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Granata, Giovanni Battista
Novi capricci armonici musicali . . . (1674)
I. Overview
Granata's Op. 5 uses the larger quarto format, allowing him to include pieces for violin, guitar and continuo. Since the violin parts are not complete in either Op. 6 or Op. 7, this is the only substantial writing for this combination that survives from Granata's works. The guitar style is quite advanced, seen especially in the liberal use of campanelle and the predominance of the complex allemanda genre.
Title: Novi capricci armonici musicali . . . (Bologna: Giacomo Monti, 1674)
Description:
56 pp. (movable type)
44 pieces
Foliation: ABCDEFG (4 ff. each)
Page Size -- I-Bc: 20.5 cm. (width) X 29.8 cm.
II. Prefatory Material
p. [1] -- NOVI CAPRICCI ARMONICI MUSICALI. In vari Toni per la Chitarra Spagnola, Violino, e Viola Concertati, Et altre Sonate per la Chitarra sola. OPERA QUINTA DI GIO. BATTISTA GRANATA. DEDICATA AL SERENISSIMO FERDINANDO MARIA DUCA DELLE BAVIERE, E DELL'ALTO PALATINATO, Prencipe Elettore del Sacro Romano Imperio, Conte Palatino del Reno, Lantgravio di Leiictemberg, &c. In Bologna, per Giacomo Monti. 1674. Con licenza de'Superiori. [shield with 2 diagonally checkered quarters and 2 with lions; sphere in middle with a crown; lower right signed "Fontana f."]
p. [2] -- [blank]
p. 3 -- ALTEZZA SERENISSIMA ELETTORALE. . . . [dedication to Ferdinando Maria]
p. 4 -- [dedication signed:] Bologna li 6. Maggio 1674. . . . Gio. Battista Granata.
p. 5 -- Del Sig. Dottor Giovanni Turchi AL SIGNOR GIO. BATTISTA GRANATA . . . [poem to Granata by Giovanni Turchi]
[No alfabeto chart; hypothetical usage:]
| + | A | B | C | C4 | D | E | F | G | G2 | G3 | G5 | G7 | H | H2 | H3 | H4 | H5 | H6 | H7 | H4* |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 2 | 2 | 3 | 0 | - | 0 | 0 | 2 | 3 | 4 | 5 | 7 | 9 | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 4 |
| 2 | 0 | 2 | 0 | - | 2 | 0 | 2 | 3 | 4 | 5 | 7 | 9 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 6 |
| 0 | 0 | 0 | 2 | 4 | 2 | 2 | 1 | 2 | 3 | 4 | 6 | 8 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 6 |
| 0 | 3 | 1 | 3 | 5 | 1 | 3 | 0 | 1 | 2 | 3 | 5 | 7 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 7 |
| 0 | 3 | 0 | 2 | 4 | 0 | 1 | 0 | 1 | 2 | 3 | 5 | 7 | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 4 |
| I | K2 | K3 | K5 | K7 | M | M2 | M3 | M4 | M5 | M7 | M8 | M2* | M4* | M5* | M6* |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 0 | 2 | 3 | 5 | 7 | 1 | 2 | 3 | 4 | 5 | 7 | 8 | 2 | 4 | 5 | 6 |
| 2 | 4 | 5 | 7 | 9 | 1 | 2 | 3 | 4 | 5 | 7 | 8 | 2 | 4 | 5 | 6 |
| 2 | 4 | 5 | 7 | 9 | 3 | 4 | 5 | 6 | 7 | 9 | X | 4 | 6 | 7 | 8 |
| 2 | 3 | 4 | 6 | 8 | 4 | 5 | 6 | 7 | 8 | X | 11 | 5 | 7 | 8 | 9 |
| 0 | 2 | 3 | 5 | 7 | 3 | 4 | 5 | 6 | 7 | 9 | X | 3 | 5 | 6 | 7 |
| N2 | N3 | N4 | N5 | N6 | N7 | O | P | P2 | P3 | P5 | P7 | R[2?] |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 4 | 5 | 6 | 7 | 8 | 9 | 1 | 3 | 4 | 5 | 7 | 9 | 2 |
| 2 | 3 | 4 | 5 | 6 | 7 | 0 | 3 | 4 | 5 | 7 | 9 | 4 |
| 2 | 3 | 4 | 5 | 6 | 7 | 0 | 1 | 2 | 3 | 5 | 7 | 4 |
| 2 | 3 | 4 | 5 | 6 | 7 | 3 | 1 | 2 | 3 | 5 | 7 | 4 |
| 5 | 6 | 7 | 8 | 9 | X | 3 | 1 | 2 | 3 | 5 | 7 | 2 |
III. Notation
Tablature: Mixed tablature. Ornaments: .T. (tremolo) and # (vibrato).
