Hi, well, my knowledge of Ficta rules leads me towards some choices contradicted by the vihuelists's versions (De Fuenllana and De Valderrábano). Things get even more complicated since De Fuenllana and De Valderrábano don't agree themselves...Attached is a score with the added fictas used in De Fuenllana version.
Thank you!
Musica Ficta in Mateo Flecha's Teresica Hermana
Musica Ficta in Mateo Flecha's Teresica Hermana
- Attachments
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- Teresica hermana Fictas according to the De Fuenllana version for voice and vihuela pages 3 to 5.pdf
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- Teresica hermana Fictas according to the De Fuenllana version for voice and vihuela pages 1 and 2.pdf
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Re: Musica Ficta in Mateo Flecha's Teresica Hermana
What is your question?
I guess you refer to the consecution of F sharp and B flat in bar 86, which seems to be against the ficta rules. But as the tablature by Fuenllana is un refutable evidence that this progression was used indeed, whay would you want to change it?
Note that this same cadence also violates a rule of renaissance counterpoint by not preparing the dissonance in the tenor in bar 85 with a syncope. I would thus not be too monastic with respect to the apllication of ficta rules.
I guess you refer to the consecution of F sharp and B flat in bar 86, which seems to be against the ficta rules. But as the tablature by Fuenllana is un refutable evidence that this progression was used indeed, whay would you want to change it?
Note that this same cadence also violates a rule of renaissance counterpoint by not preparing the dissonance in the tenor in bar 85 with a syncope. I would thus not be too monastic with respect to the apllication of ficta rules.