Dance and instrumental diferencias in Spain during the 17th and early 18th centuries 9780945193531

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DANCE AND INSTRUMENTAL DIFERENCIAS IN SPAIN DURING THE 17TH AND EARLY

18TH CENTURIES |

VOLUME I Musical Transcriptions

DANCE AND MUSIC SERIES No. 2

BLANK PAGE |

DANCE AND INSTRUMENTAL DIFERENCIAS IN SPAIN DURING THE 17TH AND EARLY 18TH CENTURIES

by |

VOLUME I Musical Transcriptions

Maurice Esses

DANCE AND MUSIC SERIES No. 2

PENDRAGON PRESS STUYVESANT, NY

Other titles in the series DANCE & MUSIC No. 1 French Court Dance and Dance Music: A Guide to Primary Source Writings 1643~1789 by Judith L. Schwartz and Christena L. Schlundt (1987) ISBN 0-918728-72-X No. 3 Rhythm and Life: The Work of Emile Jaques-Dalcroze by Irwin Spector

(1990) ISBN 0-945193-00-9 No. 4 Fifteenth-Century Dance and Music, Vol. I: The Complete Transcribed Treatises and Collections in the Domenico Piacenza Tradition by A. William

Smith (1994 Tome 1: ISBN 0-945193-25-4; Tome 2: ISBN 0-945193-57-2 No. 5 A New Most Excellent Dancing Master: The Journal of Joseph Low’s

Visits to Balmoral and Windsor (1852-1860) to Teach Dance to the Family of | Queen Victoria edited by Allan Thomas (1992) ISBN 0-945193-30-0 No. 6 A Work Book by Kellom Tomlinson: Commonplace Book of an 18th-Century English Dancing Master, A Facsimile Edition edited by Jennifer Shennan

(12992) ISBN 0-945193-31-9

Library of Congress Cataloging-in-Publication Data Esses, Maurice.

early 18th centuries. , Dance and instrumental diferencias in Spain during the 17th and

(Dance and music series, 1062-4066; no. 2) Includes bibliographical references and index. Contents: v. 1 History and background, music and dance—v. 2. Musical transcriptions— v. 3. The notes in Spanish. 1. Dancing—Spain—History—17th century. 2. Dancing—Spain—History—18th century. 3. Dance music—Spain—17th century—History and criticism. 4. Dance music—Spain—18th century—History and criticism. I. Title. II. Series.

GV1673.E87 1992 792.8'0946 90-6935 ISBN 0-945193-08-4 (v. 1) 0-945193-53-x (v. 2) 0-945193-54-8 (v. 3)

Copyright 1994 Pendragon Press ,

Contents

ce

List of Charts vii

Incipits 3 Sections 6

1. Editorial Policies 3 Key Signatures and Accidentals 4 Meter and Rhythm 5 PART I. INTRODUCTION

Ornaments 8

Rasgueado GuitarTablature Notation10 9 Punteado Guitar Vihuela Tablature 10

Harp Tablature 11 Keyboard Tablature

2. The Repertoire 13 PART II. THE MUSIC

3. Transcriptions of Dances and Diferencias 63

4. Incipits of Pasacalles 579

Critical Notes 627

Vv

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List of Charts*

38. The notation of ornaments in the transcriptions 7-8 39. Instrumental sources of dances, variation sets, and pasacalles 15-16 40. Inventory of Spanish dances and diferencias 17-45

41. Inventory of Spanish pasacalles 46-59

*This list is a continuation of the lists numbered in volume 1.

Vii

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PART I Introduction

oe

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@ee@

1. Editorial Policies

The transcriptions which follow allow one to the harp ornaments, since in this context

reconstruct most of the original notation they determine the intended pitches (see (discussed in volume 1). Anything enclosed below under “Harp tablature”). For the in square brackets is an editorial addition, al- scholar and the performer, an ideal edition of though the converse does not hold. For the each piece would include a facsimile of the

purposes of a clear uncluttered presentation, original along with the transcription. most of the original fingering specifications However, owing to practical considerations, have been omitted. They are shown only for such an elaborate format is not possible here.

Incipits Each piece is preceded by a short in- the incipit is condensed onto two staves as

cipit in the original notation. When the follows:

primary source employs four-stave notation, Staff 1 — soprano/alto Staff 2 — tenor/bass

Key Signatures and Accidentals

For works originally in harp tablature, For sources in vihuela or guitar tablakeyboard tablature, or staff notation, the ture, editorial accidentals are needed solely given “key signatures” are usually retained in where there is a presumed error in the the transcriptions. For works in vihuela or original. The question of musica ficta arises

: guitar tablature, modern key signatures have only with regard to those sources written in been selected on the basis of notational harp tablature, keyboard tablature, or staff

simplicity. notation. In the middle of the 16th century Accidentals in the transcriptions apply Bermudo (1555) and Tomas de Santa Marfa only to the note which immediately follows. (1565) provide some ficta rules for keyboard They are not valid for the entire measure. All music, but it is not clear to what extent their

editorial accidentals are enclosed in paren- recommendations should be applied to the theses and placed on the staff in front of the contemporaneous keyboard sources.' During

note they affect. the 17th and early 18th centuries it is highly unlikely that a system of musica ficta existed

\Their ficta rules are discussed by Jacobs (1962) 1:176— Cabezén (D-349). However these accidentals con-

208; slightly revised as Jacobs (1968), pp. 277-98. In tradict the type of harmonic scheme used for the his modern edition of Cabezén’s pieces Jacobs (1967) pavana in other Spanish settings (including two others

has attempted to apply these rules, but some of the by Cabezé6n himself, even according to Jacob's results are dubious. For instance, Jacobs adds editorial transcriptions in the same modern edition). “f sharps” to all the D-minor chords in a pavana by

3

4 INTRODUCTION for Spanish instrumental music. Theorists of pieces (as in D-117, D-281, and D-285).

the period who sanction and proscribe Furthermore the Spanish treatment of disvarious intervals do so in the context of sonance was far more adventurous in insacred vocal music. It would be most inap- strumental music than in vocal polyphony propriate for the modern editor to transfer (as discussed in vol. 1, chap. 3, pp. 68-73). such rules to the instrumental dance-song Therefore I can provide no fixed rules for the settings, since the secular instrumental style addition of editorial accidentals. ] have tried differed greatly from the sacred vocal style. to allow for “unusual” dissonances and | For example, “awkward” melodic intervals have taken into consideration the vihuela (such as the augmented second) are explicit- and guitar settings where the original nota-

ly notated in tablature in some of the guitar tion always indicates precise pitches. , Meter and Rhythm At the beginning of each piece the cor- and I have left the changes unmarked. Thus

respondence between the durational symbols hemiola, which is characteristic of pre-

of the original and those of the transcription cadential formulas in dance music is shown above the staff. In most works the throughout western Europe, is presented as

original durational symbols are translated in . 3 | JJ3 | , J | JJ | ”, in preference such a way that the beat is represented by a Se ,

quarter-note or dotted quarter-note in the to the cumbersome “ 3 | JJ Ji ld ”.

transcription. However, in those works 2 | |

where a large number of very short note- All beaming is editorial and has been values (thirty-second note or smaller) would chosen to reflect the rhythmic organization result, the beat is usually represented instead of the music. For pieces in tablature there are

by a half-note or dotted half-note.. no original beams. For pieces in staff notaThe original mensuration signs and tion the given beams often fail to clarify the barlines are translated into those modem rhythm. They frequently embrace large numtime-signatures and barring patterns which bers of notes, apparently for convenience clarify the metrical framework and accentual only.

organization of the music. The transcriptions Some of the original settings do not employ three forms of the single barline. A contain any metrical or durational symbols.

solid barline represents one found in the Therefore I have presented rhythmically original notation. A dotted barline on the neutral transcriptions for the following staff denotes an editorial one, and a dotted works: 2 guitar pieces from Amat (ca. 1596), barline above the staff represents one found | guitar piece from Bricefio (1626), 2 guitar in the original which does not coincide with pieces from Doizi de Velasco (1640), 1 violin

the pattern used in the transcription. piece from E Mn M.2618', and 2 guitar In some works the accentual organiza- pieces from Minguet y Yrol (ca. 1754) B. In

tion frequently alternates between 3 groups ther sources the given symbols are of 2 and 2 groups of 3. I have transcribed problematic. Consequently I have placed the such pieces under adouble time-signature “ginal durational symbols above the staff in (“ 3 6 ” or “ 3 $ ” rather than specifying the transcriptions from the following sources: eacn change witn a new signature. In other E Mn Mss 6001, Bricefio (1626), Ruiz de works there are only isolated departures from Ribayaz (1677), E Mn M.2209, E Mn M.811, one prevailing pattern. I have transcribed US Wc Mk.290, and B Bc Ms 5615.

EDITORIAL POLICIES 5 Sections Measure numbers are added above the modern fermata sign.’ In the transcriptions staff at the beginning of each system after the these symbols are all represented by the first. A change of page in the original source double bar.

is indicated by the symbol “’” above the At times it is unclear whether the staff, followed by the new folio or page num- original notation means repetition or merely

ber enclosed in square brackets. the end of a section, since various forms of The original settings show the repeti- the double bar can serve in either capacity. , tion of a section in a variety of ways. Many On the one hand, the double bar without

sources employ the symbol :||:, called dots usually marks the end of a diferencia, repeticién.2 Other sources use variants of this but sometimes it signifies repetition. On the

symbol, such as || in Sanz (1674) or |: in other hand, the double bar with dots may ocRuiz de Ribayaz (1677).3 Another frequent casionally represent an elaborately written symbol consists of a set of pdrrafos, each of double bar without meaning repetition. It which is written as .§:. They are placed above seems to have been used in this manner in and below the staff or tablature at the begin- various instrumental sources throughout ning and end of the section to be repeated.‘ western Europe during the 17th century. On rare occasions the sources employ verbal In the sources the diferencia statements cues, such as bis in Bricefio (1626) or dos of a particular setting are often set off from vezes in E E Ms 29. In the transcriptions all one another by means of multiple barlines, such symbols and cues are represented by calderones, or other specially devised sym-

the modern repeat sign. bols.? Sometimes the statements are num-

Some of the original settings indicate bered as well. Regardless of the presence, the end of a section or piece by means of type, or accuracy of the original notation, multiple barlines. Other settings employ the the diferencia statements in each piece are

calderén ("\" or ",~\"') for the same marked in the transcriptions. The beginning purpose. The calderén represents only a point of each statement after the first one is of articulation. It does not necessitate a labelled and numbered above the staff with

“hold,” despite its resemblance to the the heading “dif. n” (where “n” is the appropriate number). The numbering system is “Cuando ay al principio entre las Ifneas dos rayas con golpe, con que empeg6; porque conviene assf para el quatro puntos [i.e., :| [3], significa, que desde donde compas.” Fernandez de Huete (1702) chap. 12, p. 18. huviere otra sefial como ella, se buelve a repetir al prin- “Fl calderén [ie,~>\] se figura siempre encima, o cipio, . . .” Fernandez de Huete (1702) chap. 12, pp. debaxo del punto final, a modo de paréntesis.” Ruiz de

17-18. Ribayaz (1677) chap. 12, p. 45.