Range (highest fret used on each course):
| 5th course | 10th fret |
| 4th course | 13th fret |
| 3rd course | 10th fret |
| 2nd course | 11th fret |
| 1st course | 14th fret |
Instrument: 5-course guitar
IV. Indices
Title information in brackets [ ] is editorial; information in parentheses ( ) is from the table of contents.
| Page | Title | Key | Meter | |
|---|---|---|---|---|
| [Guitar, Violin and Continuo] | p. 6 | Alemanda | A | C |
| p. 8 | Balletto | A | C | |
| p. 10 | Alemanda | b | C | |
| p. 12 | Corrente | b | 3/4 | |
| p. 14 | Alemanda | C | C | |
| p. 16 | Alemanda | d | C | |
| p. 18 | Giga | d | 6/8 | |
| p. 20 | Alemanda | e | C | |
| p. 22 | Corrente | e | 3/4 | |
| p. 24 | Giga | e | 6/8 | |
| p. 26 | Giga | e | 6/8 | |
| p. 28 | Giga | D | 12/8 | |
| [Solo guitar] | p. 30 | Toccata | e | C |
| p. 31 | Alemanda | e | C | |
| p. 32 | Alemanda | e | C | |
| p. 33 | Corrente | e | 3/4 | |
| p. 34 | Giga | e | C | |
| p. 34 | Alemanda | e | C | |
| p. 35 | Giga | e | C | |
| p. 36 | Alemanda | d | C | |
| p. 37 | Alemanda | d | C | |
| p. 37 | Alemanda | d | C | |
| p. 38 | Giga | d | C | |
| p. 39 | Giga | d | 6/8 | |
| p. 40 | Alemanda | D | C | |
| p. 41 | Corrente | D | 3/4 | |
| p. 41 | Sarabanda | D | 3/4 | |
| p. 42 | Giga | D | C | |
| p. 43 | Alemanda | b | C | |
| p. 44 | Alemanda | b | C | |
| p. 45 | Alemanda | b | C | |
| p. 45 | Sarabanda | b | 3/4 | |
| p. 46 | Alemanda | A | C | |
| p. 47 | Alemanda | A | C | |
| p. 48 | Alemanda | c | C | |
| p. 48 | Alemanda | c | C | |
| p. 49 | Alemanda | f# | C | |
| p. 50 | Alemanda | f# | C | |
| p. 51 | Alemanda | C | C | |
| p. 52 | Alemanda | C | C | |
| p. 52 | Alemanda | G | C | |
| p. 53 | Alemanda | G | C | |
| p. 54 | Alemanda | a | C | |
| p. 55 | Alemanda | Bb | C | |
Index of Genres:
The following chart summarizes the solo guitar contents of the book by genre. Major genres are given by the form used in the New Grove Dictionary of Music and Musicians, 2d ed., with the forms actually used in the book in parentheses. Lesser known titles are grouped under "miscellaneous dances" and "songs." Rhythmic variations and rotte are considered part of the main work.
| Genres: | total | major | minor | meter |
|---|---|---|---|---|
| Allemande (Alemanda) | 27 | 10 | 17 | 6/8 |
| Gigue (Giga) | 9 | 2 | 7 | 4 in C, 4 in 6/8, and 1 in 12/8 |
| Corrente | 4 | 1 | 3 | 3/4 |
| Sarabande (Sarabanda) | 2 | 1 | 1 | 3/4 |
| miscellaneous dances . . . (Balletto) | 1 | 1 | 0 | C |
| Toccata | 1 | 0 | 1 | C |
| Totals: | 44 | 15 | 29 | 31 in 6/8, 6 in C, 6 in 3/4, and 1 in 6/8 |
Index of Keys Used:
Keys used in the book; an * indicates that the key is only used in a passacaglia. Note that the pitch is relative and that since the guitarist was using tablature, there was no need to think in terms of traditional key signatures.
