Improvising Preludes on Melody instruments in the 18th Century | L'Art de Preluder
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- čas přidán 15. 02. 2024
- L'Art de Préluder is a fascinating source from 1719 by Jacques Hotteterre. It describes how to improvise preludes adding interesting details about meter, characters, modulation, cadences and more.
In this video I take you through the book, contextualising the ideas therein with other sources and hopefully giving you a useful overview of what the book contains.
Time stamps:
00:34 Who was Jacques Hotteterre
01:17 Other improvisation-related sources by Hotteterre
02:38 Overview of L'Art de Préluder
03:53 Hotteterre's Preface, Rousseau and composed vs. improvised preludes
06:05 Another typology: measured vs non-measured
09:11 Trait: etude or prototype capriccio
12:01 Examples of Traits
13:18 Prelude caprice / fantaisie
15:20 Chapter 1: Degrees of the scale and how to start and end
17:36 Chapter 2: Basic concepts and variations - Canvas 1
18:29 Chapter 2: Variation 1
21:33 Chapter 2: Variation 2 & 3
22:43 Chapter 2: Variation 4
23:58 Chapter 2: Canvas 2
24:35 A comparison with drawing methods
25:26 Chapter 3-6: Examples of Preludes and Traits
26:41 Course description
27:08 Chapter 7: The leading tone
28:06 Chapter 7: The 6th and 7th degrees in minor
28:41 Chapter 7: An example of modulating in a prelude (5th and 4th degree)
30:48 Chapter 8: The perfect cadence
32:00 Chapter 8: The imperfect cadence
33:45 Chapter 8: Typical modulation patterns
34:17 Chapter 9: How to recognise the key of piece or how to make the key of your prelude abundantly clear
38:18 Chapter 10: Transposition
39:05 Chapter 11: Meter
Translation of the Meter descriptions and a pdf of the presentation can be found here on Patreon:
www.patreon.com/posts/hottete...
LINKS
L’Art de Preluder on IMSLP in French:vmirror.imslp.org/files/imgln...
Opus 2 with the ornamentation table
vmirror.imslp.org/files/imgln...
Flute, Recorder and Oboe method
imslp.org/wiki/Principes_de_l...)
============ Scroll Ensemble Links ============
ONLINE BAROQUE ORNAMENTATION COURSE - learn to improvise baroque ornaments inspired by Quantz's fascinating pedagogy:
www.thescrollensemble.com/en/...
IMPROVISE A BAROQUE SOLO - Preludes according to Hotteterre:
www.thescrollensemble.com/en/...
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Time stamps:
00:34 Who was Jacques Hotteterre
01:17 Other improvisation-related sources by Hotteterre
02:38 Overview of L'Art de Préluder
03:53 Hotteterre's Preface, Rousseau and composed vs. improvised preludes
06:05 Another typology: measured vs non-measured
09:11 Trait: etude or prototype capriccio
12:01 Examples of Traits
13:18 Prelude caprice / fantaisie
15:20 Chapter 1: Degrees of the scale and how to start and end
17:36 Chapter 2: Basic concepts and variations - Canvas 1
18:29 Chapter 2: Variation 1
21:33 Chapter 2: Variation 2 & 3
22:43 Chapter 2: Variation 4
23:58 Chapter 2: Canvas 2
24:35 A comparison with drawing methods
25:26 Chapter 3-6: Examples of Preludes and Traits
26:41 Course description
27:08 Chapter 7: The leading tone
28:06 Chapter 7: The 6th and 7th degrees in minor
28:41 Chapter 7: An example of modulating in a prelude (5th and 4th degree)
30:48 Chapter 8: The perfect cadence
32:00 Chapter 8: The imperfect cadence
33:45 Chapter 8: Typical modulation patterns
34:17 Chapter 9: How to recognise the key of piece or how to make the key of your prelude abundantly clear
38:18 Chapter 10: Transposition
39:05 Chapter 11: Meter
Robert! Thx for this 💥🫂🎺
fantastic video, thank you!
Thank you for your kind comment :)
What an interesting, informative and enlightening video!
Thank you!! :)
So helpful 💙
Thanks so much for your comment :)
Thank you for this thorough video!
You are welcome! Thank you for your kind comment!
In the variation onscreen at 23:58, I would have thought that Hotteterre looked at the 3rd beat as outlining G, since a trill was almost always begun from above the written note, almost always with an appogiatura length at the start. performing the ornaments in that manner would make beat 3 sound as a melodic G, which matches your outline nicely.
Hi! Wow, thanks for such attentive watching. Personally I see appoggiaturas as ornamental notes, whatever their lengths. Some writers (from about 30 years ago) even argue that an appoggiatura is added because you could not have officially written that note. I don’t think that’s true, but it does indicate the special status of the appoggiatura.
On top of that, for me, the d major outline is very clear and the g major outline harder to detect, and I think if possible simple solutions are best.
However, having said all of that, all of this is up for interpretation and one of my main principles is that my way in no way is necessarily the only or better way. So I think your idea could definitely work!
Thanks again for your comment: interesting idea!!
@@TheScrollEnsemble Thanks for the response! I suppose the thinking on how fundamental the dissonant note in a trill is to the melody probably varies by composer and region. Most of my experience (not research, notably) comes from french baroque music like Marais, where he's very explicit about his signs and ornamentation. It seems to me that the upper note of a trill or tremblement so often sounds like an integral part of the melody, especially when the trill follows a downward leap of a third; it drives me up a wall when people (students) trill from the bottom note!
❤