“Quando halles en qualquiera son [de rasgueado] dos “Y si-ay dos, o tres rayas que atrabiessan las raftas [i.e., | |], significa, que desde allf se ha de repetir quatro Ifneas [i.e., | | or | || ], 0 calderén [i.e.” J, segunda vez aquella miisica.” Sanz (1674) Regla oc- es que acaba son, o diferencia.” Fernandez de Huete

tava, f. 1Ov—L Ir. (1702) chap. 12, p. 18.

“Adviértase, que quando se hallare una Ifnea 6Its usual meaning as the end of a diferencia is explained con unos puntos que la cogen en medio [i.e., ‘ [J]... as follows: “. . . otras rayas pequefias, que a trechos significa que se ha de bolver a repetir la parte del cruzan las cinco, sirven para dividir los compases; y tafiido que ay hasta dicha Ifmea.” Ruiz de Ribayaz quando ay dos rayas [i.e., | |], son sefial de que allf

(1677), p. 79. acaba la diferencia de lo que se toca.” Guerau (1694),

“, . . si alo dltimo, [ay] p4rraphos [i.e, .§*], se repite f. *4r. By contrast, Sanz (1674) employs the double bar desde donde huviere otros p4rraphos antecedentes, y si to signify repetition in his rasgueado pieces; as quoted

los huviere a lo dltimo, y a el principio, es para que se above, note 3. °

buelva a empecar desde adonde estuvieren sin dar el ‘For this purpose Valderrabano (1547) uses » and E Mn M.1358 uses/“ -\.

6 INTRODUCTION based on the convention that the first (1) When there is a discernible point of

presentation of the musical scheme repre- articulation between the suc-

This usually, but not invariably, accords with bar is placed precisely at that

the numbering found in the original sources. point in the middle of the

In the transcriptions the diferencia state- measure.

" ticulation, the double bar is

double are also set off nan anon er by (2) When there is no such point a arvariation statement begins in the middle of a placed after the last complete

measure, the placement of the double bars in measure of the preceding the transcriptions is standardized as follows: diferencia statement. Ornaments All the ornament symbols in the sour- not represent one particular realization. For

transcriptions, as shown in Chart 38. Each advised to consult the discussion of the modern sign is used to indicate the name or original symbols in the appropriate inshape of the original symbol. The sign does strumental chapter in volume |, part II.

EDITORIAL POLICIES fi Chart 38. The notation of ornaments in the transcriptions

Sion in ae C i bol in the original

* Rasgueado guitar - [to the right of a down-strum] E Mn M811

¢ or Y Minguet y Yrol (ca. 1754) B

R Rasgueado guitar

NY EMn M811

J “te Minguet y Yrol (ca. 1754) B Other

r Minguet y Yrol (ca. 1754) E

tr Punteado guitar

a Sanz (1674 and ca. 1675) t Ruiz de Ribayaz (1677) Minguet y Yrol (ca. 1754) B

/. Guerau (1694) E Mn M6811

Murcia (1714) E Bc M.691/2 (4) GB Lbm Ms Add. 31640

J. 08 E Mn M.2209 B Bc Ms 5615

Harp

E Bc M.741/22

+ Fernandez de Huete (1702 and 1704)

+ortrortr EMnM816 +or % US We Mk.290 Keyboard

t' E Mn M.1357 +or + E Mn M.1358

tr E Mn M.2262

T P B Ms 964

+ E Mn M.815 |

Other

t Canciones francesas (ca. 1701) tr or tr. E Be M.1452

t Minguet y Yrol (ca. 1754) F

tr- Harp

+ Fern4ndez de Huete (1702)

nM Harp wy E Mn M816

8 INTRODUCTION Chart 38 (continued) Keyboard

fv or WY E Mn M..1357

od E Mn M.1360

ty Punteadouguitar Sanz (1674 and ca. 1675) / Ruiz de Ribayaz (1677)

) Guerau (1694) , Murcia (1714) .

GB Lbm Ms Add. 31640

X B Bc Ms 5615 |

a, Punteado guitar

VY Sanz (1674 and ca. 1675)

| E Mn M811

Guerau (1694) E Mn M.2209 Murcia (1714)

E Bc M.691/2 (4) B Bc Ms 5615

GB Lbm Ms Add. 31640

~Y or —— Ruiz de Ribayaz (1677)

vib. Punteado guitar

* or =H Sanz (1674 and ca. 1675)

* Ruiz de Ribayaz (1677)

XK Guerau (1694) } B Bc Ms 5615

HE E Mn M.2209

ae E Mn M811

x or 4E Murcia (1714) GB Lbm Ms Add. 31640

Rasgueado Guitar Notation For the transcription of the rasgueado for successive strums of the same chord. guitar works I have adopted the neat editorial They are provided only when a new chord method devised by Richard Hudson (1967). appears. The octave-registers of the chordEach chord is represented by its root notated roots are chosen for notational convenience on the bass staff. A Roman numeral below and have no special significance. The reader the staff denotes both the scale-degree of the _is reminded that the root is not always the root in relation to a central “tonic” (I or i) as lowest sounding note of the chord. For every well as the modality of the triad. Upper-case Source the precise voicing of each chord has Roman numerals designate major triads, been written out in volume 1, chap. 5, musiwhile lower-case Roman numerals designate cal example 10, pp. 162-65. minor triads. The numerals are not repeated

EDITORIAL POLICIES 9 The direction of the note-stem indicates of the strum (| symbolizes a down-strum).

the direction of the strum. A stem pointing Second, single pitches plucked on one downwards ( f{ ) represents a down- strum course are distinguished from strummed (from the fifth course to the first), and one chords by the use of dotted stems and the pointing upwards ( J ) represents an up- absence of Roman numerals. Finally, shifted strum (from the first course to the fifth). This chords are indicated by Arabic numerals convention applies to all the pieces except placed in parentheses above the sounding those from Bricefio (1626), as that source toot of the chord. The symbol “(n)” means

does not contain any strum symbols. that the chord is produced by barring the I have made some minor changes to neck of the guitar with the index finger at Hudson's editorial system. First, when the the nth fret and fingering the chord which is transcribed note is a whole-note, an arrow is n-1 semitones lower than the one notated. placed in front:of*it to indicate the direction

a Punteado Guitar Tablature For the transcription of punteado guitar of individual notes. Consequently the works I have adopted a modified version of | modem editor must decide what rhythm and

the elegant editorial method used by Richard texture to use in the transcription. For Pinnell (1976). The pieces are presented on vihuela, lute, and guitar tablatures, a wide single staves under the octave-transposing variety of editorial methods have been treble clef. The transcriptions proceed as if employed to date, ranging from simple transeach course of the guitar consisted of a single literations to strictly polyphonic presentastring tuned at the lower octave as follows: tions.’ For the transcription of the punteado guitar works in this study, I have decided that a free two-voice texture is most appropriate. Some rests and ties are added for editorial notice. Notes are stemmed ——— notational clarity, further without square brackets or

~o- together in order to avoid presenting more than two voice-parts. In such cases the dura-

courses 5 4 3 2 I tional value of the shortest note is used for all members of the group. Thus many notes

In actual fact each of the four lower courses appear with durational values which are consists of two strings, and two of the tuning shorter than their actual sound. (The reader systems are re-entrant. To determine the can identify these notes by observing which doubling and sounding octave-register of the courses are involved.) On the other hand, notes presented in the transcription, the no note is presented with a longer durational reader must bear in mind the tuning system value than is physically possible in perfor-

intended in each source (discussed in mance. The transcriptions always reflect the

volume 1, chap. 5, pp. 143-48). fact that a note ceases to sound when a folTablature indicates the musical time lowing note is played on the same course. between successive attacks, not the duration

8The various transcription methods are critically dis- 2:xviii-xx; and Pennington (1981) 2:ix—x. cussed by Ward (1953), pp. 113-29; Pinnell (1976)

10 INTRODUCTION Course numbers are represented by en- chord (} symbolizes a down-strum from the circled Arabic numerals (‘t”). They are sup- _‘fifth course to the first). Shifted chords are

plied only when a note is to be played on a indicated by Arabic numerals placed in lower course than the usual one. The symbol parentheses above the sounding notes of the is omitted if the course can be deduced from chord. As in the rasgueado transcriptions, the

the musical context alone. symbol “(n)” means that the chord is

Strummed chords are written out with produced by barring with the index finger at ; i the nth fret and fingering the chord which is their notes stemmed together. The direction 1 semi ; than th rated

of the strum is shown by the stem direction nt semitones lower than the one notated. as well as by an arrow placed in front of the

A 4a

Vihuela Tablature

The works from A Wn (Ms addition to The actual stringing and tuning systems are Valderrabano) and E Mn Mss 6001 are discussed in volume 1 (chap. 8, pp. 318-19). transcribed as if each course of the vihuela The pieces are transcribed on systems of two consisted of a single string tuned as follows: staves. They are presented in a free texture, with no more than two voice-parts on each staff. Otherwise the editorial policies are the same as those described above for the pun-

Fr teado guitar.

_——+ |

couse: 6 5 4 3 2 1

Harp Tablature Pieces in harp tablature are transcribed Fingering specifications, which abound on systems of two staves. They are presented in the harp sources, are transcribed only for |

in a free texture, with no more than two the ornament symbols. As discussed in voice-parts on each staff. Some rests and ties volume 1 (chap. 6, pp. 228-34), the finger-

are added for notational clarity, without ing determines the way in which the ornasquare brackets or further editorial notice. In ments are to be realized. In the transcriptions

the sources some of the left-hand =otes are the fingering is shown by encircled Arabic notated by letters (as explained in volume |, numerals: “ ()” denotes the thumb (“p” in

| chap. 6, pp. 220-24). In the transcriptions the original), “@” the index finger (“y” in they are not distinguished from the notes the original), and “ @)” the middle finger (“1”

originally notated by ciphers. | in the original).