| A major | 4 | A minor | 1 | |
| B flat major | 1 | B flat minor | 0 | |
| B major | 0 | B minor | 6 | |
| C major | 3 | C minor | 2 | |
| C sharp major | 0 | C sharp minor | 0 | |
| D major | 5 | D minor | 7 | |
| E flat major | 0 | E flat minor | 0 | |
| E major | 0 | E minor | 11 | |
| F major | 0 | F minor | 0 | |
| F sharp major | 0 | F sharp minor | 2 | |
| G major | 2 | G minor | 0 | |
| A flat major | 0 | A flat minor | 0 |
Index of Names:
FONTANA, -- [engraver?]
Fontana f. / p. [1]
GRANATA, Gio. Battista [composer]
NOVI CAPRICCI ARMONICI MUSICALI In vari Toni per la Chitarra Spagnola, Violino, e Viola Concertati, Et altre Sonate per la Chitarra sola. OPERA QUINTA DI GIO. BATTISTA GRANATA. . . . / p. [1]
[dedication signed:] Bologna li 6. Maggio 1674. . . . Gio. Battista Granata / p. 4
Del Sig. Dottor Giovanni Turchi AL SIGNOR GIO. BATTISTA GRANATA . . . [poem to Granata] / p. 5
MARIA, Ferdinando [patron]
NOVI CAPRICCI ARMONICI MUSICALI . . . DI GIO. BATTISTA GRANATA. DEDICATA AL SERENISSIMO FERDINANDO MARIA DUCA DELLE BAVIERE, E DELL'ALTO PALATINATO, Prencipe Elettore del Sacro Romano Imperio, Conte Palatino del Reno, / Lantgravio di Leiictemberg, &c. . . . / p. [1]
ALTEZZA SERENISSIMA ELETTORALE. . . . [dedication to Ferdinando Maria] / p. 3
. . . ALL'ALTEZZA SERENISS. ELETTORE DI FERDINANDO MARIA DUCA DI BAVIERA, ETC . . . / p. 5 [poem to Granata]
MONTI, Giacomo [printer]
In Bologna, per Giacomo Monti. 1674. Con licenza de'Superiori. / p. [1]
TURCHI, Giovani [poet]
Del Sig. Dottor Giovanni Turchi AL SIGNOR GIO. BATTISTA GRANATA . . . / p. 5
V. Bibliography
Boye, Gary R. "Giovanni Battista Granata and the Development of Printed Guitar Music in Seventeenth-Century Italy" (diss., Duke Univeristy, 1995).
________. "Performing Seventeenth-Century Italian Guitar Music: the Question of an Appropriate Stringing" in Performance on Lute, Guitar and Vihuela: Historical Practice and Modern Interpretation, ed. V.A. Coelho (Cambridge: Cambridge University Press, 1997).
Eisenhardt, Lex. "Bourdons as Usual." Lute Society Journal (UK) XLVII (2007): 1-37.
Répertoire international des sources musicales: Einzeldrucke vor 1800. RISM A/I [G 3394
Tyler, James, and Paul Sparks. The Guitar and Its Music: From the Renaissance to the Classical Era (Oxford: Oxford University Press, 2002): 74-75, 89.
VI. Exemplars
D-B [formerly D-ddr-Bds] = Germany: Berlin, Staatsbibliothek zu Berlin PreuÃischer Kulturbesitz, Musikabteilung
Not yet visited.
I-Bc = Italy: Bologna, Civico Museo Bibliografico Musicale G. B. Martini (visited in 1991-1992)
Condition: Lower right page edges very worn; mildewed with some water damage in early pages; very legible.
Binding: Imitation leather; dark brown with black spine.
