Tag: Solage

Solage: Le basile

By: | Post date: March 13, 2010 | Comments: No Comments
Posted in categories: Music
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Le basile, like Pluseurs gens voy, counts as Ars Nova rather than Ars Subtilior, and there aren’t the rhythmic games hallowed in Subtilior. The rhythms are still wackier than Pluseurs gens: there is enough syncopation across barlines to justify the Mensurstich notation, and there is confusion about whether voices are off by half a bar […]

Solage: Pluseurs gens voy

By: | Post date: March 8, 2010 | Comments: No Comments
Posted in categories: Music
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With Pluseurs gens voy, we’re backing away from the crazy of Ars Subtilior, going back to what the Ars Subtilior was a mutant offshoot of: the Ars Nova of Machaut. Accordingly, there is less weirdness about the notation in this ballade; the one exception is in the middle section, where the Cantus, and possibly the […]

Solage: S’aincy estoit

By: | Post date: March 4, 2010 | Comments: 1 Comment
Posted in categories: Music
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This is the third of the Solage ballades, and the tricks of notation get worse and worse. We have one voice in a different metre than the other two (6/8 vs. 9/8, 3/4 vs. 2/2)—and not with the same measure length either; so the bars in the three voices coincide only every three or four […]

Solage: Corps femininin

By: | Post date: February 26, 2010 | Comments: No Comments
Posted in categories: Music
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Calextone has some polyrhythm going on, but the disruptions are localised—they resync after a couple of bars, and the metres are displaced by a beat or a third of a beat, which makes for some very pleasant syncopation. Calextone also has some interrupted half bars, but blink and you’ll miss ’em: there’s only a couple. […]

Solage: Calextone qui fut dame terrouse

By: | Post date: February 22, 2010 | Comments: 1 Comment
Posted in categories: Music
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The Ars Subtilior was a brief period in the end of the 14th century, when composers went nuts. The Ars Subtilior composers wrote music that was more complex that anything heard before—and often anything heard centuries since in Western music: more modulations, more polyrhythms, more music scores shaped as eye music. It was a short-lived […]

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