EDITORIAL POLICIES 11 Keyboard Tablature Keyboard tablature presents each piece is retained in the transcriptions. Editorial as if it were strictly polyphonic. This texture rests and ties are shown in square brackets.

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2. The Repertoire

The scope of the musical repertoire under “ch” has been ordered within the “c’s” consideration is explained in volume 1 (pt. as in English). Furthermore all the II, Introduction, pp. 107—11). Throughout Spanish zarabandas are listed before the the present section, pasacalles are counted foreign sarabandes. These two types are separately from other dance settings and distinguished from each other by their diferencias. They are treated differently for musical structure (see volume 1, pt. IV,

two reasons. First, the pasacalle is not a pp. 748-49). dance-song, but rather a cadential introduc- (2) Next, within each dance-type the tion (see volume 1, pt. IV, pp. 684-91). pieces have been organized according Second, the size of the extant pasacalle reper- to their instrumentation. The chart

toire is enormous. utilizes the following order (and abRelevant instrumental music survives breviations):

in 44 sources, each described in volume 1, vihuela (v) pt. II. The sources are listed in chronological two vihuelas order (approximating where necessary) four-course guitar

| below in Chart 39. rasgueado five-course guitar An inventory of all the dances and (er) ado fi

diferencias (aside from pasacalles) is given punte ve-course guitar

below in Chart 40. The pieces are listed in a = (h) hierarchical order resulting from the succes- keyboar d (k) sive application of the following three steps: unspecified melodic (1) First, the pieces have been placed in al- instrument (m)

phabetical order according to the other instrumentation

dance-type named mn the ‘ttle. AL (3) Finally, within each instrumental

though the original spelling is retained bh

in the chart, the dance-types have been category of the same dance-type t ©

alphabetized according to their pieces have been placed in chronologi-

ae 1: cal order (approximating where neces-

equivalent spelling in modern Castilian

(except that the letter combination sary). ,

13

14 INTRODUCTION Each entry in Chart 40 has the following for- (d) keyboard works in the Portuguese sour-

mat: | ces P Pm Ms 1577 Loc. B,5 and P B Ms Line 1 — Title of the piece (with the key- 964 :

word(s) denoting the dance-type in (e) French or Italian sarabandes

capital letters) (f) some works by foreign composers which Line 2 — Instrumentation, number of are also extant in ncn-Spanish sources diferencias (counting the first presenta- For some of the above I have relied extion of the musical scheme as dif. 1), clusively on modern editions. In the musical

and source section below I have had to omit only 3

Line 3 — The word “Incipit.” Modern edi- _ pieces, since neither their original notation tion (This line is included only when a nor a modern edition were available to me.

modern incipit rather than a complete In Chart 40 these pieces are identified by an

transcription is given below.) asterisk (see D-5, 48, and 83). Line 4 —Concordances and their modern Chart 41 below lists all the Spanish

editions pasacalles. The order of the pieces and the

Most of the pieces listed in Chart 40 are format of the entries (aside from line 3) foltranscribed in full below. However, owing to lows the same design as in Chart 40. Because practical considerations, I have transcribed of the large size of the pasacalle repertory I only incipits for pieces which fall into one of have not presented complete transcriptions. ,

the following categories: Instead I have transcribed a four-measure in-

yboard works pu de ce he ew ts

(a) vihuela and keyboard works published cipit for each piece. (In Chart 41 I have dis-

in the 16th century pensed with the indication “incipit in line 3

of the entries.) When the work consists of a (b) keyboard works im Correa de ArauxO single diferencia, a full transcription results.

(1626) and in the Ms addition to Co- In Chart 41 an asterisk in front of the entry

rea de Arauxo (E Mn R.14069) means that the piece was unavailable to me (c) keyboard works by Cabanilles for inclusion in the musical section (see P194, 195, 196, and 227).

THE REPERTOIRE 15 Chart 39. Instrumental sources of dances, variation sets, and pasacalles

Source* Number of dances and Number of pasacalles> variation sets®

Milan (1536) 62 Vv Narv4ez (1538) Mudarra (1546) 5 Vv ov

|Pisador 1 two(1552) vihuelas 3 ov

Valderrabano (1547) 62 four-course v guitar

Venegas de Henestrosa (1557) 4 k Cabezén (1578) 7 2k

A Wn, Ms addition to Valderrabano [ca. 1590] 3 Ov

E Mn Mss 6001 (dated 1593) 5 ov Amat [ca. 1596]301gr pr13 1 gr Bricefio (1626) gr

Correa de Arauxo (1626) 2 &k

E Mn R. 14069, Ms addition to Correa de Arauxo [ca. I k 3 k

Doizi de Velasco [1640] 1 gr 1 gr E Mn M.2618' (dated 1659) 9 violin , 1635]

Sanz (1674) 19 pr 64 gr 30 gp gp Sanz [ca. 1675] 12 gp Ruiz de Ribayaz (1677) 14 pr 14 gr

15 gp 14 gp 22 h 14 h EE Ms 29 [ca. 1690] 8 k

Guerau (1694) 10 gp6 30 E Bc M.387 [ca. 1697] k 15gp k

E Mn M.2209 [ca. 1699] 12. gp 12 gp Canciones francesas [ca. 1701] 1 unspecified Fernandez (1702) 30 h25 3 hh FernandezdedeHuete Huete (1704)

E Mn M.811 (dated 1705) 18 gr

42 12 gp=h 8 4gph E Mn M.816 [ca. 1705] E Mn M.1357 (dated 1706) 7 ~2«k 2 &k E Mn M.1358 (dated 1707) 9 k 3 k E Mn M.1359 (dated 1708) ll k

E Mn M.1360 (dated 1709) 23 Ok21dh k US We Mk.290 [ca. 1710] ll oh P Pm Ms 1577 Loc. B,5 [ca. 1712] 8 k 9 k

Murcia (1714) 13. gp E Bc M.691/2 (4) [ca. 1720] 3 gp P BMn Ms M815 964 [ca. (dated 1720] 5 k1721) 1k E E Mn M.2262 [ca. 1718] 1 k

E Bc M.386 (dated 1722) 1 k

B Bc Ms 5615 (dated 1730) 1 gp E Bc M.1452 [ca. 1731] 20 m 1 om E Bc M.741/22 [ca. 1731] 1 h 19 m

1¢ k ,

16 INTRODUCTION Chart 39 (continued)

GB Lbm Ms Add. 31640 (dated 1732) 11 gp 28 gp

Minguet y Yrol [ca. 1754] 6 gr 2 ge 2 gp 1 bandurria 1 violin

TOTALS 30 89s v gr 37s gr 139 gp 108 gp 76 =h 48 h k 107 k 34 39 om lm 15 other

, 495 TOTAL 228 TOTAL “Dates shown in parentheses are given in the original source. Dates shown in square brackets are my estimations. bThe instrumentation is abbreviated as follows:

v = vihuela pr = rasgueado guitar gp = punteado guitar

k = keyboard , h = harp

m = unspecified melodic instrument |

Concordant settings of a particular piece are counted only once, under the earliest source. Pieces consisting of a

single statement of the same popular scheme are not considered to be concordant with each other. |

,

THE REPERTOIRE 17 Chart 40. Inventory of Spanish dances and diferencias

D-1 “El ALBARILLO”

h 11 dif. US We Mk.290, f. 241r-24v D-2 “ALONCH”

k 6 dif. E Mn M.1358, f. 75v—-76v D-3 “El AMOR”

gp 1 dif. EMnM.811, p. 113

D-4 = “El AMOR” |

h 3. dif. US We Mk.290, f. 221r—23r

*D-5 “{ARIA con variationi]” . k P B Ms 964, f. 254v! D-6 “BABAU”

m- 8 dif. E Bc M.1452, f. 142v-143v D-7 “Lo BABAU”

m 1 dif. E Be M.741/22, f. 29r

D-8 “BAYLETE con dif[e]renc[ia]s”

gp 5 dif. Murcia (1714), pp. 113-15

D-9 “[BORJA.] Cangao de 5° tom de d[om] Joseph Urtros”

k 1 dif. P Pm Ms 1577 Loc. B,5, f. 110v

| D-10 “BORJA” , Incipit. B. Hudson (1961) 2:344

k 6 dif. E Mn M.815, f. 69v—71v

D-ll “CANARIO”

er 1 dif. Ruiz de Ribayaz (1677), p. 67 D-12 “CANARIO”

gr 1 dif. EMnM.811, p. 100

D-13. “CANARIOS”

gp 15 dif. Sanz (1674), f. 23r First 4 dif. as “Canarios,” Ruiz de Ribayaz (1677), pp. 71-72. Complete concordance as “Canarios [por la ze],” E Mn M.811, pp. 68-72

D-14 “CANARIOS”

gp 12 dif. Sanz (1674), f. 43r

D-15 “Otros CANARIOS”

gp 6 dif. Sanz (1674), f. 43r

D-16 “[Treze diferencias de] CANARIO”

gp 3 dif. Guerau (1694), f. 541r—55r D-17 “CANARIO por | ques la A” ,

gp 10 dif. E Mn M.2209, f. 5r—5v

14 modern edition in Gerhard Doderer, Otto pezzi per strumenti a tastiera di compositori della scuola di Bernardo Pasquini (Milan, 1973) was not available for consultation.

