EXAMPLES
Example 1.1. Excerpt from Sigismondo d'India, Lamento di Didone (1623)
Example 1.2. “Tremoletto” from Martin Fuhrmann, Musicalischer Trichter
Example 2.1. Sigismondo d'India, O dolcezz'amarissime d'amore (1609)
Example 2.3. Chain of trills (Johann Friedrich Agricola)
Example 8.1a. Petronio Franceschini: Sonata in D, mvt. 2
Example 8.1b. Maurizio Cazzati: Sonata 5, La Caprara, Op. 35, no. 10, mvt. 1
Example 8.1c. Cazzati: La Caprara, mvt. 4
Example 8.2. Petronio Franceschini: Sonata in D: (a) mvt. 1; (b) mvt. 3
Example 8.3. Girolamo Fantini: Sonata No. 5, detta dell'Adimari
Example 9.1. Marin Mersenne, Harmonie universelle, drum rhythms
Example 9.2. Wirbel and doppel-wirbel (from Johann Ernst Altenburg, Versuch einer Anleitung)
Example 9.3. Final-cadence (from Speer, Musikalisches Kleeblatt)
Example 9.4. (a) Cross-stickings; (b) double cross-stickings; (c) eight-note or simple beatings
Examples 11.1a–b. Georg Muffat bowing examples
Example 11.2. Gasparo Zannetti's La Nimfardina di Santino
Example 11.3. Seventeenth-century bowing examples
Example 14.1a. Johann Jakob Froberger, Toccata 1 in A minor, mm. 1–3
Example 14.1b. Louis Couperin, Prélude à l'imitation de Mr. Froberger (excerpt)
Example 15.1. The correct sequence for playing arpeggios
Example 15.2. Added dissonance to simplify left-hand fingering
Example 15.3a. Fourteen-course archlute
Example 15.3b. Fourteen-course theorbo
Example 15.3c. Ten-course lute in Renaissance tuning (vieux ton)
Example 15.3d. Eleven-course lute in D-minor tuning
Example 15.3e. À cordes avalées
Example 15.3f. French flat tuning
Example 15.3g. French sharp tuning
Example 15.3j. Baroque guitar tunings
Example 16.1. Aurelio Virgiliano: Il dolcimelo (ca. 1590)
Example 16.2. Aurelio Virgiliano: Il dolcimelo (ca. 1590)
Example 16.3. Aurelio Virgiliano: Il dolcimelo (ca. 1590)
Example 16.4. Giulio Caccini: Le nuove musiche (1602)
Example 16.5. Antonio Brunelli: Varii esercitii… (1614)
Example 16.6. Giovanni Bovicelli: Regole, passaggi di musica (1594)
Example 16.7. Basic form of the groppo
Example 16.8. Giovanni Bovicelli: Regole, passaggi di musica (1594)
Example 16.9. Giovanni Bovicelli: Regole, passaggi di musica (1594)
Example 16.10. Lodovico Zacconi: Prattica di musica (1592)
Example 16.11. Giovanni Luca Conforto: Breve et facile maniera (1593)
Example 16.12. Giovanni Bovicelli: Regole, passaggi di musica (1594)
Example 16.13. Claudio Monteverdi: Audi cœlum from 1610 Vespers
Example 16.14. Lodovico Zacconi: Prattica di musica (1592)
Example 16.15. Lodovico Zacconi: Prattica di musica (1592)
Example 16.16. Francesco Rognoni: Selva de varii passaggi (1620)
Example 16.17. Lodovico Zacconi: Prattica di musica (1592)
Example 16.18. Lodovico Zacconi: Prattica di musica (1592)
Example 16.19. Emilio de’ Cavalieri: “Zimbelo” as found in Rappresentatione di anima, e di corpo
Example 16.20. Claudio Monteverdi: “ribattuta di gola” as found in Duo seraphim from 1610 Vespers
Example 16.21. Giulio Caccini: “esclamatione” as found in Le nuove musiche (1602)
Example 16.22. Francesco Rognoni: “tremolo” as found in Selva de varii passaggi (1620)
Example 16.23. Francesco Rognoni: “tremolo” as found in Selva de varii passaggi (1620)
Example 16.24. Giovanni Luca Conforto: “trillo” as found in Breve et facile maniera (1593)
Example 16.25. Girolamo Dalla Casa: “tremolo groppizato” as found in Il vero modo di diminuir (1584)
Example 16.26. Giulio Caccini: “trilli” as found in Le nuove musiche (1602)
Example 17.1. Conventional patterns for realizing a falling fifth at a cadence
Example 17.2. Dieterich Buxtehude, Fürchtet dich nicht, BuxWV 30, Sonata, mm. 1–11
Example 17.3. Angelo Notari, A la caccia
Example 17.4. Bellerofonte Castaldi, Capricci a due stromenti cioè tiorba e tiobina (1622)
Example 17.5. Sample arpeggio patterns for continuo realization
Example 17.6. Sample cadential patterns for continuo realization
Example 17.7. Continuo realization of an aria, ca. 1700, from Anonymous, Regole…d'accompagnare
Example 17.8. Henry Lawes, Sweet Stay Awhile (figures editorial)
Example 17.9. Sample realizations for cadential suspensions
Example 17.10. John Blow, sample realizations for cadential suspensions
Example 17.11. Francesco Durante, solo partimento exercise (from Partimenti, ossia intero studio di numerate
Example 18.1. Mensural notation
FIGURES
Figure 1.1. Linkage of selected seventeenth-century singing treatises
Figure 6.1. Fingering chart for cornett in a
Figure 7.1. Michael Praetorius, Syntagma Musicum II, Theatrum Instrumentorum (1620), plate 8
Figure 7.2. Michael Praetorius, Syntagma Musicum II, De Organographia (1619)
Figure 7.3. Michael Praetorius, Syntagma Musicum II, Theatrum Instrumentorum, plate 6 (detail)
Figure 7.4. Marin Mersenne, Harmonie universelle, vol. 3
Figure 7.5. Lodovico Carracci, Il paradiso (ca. 1616). Bologna, Church of San Paolo (detail) 122
Figure 7.6. Hans Burgkmair and others, Der Triumphzug Maximilians I (1526), plate 78 (detail)
Figure 10.1. From Thoinot Arbeau's Orchésographie
Figure 10.2. Early seventeenth-century violin band
Figure 11.1. Violin consort: detail from the title page of Andreas Hammerschmidt's Missæ
Figure 16.1. Giovanni Luca Conforto: Breve et facile maniera (1593)
Figure 16.2. Aurelio Virgiliano: Il dolcimelo (ca. 1590)
TABLES
Table 7.1. Dimensions (in millimeters) of extant seventeenth-century trombones
Table 7.2. Dimensions (in millimeters) of early trombone mouthpieces