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35

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Trentella

Italy, Spain, 17 a t8th c.

a)

llr
(6)

la

Carpinese (traditional / Kircher)

f;

Transposition

(6)

Transposition

f9 t

35a

Tarentella'Napoletana'

b)

a)

Kircher
#

etc

o=

l0O

35b - Tarentella del Gargano, traditional

suggested melody

fr

*
a)
f,

Transposition

Ossia:

Bb

35c - LaTarertela, Sanz$;ru)

il

^,\

l\ tl

il

94

35d - Tarantelas, Mu rcia (tq)

il

etc

35e - Tarantelas, Saldivar Codex(c.tZ2o)

Note the harmonic similarity to the beginningof Marizapalos (n'19, p.65).

35f - LaTarantela, Huete (tzoz)

In this bass variation, the C sharp appearing in the harmony is ignored, even if it means creating cross-relations (bar 7).

35g

Tarantella Italiana, cid(l7sr)

This last example comes from the Tarantismo observa.do... (Madrid,1787), a treatise whose author, the physician Francisco Xavier Cid, describes the benefits of this dance in healing the consequences of a tarantula bite. Kircher (1641), Covamrbias (1674), Iraeta y Jaregui (1784) and many others also agree on the therapeutic virtues of theTarentello. According to Cid, it is a lively dance, like theFanlango, Folas ot Canario, and is more effective on patients when played on the guitar accompanied by the violin, rather than on one or two guitars. Weber, Rossini, Chopin, Rachmaninoff, Wolff, Faur, Cui and Absil, amongst others, have continued to pay tribute to theTarntella.

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17 - Villano

Spain,Italy,l6th a llh

c.

a)
after Cuerau

a)

I..L..,I-J
I

etc

17a

Villan di Spagna

, Carbonchi(1643)

_l

_l

tl
17b

-Villanos

ltttfttlt E
etc

Vlllano (continued)

17c - Villanos, Saldivar Codex(c.tZ2A)

t|\\
^ ^ )t

<t
-i
-l

-t

,
i

il

-1

-l

The.Wllano probably appeared in the second half of the l6c. A".oring to N.gri, it was u du* "h"..f-I,.*.,,,iriul la ceboll con e pan,,. Esquivel Navarro detailed its choreographic aspects' which include dangerous kicks(boleos)and pirouenes lgtrdas). He sometimes enriches the chord progression I / IV I I I Y I (El viltano Cavallero) or, on the contrary, 'ieduces it to a simpre uouia n (Wanos Rd:-c,._-y:"d gasp,Tanz's version as well as his cannios, Dance de tas Hchas and Espafroteta 4.::!:1:!:)::1T: in the Fanasia para un Gentilhombre (t os+;, a concerrante work for guituir r"h.rt*.

In Spain' the more common refrain was: "Al villarw se lo dan /

18 - Passacaglia /
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+e

Pasacalle

Italy Spain,tTc.

(French style Passacalle: cf n" 38, p.102)

a
suggested melody

The_harmonic progression and outline are close to ose of conde claros (n' 5, p. 4), of which certain pasacalles variations ctearty Uear ttre mait<

l8a - Passacalle inminormode

a
suggested melody

(fi)

In Spain, the Pasacalles de proporcin (in triple time) often alternate with those de compasillo(in duple time)

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l8b - Passacalle

de compasillo, Sanz 00ru)

This harmonic base, quite often.modified, has given rise to hundreds of different .versions of which only a few are provided here' taken from the Snanish and ltalian tep"tto'ir" for h3rp, guitar, keyara L, itu.ron", especially generous in this regard. One may improvise on each one or on linking several of them. and collect or "t invent even
others.

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