, 18 INTRODUCTION D-18 “CANARIO sobre la C ques +”

gp 19 dif. E Mn M.2209, f. 6r-7v

D-19 “CANARIO”

gp 4 dif. E Mn M.811, pp. 108-9

D-20 “CANARIOS tamborilados”

gp 7 dif. E Mn M.811, pp. 141-43 D-21 “CANARIOS”

h 2 dif. Ruiz de Ribayaz (1677), p. 133

D-22 “CANARIOS’”

h 7 dif. Fern4ndez de Huete (1702), pl. 8-9

D-23 “CANARIOS”

k 1 dif. E Mn M.1360, f. 221v Probably from Jean-Baptiste Lully, “Canaries,” in his Le temple de la paix (ballet; first performed in 1685), LWV 69/267

D-24 “[CANARIOS]”

k 1 dif. E Mn M.1360, f. 222r

D-25 “[(CANARIOS]” Probably from Lully, “Canaries,” in his Le temple de la paix (1685), LWV 69/27?

k 1 dif. E Mn M.1360, f. 222r—-222v

Lully, “Canaries,” in his Armide (1686) Act IV, LWV 71/54; modern edition reduced for

, piano and voice by Lajarte, Chefs-d’oeuvre classiques de l’opéra francais 17:218

D-27 “CANARIO” . D-26 “Otro género de CANARIOS”

k 4 dif. E Mn M.1360, f. 222v

k 2 dif. E Mn M815, f. 6v—7r

D-28 “CANARIS”

m 15 dif. E Bc M.1452, f. 2391r—240r D-29. “La CANARI”

m 4 dif. E Bc M.741/22, f. 22v

D-30 “CANARI” : m 2 dif. E Bc M.741/22, f. 61r D-31 “CANARIO”

D-32 “CANZION” | violin 1 dif. E Mn M.2618’, f. 2v

k 11 dif. E Mn M.1358, f. 76v—77v ,

D-33 “CANZION FRANZESA”

h 3 dif. Fernandez de Huete (1702), pl. 36-38 D-34 “CANCION REAL FRANCESA’” and “2 tiples a la canci6n”

| k 2 dif. E Mn M.1357, pp. 185-89

“Cancién para la corneta con el eco,” and “Siguen dos tiples sobre la cancién con la misma corneta y eco,” E Mn M.1357, pp. 15-18 *At least as suggested by the musical incipit given in Schneider (1981). I have not had the opportunity of examining the music of Lully’s Le temple de la paix.

THE REPERTOIRE 19 D-355 “CANZION YTALIANA por primer tono”

h 2 dif. Ferndndez de Huete (1702), pl. 35

D-36 “CANZION YTALIANA”

h 5 dif. Ferndndez de Huete (1702), pl. 43-45 D-37 “La CHACONA sobre el crugado”

gr 2 dif. Bricefio (1626), f. 10v

D-38 “La gran CHACONA en cifra con el romance que se sigue”

gr 4 dif. Bricefio (1626), f. L1v—12r

D-39 “LaCHACONA” gr 1 dif. (plus 3 transpositions) | ‘Doizi de Velasco (1640), p. 64 D-40 “CHACONA”

gr 1 dif. E Mn M.811, p. 102

D-41 “CHACONA”

gp 9 dif. Sanz (1674), f. 41r

D-42 “CHACONA”

gp 3 dif. EMnM.811, p. 112

D-43 “CHACONAS”

h 6 dif. Ruiz de Ribayaz (1677), pp. 109-10 D-44 “Aire de CHACONA”

k 4 dif. E Mn M.1357, pp. 90-91

k 7 dif. E Mn M.1357, p. 91

D-45 “Cancidn al mismo aire [de CHACONA]”

D-46 “CHACONA”

k 12 dif. E Mn M.1359, pp. 591-93

D-47. “La CHACONA”

k 37 dif. E Mn M.1360, f. 217v—220v Lully, “Passacaille,” in his Armide (1686) Act V, LWV 71/61; modern edition reduced for piano and voice by Lajarte, Chefs-d’oeuvre classiques de l'opéra frangais 17:277-82

*D-48 “Variationi sopra la aria de CACONNA”

k PB Ms 964, f. 253v—254r

D-49 “XACONA”

m 6 dif. E Bc M.1452, f. 238v

D-50 ‘“XACONA de arlequins”

m 1 dif. E Bc M.1452, f. 123v—1241

D-51 “CHACONA castellana”

violin 2 dif. E Mn M.2618’, f. 2v D-52 “CHACONA portuguesa”

violin 2 dif. E Mn M.2618’, f. 3r

| D-53 “La CHAMBERGA”

gp 1 dif. E Mn M.811, p. 153

3A modern edition in Doderer (1973) was not available for consultation.

20 INTRODUCTION D-54 “CONDE CLAROS del sesto tono” | Vv 22 dif. Narv4ez (1538), f. 87r—-91r Incipit. Pujol, MME 3 (1945), pp. 82-85

D-55 “CONDE CLAROS en doze maneras”

Vv 13 dif. Mudarra (1546) Bk. I, f. 15v—l6v Incipit. Pujol, MME 7 (1949), pp. 19-20

| D-56 “Sfguense las diferencias sobre el tenor del CONDE CLAROS”

Vv 49 dif. Valderr4bano (1547), f. 97v—99v

Incipit. Pujol, MME 23 (1965), pp. 75-81 :

D-57 “Sfguense otras diferencias sobre el tenor del CONDE CLAROS por otro tono”

Vv 74: dif. Valderrabano (1547), f. 99v—103r Incipit. Pujol, MME 23 (1965), pp. 82-91

D-58 “CONDE CLAROS con ciertas differencias para los principiantes y para los que m4s saben”

Vv 39 dif. Pisador (1552), f. lr—2v Incipit

D-59 “Esta musica que se sigue va sobre el canto llano del CONDE CLAROS”

2 vihuelas 13 dif. Valderrdbano (1547), f. 48v—49r Incipit. Pujol, MME 22 (1965), pp. 54-56

D-60 “Cinco differencias sobre CONDE CLAROS”

k 6 dif. Venegas de Henestrosa (1557), f. 65v | Incipit. Anglés, MME 2 (1944), p. 185

D-61 “DAMA” | gp 2 dif. Ruiz de Ribayaz (1677), pp. 95-96

D-62 “LaDAMA” gp 1 dif. E Mn M.811, p. 141

D-63 “Diferencias sobre el canto de la DAMA LE DEMANDA”

, k 6 dif. Cabezé6n (1578), f. 192r—-193v Incipit. Anglés, MME 29 (1966), pp. 67—70; and Jacobs vol. 1 (1967), pp. 55-59

D-64 “Cancién glosada DEXALDOS MI MADRE”

k 14 dif. Correa de Arauxo (1626), f. 184r—189r Incipit. Kastner, MME 12 (1952), pp. 201-12

D-65 “1° tono. Obra sobre la tonada del DESMAYO: de todo juego”

k | 8 dif. EE Ms 29, f. 100v—103v

D-66 “ENCARAMADO”

gr 1 dif. E Mn M811, p. 103

D-67 “ENCARAMADO”

h 1 dif. US Wc Mk.290, f. 33v

D-68 “Danca llamada la ESPANOLETA la qual se pone aquf a la segunda lici6n a persuacién de una dama que la parecié ser todas estas liciones muy cortas”

pr 1 dif. Bricefio (1626), f. 6r

D-69 “ESPANOLETA”

gr 1 dif. Sanz (1674), f. 18r

D-70 “ESPANOLETA”

gr 1 dif. Ruiz de Ribayaz (1677), p. 68

THE REPERTOIRE 21 D-71 “ESPANOLETA”

gr 1 dif. E Mn M811, p. 95

D-72 “ESPANOLETA”

gp 1 dif. Sanz (1674), f. 20r

D-73 “ESPANOLETAS”

gp 3 dif. Sanz (1674), f. 42r D-74 “ESPANOLETAS por otro punto”

gp 3 dif.(plus a passacalles of 4 dif.) Sanz (1674), f. 42r Concordance, without the passacalles: “Espanoleta,” Ruiz de Ribayaz (1677), pp. 82-85

D-75 “[Ocho diferencias de] ESPANOLETA”

gp 8 dif. Guerau (1694), f. 42r—45r

D-76 “ESPANOLETAS sobre la E ques 5”

gp 2 dif. E Mn M.2209, f. 17r-17v

D-77. “ESPANOLETA”

gp 1 dif. E Mn M.811, pp. 103’-103"' D-78 “ESPANOLETAS”

h 3 dif. Ruiz de Ribayaz (1677), pp. 117~20 D-79 “ESPANOLETAS de prim[er]o tono”

h 6 dif. Ferndndez de Huete (1702), pl. 17-20

D-80 “ESPANOLETA”

k 4 dif. E Mn M.1358, f. 781-78v

D-81 “ESPANOLETA”

k 5 dif. E Mn M.1359, pp. 601-5

D-82 “ESPANHOLETAS de 1° tom”

k 2 dif. P Pm Ms 1577 Loc. B,5, f. 109r—-109v Incipit. B. Hudson (1961) 2:340-41

*D-83 “SPAG[NO]LETTA”

k P B Ms 964, f. 22414

D-84 “ESPANOLETA”

k 2 dif. E Mn M.815, f. 65v

D-85 “ESPANYOLETA”

m 1 dif. E Bc M.1452, f. 145v

D-86 “ESPANYOLETA”

m 1 dif. E Bc M.741/22, f. 18r

D-87. “FANDANGO” | gr 1 dif. EMnM.811, p. 103

D-88 “FANDANGO por patilla”

gt 1 dif. Minguet y Yrol (ca. 1754) B, pl. 3

D-89 “FANDANGO”

gp 3 dif. E MnM.811, pp. 112-13

44 modern edition in Doderer (1973) was not available for consultation.

