three types of vocal polyphony are specified as occasion demanded--contrapunto, fabordon and canto de organo.
In addressing the apparent contradiction between the prohibition of polyphony in Philip's letter of foundation of the Escorial and evidence of its performance there during Philip's reign (and even in his presence), Noone proposes that the acceptable types of polyphony performed by monk musicians during this period were, first, fabordon and improvised counterpoint, and second (but related, Noone suspects, to techniques of improvisation), a simple style of composed polyphony as represented by the music of the monk Martin de Villanueva.
Mucha mas informacion tenemos de los melismas del canto gregoriano solista, asi como del organum, del discanto y del fabordon, entre los ss.
At least the bajon plays the psalms in fabordon with the choir
In the first category, music specific to the day, we would put the hymn and Magnificat of Vespers, the psalms of Vespers and Terce (probably in fabordon), villancicos and processional hymns, the litany on Rogation days, the Salve Regina during Lent, the Te Deum laudamus when it was needed, and any required items from the Mass Ordinary of the day.
The sixteenth century is well represented by Antonio de Cabezon, Tomas de Santa Maria, Francisco de Soto, and Francisco de Peraza, although, regrettably, the five pieces by Cabezon (four duos and a fabordon) do not include any of his major compositions (such as his tientos or his sets of variations).
The watermark is of little help here, being of a common type which has been found in several countries.(8) We can, however, be certain that the copyist was a Spaniard.(9) He gives his nationality away both by heading Prospero Santini's Salve regina 'fabordon a bersos' (i.e.
The same question is raised by items 7, 8 and 14, although in item 7 it is clear that the choir (coro) singing in fabordon after the soloist could not have been formed by only four singers.
Within his presentation of the harmonization of repeated notes (unisonar), he includes a chapter with examples of fabordones in the eight modes.(16) The fabordones, or chordal harmonizations of the psalm tones, 'usually begin with repeated notes, and for this reason we include them here', he declares.(17) In the second place, passages in consonances can also be included, according to Santa Maria, in the course of a fantasia.(18)