Manuscript additions:
Cover -- top left, blue tape: "AA/7 1 INTAVOL."; lower left, tape: "AA7"
Spine -- tape: "AA7"
Inside cover -- blue tape: "AA7"
2 added folios front and back
p. [1] -- blue stamp: "BIBLIOTECA DEL LICEO MUSICALE DI BOLOGNA"
p. 8 -- stanza 6, ink: "Deh ferma il piè sù le Felsinee soglie" underlined with "notisi"[?] beside it
p. 9 -- last stanza, ink: "Ch'anche nel suol da le rotantì sfere" underlined
p. 56 -- black stamp: "LICEO MUSICALE G.B. MARTINI BIBLIOTECA BOLOGNA"
Corrigenda (in ink):
p. 6 -- st. 2, 3rd note: 0/2nd added as 4th note; m. 2, 1st rhythm sign: 1/8 > 1/16; st. 3, m. 2, 1&: 57 slurred > 575 slurred
p. 13 -- st. 8, m. 5, bt. 2: 1/8 > 1/4
p. 15 -- st. 6, m. 1: repeat sign filled in by hand [?] and in st. 9, m. 3 and st. 10, m. 3
p. 17 -- st. 8, m. 2, bt. 2: EFG > DEF (bc)
p. 18 -- st. 4, m. 1, bt. 3: 3/4th > 2/4th
p. 21 -- st. 9, m. 1, 1&: F# > E
p. 23 -- st. 1, m. 8, bts. 2-3: BA > AB ?
p. 25 -- st. 3, m. 8: trill on G > trill on C
p. 32 -- st. 8, m. 2, 2nd 1/16 of 4: 8/2nd added
p. 33 -- st. 3, m. 4, bt. 1: 3/1st erased for 2/2nd
p. 34 -- st. 4, m. 4, 4th 1/16 of 2: 2/1st > 0/1st; bt. 3: ' [trill?] added to 2/1st; st. 7, m. 3, bt. 2: 7/5th > 6/5th, 8/2nd > 7/2nd,
8/1st > 7/1st
p. 36 -- st. 1, m. 1, 2&: 7/2nd > 6/2nd
p. 37 -- st. 2, m. 1, bt. 4: 4/4th erased for 4/5th
p. 38 -- st. 6, m. 4, bt. 1: 1/4 > 1/8
p. 40 -- st. 6, m. 2, 4th 1/16 of 1: 3/1st erased for 3/2nd
p. 41 -- st. 2, m. 4, 2&: 9/3rd erased for 9/4th
p. 42 -- st. 3, m. 1, 4th 1/16 of 1: 0/2nd > 2/2nd; 2/1st > 0/1st; m. 5: 5/1st > 7/1st; bt. 4: 5/1st > 7/1st; m. 6, bt. 1: 4/1st > 5/1st; st. 5, m. 1, bt. 4: 3/1st > 5/1st; st. 8, m. 2, 4th 1/16 of 1: 4/2nd > 3/2nd
p. 43 -- st. 7, m. 2, bt. 3: 7/3rd > 6/3rd; m. 3, bt. 1: 5?/3rd > 4/3rd; 4?/2nd > 3/2nd
p. 46 -- st. 8, m. 4, 4&: 3/2nd > 4/2nd
p. 47 -- st. 5, m. 1, last note: 0/1st > 2/1st; m. 4, bt. 4: 7/1st > 4/1st; last note: 3/2nd > 5/2nd
p. 48 -- st. 3, m. 2, bt. 2: 1/16 > 1/8; st. 4, m. 2, bt. 4: down > upstroke; m. 5, bt. 1: 2/5th > 3/5th; [st. 5, m. 2, bt. 2: downstroke XX]; st. 8, m. 2, bt. 3: 7/3rd > ??
p. 49 -- st. 1, m. 2, 3&: 2?/4th > 3/4th
p. 51 -- st. 3, m. 1, 3rd rhythm sign: 1/8 > 1/16; last 3 notes: slurred; st. 5, m. 1, notes 5 and 6: slurred [with trill]
p. 52 -- st. 7, m. 3, bt. 1: 9/5th erased for 9/4th
p. 53 -- st. 8, m. 3, bt. 1: 4/2nd erased for 4/4th
p. 54 -- st. 4, m. 2, bt.4: 2?/2nd > 2/3rd; 1/8 > 1/16
p. 56 -- st. 2, m. 2, bt.2: 3 1/1st > 3 1/2nd with slur
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