22 INTRODUCTION . D-90 “FANDANGO YNDIANO”

, gp 1 dif. E MnM.811, p. 140 D-91 “ELFANDANGO”

m 6 dif. E Bc M.1452, f. 249r

D-92. “LoFANDANGO”

m 4 dif. E Be M.741/22, f. 17r

D-93 “FANDANGO”

m 5 dif. E Bc M.741/22, f. 60r

D-94 “FANDANGO” | bandurria 1 dif. Minguet y Yrol (ca. 1754) E, pl. 1 D-95 “La FANFARRONA. Nuevamente hecha”

gr 1 dif. Bricefio (1626), f. 13v

D-96 “FANTASMAS”

k 4 dif. E Mn M.815, f. 63r-63v

D-97 “FANTASMAS”

m 4 dif. E Bc M.1452, f. 243v—244r

D-98 “FABORITA”

k 4 dif. E Mn M815, f. 9r-Llv

D-99 “FOLIAS” . Vv 13. dif. A Wn, Ms addition to Valderrdbano, f. 105v—107r D-100 “{Diferencias] de FOLIAS”

Vv 4 dif. E Mn Mss 6001, f. 272r—273r |

D-101 “Honze diferenzias de FOLIAS de Mendoza” Vv 10 dif. E Mn Mss 6001, f. 2751r—278r

D-102 “Agquf comiengan toda suerte de FOLIAS”

pr 1 dif. Bricefio (1626), f. 8r

D-103 “Otras FOLIAS diferentes y buenas”

pr 1 dif. Bricefio (1626), f. 8v

D-104 “Otras FOLIAS diferentes y buenas”

gr 1 dif. Bricefio (1626), f. 9r

D-105 “Otras FOLIAS estrahordinarias”

pr 1 dif. Bricefio (1626), f. 9v

gr 1 dif. Bricefio (1626), f. 11r ,

D-106 “Dos suertes de FOLIAS estrahordinarias [#1]” D-107 “Dos suertes de FOLIAS estrahordinarias [#2]”

gr 1 dif. Bricefio (1626), f. llr

D-108 “Otras FOLIAS por tafier en partida [#1]”

pr 1 dif. Bricefio (1626), f. 10r

D-109 “Otras FOLIAS por tafier en partida [#2]”

gr 1 dif. Bricefio (1626), f. 10r

THE REPERTOIRE 23 D-110 “FOLIAS”

gr 1 dif. Sanz (1674), f. 18r

D-111 “FOLIAS” , , gr 1 dif. Ruiz de Ribayaz (1677), p. 66 D-112 “FOLIAS”

pr 1 dif. E Mn. M.811, p. 98

D-113 “FOLIAS ESPANOLES”

gr 1 dif. (transposed to all 12 pitch-levels) Minguet y Yrol (ca. 1754) B, pl. 10 D-114-: “FOLIAS ESPANOLES con los puntos y golpes para tafierlas de rasgueado” ~ gr (plus melody in staff notation) 1 dif. Minguet y Yrol (ca. 1754) B, pl. 1

D-115 “FOLIAS ESPANOLES con los puntos castellanos, italianos y catalanes”

gt “CA vdif. Minguet y Yrol (ca. 1754) B, pl. 3 D-116 “FOLIAS ITALIANAS por el abecedario”

gr 1 dif. Minguet y Yrol (ca. 1754) B, pl. 3

D-117 “FOLIAS” ,

gp 4 dif. Sanz (1674), f. 40r First 3 dif. as “Folfas,” Ruiz de Ribayaz (1677), pp. 75-77

D-118 “[Doze diferencias de] FOLIAS”

gp 12 dif. Guerau (1694), f. 51r—53r

D-119 “FOLIAS”

gp 2 dif. E Mn M811, pp. 105-6 D-120 “FOLIAS YTALIANAS”

gp 2 dif. E Mn M.811, pp. 136-37 D-121 “FOLIAS mui despacio. Al estilo de Francia”

, de punteado” | gp 12 dif. Murcia (1714), pp. 96-100

D-122 “FOLIAS ESPANOLES, y faciles, para que el aficionado sepa entender, y executar los taftidos

gp (plus melody in staff notation) 1 dif. | Minguet y Yrol (ca. 1754) B, pl. 5

D-123 “FOLIAS”

h 3 dif. Ruiz de Ribayaz (1677), pp. 112-14 D-124 “FOLIAS agaitadas”

h 1 dif. Fernandez de Huete (1702), pl. 11

D-125 “Diferencias de las FOLIAS”

h 3 dif. E Mn M.816, f. 3v—4r

~~ "Y)-126 “Otra[s] diferencia[s] de las FOLIAS YTALIANAS”

h 3 dif. US We Mk.290, f. 1r—-2v

D-127 “FOLIAS de Jiménez”

k 7. dif. EE Ms 29, f. 70r-71v A longer version is “Folfas. de Ximénez con veinte diferencias” (20 dif.), E Be M.751/21, pp. 315-25; modern edition by Anglés, BPSM 20 (1965), pp. 33-42; and by Apel, Corpus of Early Keyboard Music 31 (1975), pp. 88-97

24 INTRODUCTION D-128 “Otras FOLIAS de otro autor, 1° tono”

k 13. dif. EE Ms 29, f. 71v—74v

~ —-129 “FOLIAS de 7° tono”

k 9 dif. EE Ms 29, f. 74v—76v

D-130 “FOLIAS de mosén Juan Cabanillas hechas en el mes de abril 1694”

k 13. dif. E Bc M.387, f. 113v—116r Incipit. Anglés, BPSM 8 (1933), pp. 130-37

“Diferencias de folfas p[rime]ro tono del grande m[aestr]o m[osé]n Juan Cabanillas,” E Bc , M.1328, f. 122r—125v°

D-131 “Tonos de palacio. FOLIAS” , _&k 8 dif. E Mn M.1358, f. 68r—69r D-132 “FOLIAS” k 4 dif. E Mn M.1359, pp. 593-95 D-133 “Las FOLIAS”

k 12 dif. E Mn M.1360, f. 212r—215r

D-134 “Otras FOLIAS”

k 9 dif. E Mn M.1360, f. 215v—217v

D-135 “FOLIAS de 1° tom” } k 4 dif. P Pm Ms 1577 Loc. B,5, f. L11r—111v Incipit. B. Hudson (1961) 2:345—-47

D-136 “FOLIA”

k 3 dif. E Mn M.2262, f. 421r—42v

D-137 “Partite sopra la aria della FOLIA DA ESPAGNA del sig[nore] Bernardo Pasquini”

k 5 dif. P B Ms 964, f. 225r—225v |

Incipit. Kastner vol. 1 (1954), pp. 17~19 Some resemblance to dif. 1, 3, 4, and 5 of Bernardo Pasquini, “Partite diverse di follia per il sig[nore] Inghilese di Scotia” (14 dif.); in his Sonate per gravecembalo composte dal sig[{nore] Bernardo Pasquini e scritte di sua mano in questo libro—A.D. 1702 aprile, BERLIN, Deutsche

Staatsbibliothek Ms L.215; modern edition in Haynes, Corpus of Early Keyboard Music 5, pt. IV (1967), pp. 25-35

D-138 “FOLIAS graves”

k 7. dif. E Mn M.815, f. 72r—73r

D-139 “FOLLIA per dansar”

m 1 dif. E Bc M.1452, f. 113v

D-140 “FOLIAS DE ESPANYA ab mudansas” , | m 18 dif. E Bc M.1452, f. 210r—-213v D-141 “FOLIAS”

m 23 dif. E Bc M.1452, f. 2141—220r

"According to Anglés, BPSM 8 (1933), p. xxv.

THE REPERTOIRE 25 D-142 “FOLIAS de la é6pera 5 del s[efi]or Arcangelo Coreli”

m 24 dif. E Bc M.1452, f. 205r-209v

Incipit Violin part of Corelli (1700) “Follia,” pp. 62-68; modern edition by Joachim and Chrysander

3:96-107 D-143 “FULLIAS DE ASPANA”

m 1 dif. E Bc M.741/22, f. 50v

D-144 “FOLIASITALIANAS....”

violin 3 dif. Minguet y Yrol (ca. 1754) F, pl. 1 D-145 “GAYTA”

gr 1 dif. E Mn M.811, p. 99

D-146 “GAYTAS”

gp 2 dif. Ruiz de Ribayaz (1677), p. 77 D-147 “[GAYTAS] por patilla”

gp 2 dif. Ruiz de Ribayaz (1677), p. 78

| D-148 “GAYTA”

gp 2 dif. E Mn M811, p. 107

D-149 “GAYTAS” | h 4 dif. Ruiz de Ribayaz (1677), pp. 139-40 D-150 “GAITA”

h 2 dif. Fernandez de Huete (1702), pl. 3—4 D-151 “GAITAS [ZAMORANAS]”

h 3. dif. Fernandez de Huete (1702), pl. 10-11 D-152. “La GAITA FRANCESA”

| h 7 dif. E Mn M.816, f. 8r—9v D-153 “Differenzias sobre la GAYTA”

k 22. dif. E Mn M.1357, pp. 219-22 D-154 “La GAITA GALLEGA”

m 1 dif. E Bc M.741/22, f. 29v

D-155 “GALERIA DE AMOR”

gp 3 dif. Ruiz de Ribayaz (1677), pp. 92-94 D-156 “GALERIA DE AMOR”

h 2 dif. Ruiz de Ribayaz (1677), pp. 133-35 D-157 “GALLARDA”

Vv 1 dif. Mudarra (1546) Bk. I, f. 20r—-20v Incipit. Pujol, MME 7 (1949), p. 24

D-158 “GALLARDAS [#1]”

gr 1 dif. Sanz (1674), f. 18r

D-159 “[GALLARDAS #2]”

gr 1 dif. Sanz (1674), f. 18r

D-160 “{GALLARDAS #3]”

gr 1 dif. Sanz (1674), f. 18r ,

26 INTRODUCTION D-161 “GALLARDA”

gr 1 dif. Ruiz de Ribayaz (1677), p. 67

D-162 “GALLARDA” | gr 1 dif. E Mn M.811, pp. 97-98 D-163 “GALLARDA” , gp 2 dif. Sanz (1674), f. 20r “Gallardas,” Ruiz de Ribayaz (1677), pp. 72-73

D-164 “GALLARDAS”

gp 9 dif. Sanz (1674), f. 40r

D-165 “[GALLARDAS] por el cinco”

gp 2 dif. Ruiz de Ribayaz (1677), p. 73

D-166 “[Treze diferencias de] GALLARDAS”

gp 14 dif. Guerau (1694), f. 49r—-51r

gp 8 dif. E Mn M.2209, f. 9r—9v

— D-167 “GALLARDAS sobre la C ques +”

D-168 “GALLARDA”

gp 2 dif. E MnM.811, pp. 104-5

D-169 “GALLARDA del torneo”

gp 4 dif. E Mn M.811, pp. 83-84

D-170 “La nueba GALLARDA”

gp 1 dif. Murcia (1714), pp. 74-75° ,

D-171 “GALLARDAS” |

h 3 dif. Ruiz de Ribayaz (1677), pp. 108-9

D-172 “GALLARDA”

D-173 “GALLARDAS” , h 1 dif. Ferndndez de Huete (1702), pl. 3

h 11 dif. Fern4ndez de Huete (1702), pl. 14-16

D-174 “Diferencias sobre la GALLARDA MILANESA”

k 2 dif. Cabezén (1578), f. 188r-189r Incipit. Anglés, MME 29 (1966), pp. 57-59; and Jacobs vol. 1 (1967), pp. 44-46

D-175 “GALLARDAS p[rime]ro tono de m[osé]n Juan Cabanillas”

k 12 dif. E Bc M.387, f. 138r-140v

Incipit. Anglés, BPSM 8 (1933), pp. 62-68 “Gallardas de 1° tono de todo gusto,” MALLORCA, Felantix, Biblioteca de Cosme Bauz4, un-

numbered Ms, f. 18v/ ,

D-176 “GALLARDAS tercer tono de m[osé]n Juan Cavanillas”

k 9 dif. E Bc M.387, f. 178v—179v and 199v—200r

_ Incipit. Anglés, BPSM 8 (1933), pp. 69-74

“Russell (1982), p. 47, suggests that this piece is probably an arrangement of a dance melody published in Paris in 1709 by Feuillet under the title “La nouvelle gaillarde.” ‘According to Anglés, BPSM 8 (1933), p. xviii.

THE REPERTOIRE 27 “Gallardas de 3° tono del maestro m[osé]n Joan Cabanillas,” E Bc M.1328, f. 70r—74v; also “Gallardas de 3° tono del g{ran]de m[aest]ro m[osé]n Joan Cabanillas p[resbfter]o. Es un prodigio,” E Bc M.386, pp. 175-808

D-177 “GALLARDAS 5° tono de mosén Juan Cabanillas”

k 7 dif. E Bc M.387, f. 109r—11 Ir Incipit. Anglés, BPSM 8 (1933), pp. 88-93 “Gallardas de 5° tono del g[rand]e m[aestr]o Joan Caba[nilla]s p[resbfter]o. Es un prodigio,” E Bc M.386, pp. 334-399

D-178 “GALLARDAS 8 tono Juan Cabanillas”

k 12 dif. E Bc M.387, f. 116r—118r Incipit. Anglés, BPSM 8 (1933), pp. 94-101 “Gallardas 8° tono del maestro m[osé]n Joan Cabanillas,” E Bc M.1328, f. 80v—84r; also “Gallardas de 8° tono del g[{ran]de m[aest]ro Joan Cabanillas, p[resbiter]o. Es un prodigio,” E

Bc M.386, pp. 184-87"

D-179 “[GALLARDA]”

k 12 dif. E Mn M.1357, pp. 104-7

D-180 “GALHARDA de 1° tom” , k 4 dif. P Pm Ms 1577 Loc. B,5, f. 111v—112r Incipit. B. Hudson (1961) 2:347—48; and Kastner vol. 1 (1954), p. 14

D-181 “GALLARDAS”

k 3. dif. E Mn M.815, f. 62r-62v

D-182 “GALLARDAS de 4° tono del g[ran]de mahe[st]ro Joan Cabanillas. Es un prodigio” .

k 12 dif. E Bc M.386, pp. 275-80

Incipit. Anglés, BPSM 8 (1933), pp. 75-87 “Gallardas de 4° tono del maestro m[osé]n Joan Cabanillas,” E Bc M.1328, f. 75r—80v!!

D-183 “GALLARDA”

m 4 dif. E Bc M.1452, f. 2411r-241v

D-184 “GALLARDA”

violin 1 dif. E Mn M.2618’, f. 3r

, D-185 “Otra licién llamada la GASCONA” | gr 1 dif. Bricefio (1626), f. 7r D-186 “La GITANILLA”

k 1 dif. E Mn M815, f. L5r

D-187 “GRAN DUQUE DE FLORENCIA”

gt 1 dif. Sanz (1674), f. 19r

D-188 “Otro DUCAL [DE FLORENCIA]”

gt 1 dif. Sanz (1674), f. 19r

D-189 “Gallarda del GRAN DUQUE [DE FLORENCIA]”

er 2 dif. Ruiz de Ribayaz (1677), pp. 68-69 D-190 “GRAN DUQUE [DE FLORENCIA]”

gp 2 dif. (plus a passacalles of 3 dif.) | Sanz (1674), f. 46r 8According to Anglés, BPSM 8 (1933), p. xix. . 9According to Anglés, BPSM 8 (1933), p. xxi. 0According to Anglés, BPSM 8 (1933), p. xxi. "According to Anglés, BPSM 8 (1933), p. xx.

28 INTRODUCTION D-191 “Gallarda del GRAN DUQUE [DE FLORENCIA]”

ep 2 dif. Ruiz de Ribayaz (1677), pp. 96-100 D-192 “El GRAN DUQUE [DE FLORENCIA]”

h 2. dif. Ruiz de Ribayaz (1677), pp. 141-44

D-193 “Bayle del GRAN DUQUE [DE FLORENCIA]”

k 4 dif. E Mn M.1359, pp. 596-601

D-194 “Canc&o que chamao GRAN DUQUE [DE FLORENCIA de 8° tom]”

k 4 dif. P Pm Ms 1577 Loc. B,5, f. 107r-109r Incipit. B. Hudson (1961) 2:334—40

D-195 “Quatro diferencias sobre GUARDAME LAS VACAS; son del primer tono” and “Otras tres diferencias hechas por otra parte”

Vv 7 dif. Narv4ez (1538), f. 91v—95v

Incipit. Pujol, MME 3 (1945), pp. 85~89 First 3 dif. as “Tres diferenzias de [Gudrdame las] bacas de Narb4ez,” E Mn Mss 6001, f. 278r— 278v

maneras” . ,

D-196 “Romanescao GUARDAME LAS VACAS. Proporci6én tres semibreves al compds. De cinco

Vv 5 dif. Mudarra (1546) Bk. I, f. 17r-18r Incipit. Pujol, MME 7 (1949), pp. 20-21

D-197 “Agqufse siguen siete diferencias faciles sobre GUARDAME LAS VACAS”

Vv 7 dif. Valderrabano (1547), f. 96v—97r Incipit. Pujol, MME 23 (1965), pp. 72-74

D-198 “[GUARDAME] LAS BACAS con sus differencias para discantar”

Vv 13. dif. Pisador (1552), f. 2v-4r Incipit

D-199 “[Sei]s diferenzias de (GUARDAME LAS] BACAS. Fran[cis]co P4ez”

, Vv 6 dif. E Mn Mss 6001, f. 273v—275r

. D-200 “[Sei]s diferenzias sobre [GUARDAME LAS BAC]AS de Fran[cis}]co P4ez”

Vv 6 dif. E Mn Mss 6001, f. 278v—280v

D-201 “Romancesca o GUARDAME LAS VACAS. Proporcién tres semibreves al compas. En tres maneras. [Guitarra al temple nuevo]” 4-course guitar 3dif. | Mudarra (1546) Bk. I, f. 24r

Incipit. Pujol, MME 7 (1949), p. 30 |

D-202 “[{GUARDAME LAS] VACAS”

gr 1 dif. (transposed to all 12 pitch-levels) Amat (ca. 1596), p. 26 D-203 “Una gallarda llamada [GUARDAME] LAS BACAS”

gr 1 dif. Bricefio (1626), f. 12v

D-204 “Una gallarda romanesca [o GUARDAME LAS BACAS]”

pr 1 dif. Bricefio (1626), f. 13r

D-205 “{GUARDAME LAS] BACAS”

gp 1 dif. Ruiz de Ribayaz (1677), pp. 100-1 D-206 “[GUARDAME LAS] BACAS”

h 3 dif. Ruiz de Ribayaz (1677), pp. 128-30

THE REPERTOIRE 29 D-207 “[GUARDAME LAS] BACAS se sube el 1" con 6 y el 2’ con el 7”

h 6 dif. Fernandez de Huete (1702), pl. 23-27

D-208 “Otras cinco [differencias] sobre [GUARDAME] LAS VACAS. Tres mfnimas al compd4s”

k 6 dif. Venegas de Henestrosa (1557), f. 65v—66v

Incipit. Anglés, MME 2 (1944), pp. 186-88; and Jacobs, Tempo Notation (1964), pp. 107-9

D-209 “Diferencias sobre [GUARDAME] LAS VACAS”

k 4 dif. Cabezén (1578), f. 185r—186r Incipit. Anglés, MME 29 (1966), pp. 49-52; and Jacobs vol. 1 (1967), pp. 36~39

D-210 “Diferencias sobre [GUARDAME] LAS VACAS”

k 6 dif. Cabezén (1578), f. 197r—199r Incipit. Anglés, MME 29 (1966), pp. 79-83; and Jacobs vol. 1 (1967), pp. 70-75

D-211 “Otras diferencias de [GUARDAME LAS] VACAS”

k 4 dif. Cabezén (1578), f. 199r—-200r Incipit. Anglés, MME 29 (1966), pp. 84-87; and Jacobs vol. 1 (1967), pp. 76-79

D-212 “Sfguense diez y seis glosas sobre el canto llano GUARDAME LAS VACAS 0 por mejor dezir sobre el seculorum del primer tono de canto Ilano que uno y otro cabe sobre el contrabajo de el dicho discante .. . .”

k 17 dif. Correa de Arauxo (1626), f. 189v—195v Incipit. Kastner, MME 12 (1952), pp. 213-23 , D-213 “Comienzan [GUARDAME] LAS VACAS glosadas”

k 17 dif. EE Ms 29, f. 40r—46v

D-214 “[GUARDAME LAS] VACAS de 1° tono”

k 7. dif. E E Ms 29, f. 771r-79v

D-215 “Otras[GUARDAME LAS] BACAS”

k 1 dif. EE Ms 29, f. 79v

, D-216 “{GUARDAME LAS] BACAS”

k 5 dif. E Mn M1358, f. 73v—74v D-217 “[GUARDAME] LAS VACAS” k 2 dif. E Mn M.1360, f. 220v—221r D-218 “GUINEOS”

gp 5 dif. E Mn M.811, pp. 145 and 150 D-219 “GUINEO se sube 5 con 3”

h 1 dif. Fernandez de Huete (1702), pl. 7

D-220 “La danca de la HACHA”

gr 2 dif. Bricefio (1626), f. 13r

D-221 “La mesma danca [de la HACHA] sobre el crugado”

er 2 dif. Bricefio (1626), f. 13r

D-222 “Dance de las HACHAS”

gr 1 dif. Sanz (1674), f. 18r

D-223 “Dangca del [H] ACHA”

gr 2 dif. Ruiz de Ribayaz (1677), pp. 67-68

D-224 “Danza de [H]ACHA”

gr 1 dif. E MnM.811, p. 101

30 INTRODUCTION D-225 “Dance de las HACHAS”

gp 1 dif. Sanz (1674), f. 20r

D-226 “Las HACHAS”

gp 3 dif. Sanz (1674), f. 40r

D-227 “Danga del HACHA”

gp 2 dif. Ruiz de Ribayaz (1677), p. 88

D-228 “Danza de [H]ACHA”

gp 1 dif. E Mn M811, p. 111 .

D-229 “{H]ACHAS”

h 4 dif. Ruiz de Ribayaz (1677), pp. 120-22

D-230 “Danza del [H] ACHA”

k 4 dif. E Mn M.1360, f. 204r—-204v

D-231 “YNPOSIBLES”

h 1 dif. US We Mk.290, f. 26r

D-232 “Los IMPOSSIBLES”

k 2 dif. E Mn M.1359, p. 608

D-233 “Tono INDEFINIBLE”

k 6 dif. E Mn M.1359, pp. 606-8

D-234 “JACARAS”

gr 2 dif. Sanz (1674), f. 18r

D-235 “XACARAS”

gr 1 dif. Ruiz de Ribayaz (1677), p. 66 D-236 “[XACARAS] por el seis”

gr 1 dif. Ruiz de Ribayaz (1677), p. 66 , D-237 “JACARA del cinco”

gr 1 dif. E Mn M.811, p. 95 , D-238 “JACARAS” gp 16 dif. Sanz (1674), f. 22r

First 6 dif. as “X4caras,” Ruiz de Ribayaz (1677), pp. 70-71

D-239 “JACARAS”

gp 8 dif. Sanz (1674), f. 41r ,

D-240 “[Treinta y nueve diferencias de] JACARAS”

gp 39 dif. Guerau (1694), f. 351-371

D-241 “JACARAS por 5 que es la E”

gp 25 dif. E Mn M.2209, f. 1r—2v

D-242 “JACARAS del cinco”

gp 26 dif. E Mn M.811, pp. 1-6

D-243 “JACARA del cinco” , gp 4 dif. E Mn M.811, p. 103’ ep 9 dif. E Mn M.811, pp. 150-152 |

| D-244 “JACARAS por la D”

THE REPERTOIRE 31 D-245 “XACARAS por primer tono”

h 10. dif. Ruiz de Ribayaz (1677), pp. 106-7 D-246 “JACARA del seis”

h 1 dif. US We Mk.290, f. 15v

D-247 “XACARA 1?”

k 5 dif. E Mn R.14069, Ms addition to Correa de Arauxo, f. 22v Incipit. Kastner vol. 1 (1954), pp. 14-15

D-248 “XACARA de m[osé]n Juan Cavanillas”

k 34 dif. E Bc M.387, f. 57r—60r Incipit. Anglés, BPSM 8 (1933), pp. 146-52 “Xacara 1° tono del g{ran]de m[aestr]o Joan Cabanillas, p[resbfter]o. Es un prodigio,” E Bc M.386, pp. 284-88”

D-249 “XACARA”

k 20 dif. E Mn M.1357, pp. 60-62

D-250 “XACARA de 1° tom [de frey Bertolomeu de] Olague”

k 12 dif. P Pm Ms 1577 Loc. B,5, f. 70r—70v Incipit. B. Hudson (1961) 2:217-18; and Kastner vol. 1 (1954), pp. 15-16

D-251 “XAC[A]RA”

m 12 dif. E Bc M.1452, f. 245r—245v

D-252 “JACARA”

violin 2 dif. E Mn M.2618’, f. 2v

D-253 “JACARA DE LA COSTA”

gt 1 dif. Sanz (1674), f. 18r

D-254 “JACARA DE LA COSTA”

gr 1 dif. E Mn M811, p. 101

D-255 “[Veinte y nueve diferencias de] JACARAS DE LA COSTA”

gp 29 dif. Guerau (1694), f. 371—39r

D-256 “JACARAS [DE LA COSTA] sobre la C ques +”

gp 13 dif. E Mn M.2209, f. 3r—3v ,

D-257 “JACARA DE LA COSTA”

gp 4 dif. EMnM.811, pp. 110-11

D-258 “XACARA [DE LA COSTA]”

h 1 dif. Fernandez de Huete (1702), pl. 3

D-259 “XACARA DE LA COSTA”

h 4 dif. Fernandez de Huete (1702), pl. 13

D-260 “XACARA DE LA COSTA”

h 5 dif. US Wc Mk. 290, f. 15r

D-261 “JACARAS FRANCESAS”

gp 3. dif. E Mn M811, pp. 127-28

D-262 “LaJOTA por el cruzado”

gr 1 dif. Minguet y Yrol (ca. 1754) B, pl. 3

12 According to Anglés, BPSM 8 (1933), p. xxvi.

32 INTRODUCTION D-263 “La JOTA”

gp 2 dif. EMnM.811, p. 135

D-264 “LaJOTA”

h 3 dif. E Mn M816, f. 25r

D-265 “La JOTTA”

h 3 dif. E Mn M816, f. 26r

D-266 “La JOTA”

m 4 dif. E Bc M.1452, f. 249r

D-267 “LaJOTA”

m 2 dif. E Bc M.741/22, f. 28v

D-268 “MARIONA” ,

gr 1 dif. Ruiz de Ribayaz (1677), p. 67

D-269 “MARIONA”

pr 1 dif. EMnM.811, p. 99 D-270 “MARIONA” | gp 2 dif. Sanz (1674), f. 20r

D-271 “MARIONAS” ,

gp 28 dif. Sanz (1674), f. 44r

D-272 “MARIONAS”

gp 5 dif. Ruiz de Ribayaz (1677), p. 74 D-273 “[Diez y ocho diferencias de] MARIONAS”

gp 18 dif. Guerau (1694), f. 53r—54r

D-274 “MARIONAS sobre la B ques 2” gp 13 dif. E Mn M.2209, f. 4r—4v

D-275 “MARIONA”

gp 4 dif. E Mn M.811, pp. 106-7

D-276 “MARIONAS”

h 8 dif. Ruiz de Ribayaz (1677), pp. 110-12

D-277 “MARIONA”

h 1 dif. Fernandez de Huete (1702), pl. 3

D-278 “MARIONA agaitada” , h 1 dif. Ferndndez de Huete (1702), pl. 4 D-279 “MARIONAS”

k 6 dif. E Mn M.815, f. 61r—-61v

D-280 “MARICAPALOS”

gp 7 dif. Sanz (1674), f. 45r D-281 “[Doze diferencias de] MARIZAPALOS” gp 12 dif. Guerau (1694), f. 39r—42r

D-282 “MARIZAPALOS sobre la E ques 5”

gp 6 dif. E Mn M.2209, f. 12r—-14v

THE REPERTOIRE 33 D-283 “MARIZAPALOS sobre la D ques 6” | gp 4 dif. E Mn M.2209, f. 15r-16v

D-284 “MARIZAPALOS [por la Ca (K)]”

gp 6 dif. EMnM.811, pp. 23-27

D-285 “MARIZAPALOS”

gp 11 dif. Murcia (1714), pp. 100-5 D-286 “Passacaille dite MARIZAPALOS. Par d[on] Michel Pérez de Zavala espagnol, 1690”

gp 7 dif. B Bc Ms 5615, pp. 102-3

D-287 “Diferencias de MARIZAPALOS”

h 2 dif. E Mn M816, f. 4v—5r

D-288 “MARIZAPALOS”

h 3 dif. US Wc Mk.290, f. 20r—21r D-289 “Diferencias sobre MARIZAPALOS”

k 10 dif. EE Ms 23, f. 16r—23v

D-290 “MARIZAPALOS”

k 3 dif. E Mn M.1358, f. 74v—75v

D-291 “MARIZAPALOS”

k 5 dif. E Mn M.1359, pp. 584-87

D-292. “MARIZAPALOS de 7° tom”

k 1 dif. P Pm Ms 1577 Loc. B,5, f. 112r Incipit. B. Hudson (1961) 2:348

D-293 “MARIZAPALOS”

k 3 dif. EMnM.815, f. 66r-66v

D-294 “MARISSAPOLAS [sic]”

m 3 dif. E Be M.1452, f. 2441r-244v

D-295 “Las MARISAPOLAS [sic]” | m 3 dif. E Bc M.741/22, f. 27v—28r D-296 “MARSELLAS”

gp 1 dif. E Mn M.811, pp. 90-91 D-297 “MARSELLAS de matachfn”

gp 1 dif. E MnM.811, pp. 131-32

D-298 “Dif[e]rencias de MARSSELLAS”

gp 6 dif. Murcia (1714), pp. 107-11

D-299 “Dif[e]r[enci]a[s] de las MARSELLAS”

h 2. dif. US Wc Mk.290, f. 28r—29r

D-300 “La MARSELLA”

k 1 dif. E Mn M.1358, f. 69v

D-301 “MARCELLAS”

k 2 dif. E Mn M.815, f. 4r—4v

D-302 “MATACHIN”

, gr 1 dif. Ruiz de Ribayaz (1677), p. 67

34 INTRODUCTION D-303 “MATACHIN”

gp 3 dif. Sanz (1674), f. 41r “Matachin,” Ruiz de Ribayaz (1677), pp. 80-81

D-304 “MATACHINES [por la ze]”

gp 2 dif. E Mn M811, pp. 37-39

D-305 “MATACHENES”

oh 5 dif. Ruiz de Ribayaz (1677), pp. 138-39

D-306 “MATACHINES”

h 1 dif. Fernandez de Huete (1702), pl. 5-6

D-307 “MATASSINS”

k 1 dif. E Mn M.1360, f. 223r-223v

} Jean-Baptiste Lully, “Le marié et la mariée,” in his Ballet de flore (first performed in 1669) Entrée IX, LWV 40/18

D-308 “MONSIEUR DE LA BOLETA” , h 4 dif. Ferndndez de Huete (1702), pl. 46-47

D-309 “MORISQUA”

violin 1 dif. E Mn M.2618’, f. lv

D-310 “OYES BELISA y sus diferencias”

h 7 dif. E Mn M..816, f. 10r—12r

D-311 “PARACUMBE por el 1”

gp 20 dif, ©§ EMnM.811, pp. 46-48

D-312 “PARACUMBE”

h 1 dif. Fernandez de Huete (1702), pl. 4 D-313 “Las PARADETAS”

er 1 dif. Sanz (1674), f. 18r

D-314 “PARADETAS”

gr 1 dif. E Mn M.811, pp. 100-1 D-315 “PARADETAS”

gp 1 dif. Sanz (1674), f. 41r

D-316 “PARADETAS”

gp 1 dif. Ruiz de Ribayaz (1677), pp. 79-80 |

D-317 “PARADETAS”

gp 1 dif. E Mn M.811, pp. 109-10

D-318 “PARADETAS”

h 3 dif. Ruiz de Ribayaz (1677), pp. 122-25

D-319 “PARADETAS”

h 4 dif. Ferndndez de Huete ((1702), pl. 11-13

D-320 “PARADETAS”

h 1 dif. E Mn M816, f. 17r

D-321 “PARADETAS”

h 1 dif. US We Mk.290, f. 17v

'3 According to Russell (1987), p. 394.

THE REPERTOIRE 35 D-322 “PARALETAS de 5° tom”

k 4 dif. P Pm Ms 1577 Loc. B,5, f. 109v—110v Incipit. B. Hudson (1961) 2: 342-44

D-323 “PARALETAS”

k 3 dif. E Mn M.815, f. 67v—68v

D-324 “...esta PAVANA que primeramente se sigue anda por los términos del primero y segundo tono”

Vv 1 dif. Milan (1536), f. G3v—-G4r Incipit. Jacobs (1971), pp. 101-2

D-325 “Esta PAVANA que se sigue anda por los términos del tercero y quarto tono: y como ya he dicho hanse de tafier con el compas algo apressurado”

Vv 1 dif. Milan (1536), f. G4r—G5r Incipit. Jacobs (1971), pp. 102-3

D-326 “Esta PAVANA que aquf debaxo se sigue anda por los términos del quinto y sexto tono, y como ya he dicho requieren tafierse dos 0 tres vezes para que parescan lo que ellas son” ,

Vv 1 dif. Milan (1536), f. G5r-G5v Incipit. Jacobs (1971), pp. 104—5

D-327 “Esta PAVANA que se sigue anda por los términos del séptimo y octavo tono”

Vv 1 dif. Milén (1536), f. G5r—G6r Incipit. Jacobs (1971), pp. 105-6

D-328 “Esta PAVANA que se sigue la sonada della se hizo en Ytalia y canta con ella una letra que dizen QUE LA BELLA FRANCESCHINA la compostura que va sobrella es mfa y es del otavo tono”

Vv 1 dif. Milan (1536), f. G6r—G6v Incipit. Jacobs (1971), p. 107

D-329 “Esta PAVANA es a proporcién de tres semibreves [al] compas y va por los t[ér]mi[n]os de la pavana passada y todos los breves que hallaréys solos valgan agora un comp4s”

Vv 1 dif. Mildn (1536), f. G6v Incipit. Jacobs (1971), p. 108

D-330 “PAVANA”

Vv 1 dif. Mudarra (1546) Bk. 1, f. 18r—-19v Incipit. Pujol, MME 7 (1949), pp. 22-23

D-331 “PAVANA de Alexandre”

Vv 2 dif. Mudarra (1546) Bk. I, f. 18r—19v Incipit. Pujol, MME 7 (1949), p. 23

D-332 “Quatro diferncias sobre la PAVANA por grados”

Vv 4 dif. Valderrabano (1547), f. 94v—95v Incipit. Pujol. MME 23 (1965), pp. 65-68

D-333 “Tres diferencias sobre la dicha PAVANA por otro tono”

Vv 3. dif. Valderrabano (1547), f. 95v—96v Incipit. Pujol, MME 23 (1965), pp. 69-71

D-334 “Sobre la PAVANA REAL. Segundo grado”

Vv 1 dif. Valderrdbano (1547), f. 103r Incipit. Pujol, MME 23 (1965), p. 92

36 INTRODUCTION D-335 “PAVANA muy Ilana para tafier” ) Vv 1 dif. Pisador (1552), f. 4r Incipit

D-336 “PAVANA [Guitarra al temple nuevo]”

4-course guitar 1 dif. Mudarra (1546) Bk, I, f. 23v

Incipit. Pujol, MME 7 (1949), p. 29 ,

D-337 “PAVANA [romanesca]”

gr 1 dif. Bricefio (1626), f. 12v

D-338 “PAVANA” , or 1 dif. Sanz (1674), f. 18r D-339 “PABANA”

gt 1 dif. Ruiz de Ribayaz (1677), p. 66 D-340 “PABANA”

gt 1 dif. E Mn M.811, pp. 96-97

D-341 “PAVANA”

gp 1 dif. Sanz (1674), f. 20r

D-342 “PAVANAS por la D, con partidas al aire espafiol, . . .”

| gp 3. dif. Sanz (1674), f. 471 D-343 “PABANAS”

gp 3 dif. Ruiz de Ribayaz (1677), pp. 85-87 D-344 “[Doze diferencias de] PAVANAS”

gp 12 dif. Guerau (1694), f. 45r—49r

D-345 “PAVANAS sobre la E ques 5” | gp 6 dif. E Mn M.2209, f. 10r—11v ) D-346 “PAVANA”

, gp 1 dif. E Mn. M.811, p. 104

D-347 “La PABANA DES SESONS”

gp 1 dif. Murcia (1714), p. 65 Jean-Baptiste Lully, “Pavane” LWV 70/1; published in Collasse, Ballet des saisons (1700) Act III; modern edition reduced for piano and voice by Soumis, Chefs-d’oeuvre classiques de l'opéra francais vol. 8, pp. 160-61

. D-348 “PABANAS” , h 3 dif. Ruiz de Ribayaz (1677), pp. 115-17

D-349 “PAVANA con su glosa. Antonio [de Cabezén]”

k 2 dif. Venegas de Henestrosa (1557), f. 671r-67v Incipit. Anglés, MME 2 (1944), pp. 191-92; and Jacobs vol. 1 (1967), pp. 80-81

D-350 “Discante sobre la PAVANA ITALIANA” | , , k 6 dif. Cabez6n (1578), f. 186v-187v Incipit. Anglés, MME 29 (1966), pp. 53-56; and Jacobs vol. 1 (1967), pp. 40-43

D-351 “Diferencias sobre la PAVANA ITALIANA”

k 5 dif. Cabez6n (1578), f. 190v-192r | Incipit. Anglés, MME 29 (1966), pp. 63—66; and Jacobs vol. 1 (1967), pp. 50-54

THE REPERTOIRE 37 k 6 dif. E Mn. M.1358, f. 72v-73v ,

D-352 “PAVANA”

D-353 “PAVANA” , k 6 dif. E Mn M.1359, pp. 587-91

D-354 “PAVANAS”

k 3 dif. E Mn M.815, f. 641r-64v

D-355 “PAVANA”

m 3 dif. E Bc M.1452, f. 2421r-242v D-356 “La PABANA”

m 2 dif. E Bc M.741/22, f. 19r

D-357 “[Diferencias sobre la PAVANILLA]”

Vv 6 dif. E Mn Mss 6001, f. 270r—272r and 282r D-358 “PIE JIBADO Y ALEMANA”

gp 1 dif. E Mn. M811, pp. 125-26

D-359 “AL PRADO DE S[A]N GERONIMO”

k 2 dif. E Mn M.1359, pp. 605-6

D-360 “PRADO DE S[AN] GERONIMO”

k 1 dif. E Mn M.1360, f. 221r

D-361 “Danga llamada el RASTREADO”

pr 4 dif. Bricefio (1626), f. 13v

D-362 “Bailete de la REINA DE POLONIA” and “Giga [del bailete]”

gp 2 dif. E Mn M.811, pp. 10-14

D-363 “RUEDE LA BOLA, se sube 1’ con 6y 1 con 1’

h 2 dif. Fernandez de Huete (1702), pl. 6-7

D-364 “RUEDELA BOLA”

k 2 dif. E Mn M.1360, f. 221r—-221v

, D-365 “RUGERO”

pr 1 dif. Sanz (1674), f. 18r

D-366 “RUGERO”

er 1 dif. Ruiz de Ribayaz (1677), p. 67 D-367 “RUJERO”

gt 1 dif. Sanz (1674), f. 41r

D-368 “RUGERO”

gp 1 dif. Ruiz de Ribayaz (1677), pp. 78-79 D-369 “RUGERO”

h 3 dif. Ruiz de Ribayaz (1677), 126-28

D-370 “RUGIER glosado de Antonio [de Cabezén]”

k 1 dif. Venegas de Henestrosa (1557), f. 67r Incipit. Anglés, MME 2 (1944), p. 190

D-371 “RUGERO”

violin 1 dif. E Mn M.2618’, f. lv

38 INTRODUCTION D-372 “SALTARELLO”

Vv 13 dif. A Wa, Ms addition to Valderrabano, f. 107r-107v D-373 “LaSALTARELE”

gp 1 dif. Murcia (1714), p. 6814

D-374 “SALTAREN”

gr 1 dif. Sanz (1674), f. 194

D-375 “LaSAMBOMBA”

k 1 dif. E Mn M815, f. Llv—12v

JUAN DE LIMA con sus diferencias” . | h 8 dif.D-376 E Mn“SAN M.816, f. 6r—7v D-377 “Danca o entrada de SARAO ESPANOL” ,

gr 1 dif. Bricefio (1626), f. 13v

gp 1 dif. E Mn M811, p. 129 ,

D-378 “SARAO de la comedia del [Buen] Retiro”

D-379 “SARDANA” | m 4 dif. E Be M.1452, f. 2381r—238v

D-380 “SARDANA”

, m 1 dif. E Be M.741/22, f.14v D-381 “SERDANA”

m 1 dif. E Bc M.741/22, f. 16r

D-382 “SERDANA pf[er] O”

m 1 dif. E Bc M.741/22, f. 21v

D-383 “La SERDANA”

m 1 dif. E Bc M.741/22, f. 24r

D-384 “SARDANA”

m 1 dif. E Be M.741/22, f. 34r

D-385 “SARDANA”

m 1 dif. E Bc M.741/22, f. 60r

D-386 “SEGUEDILLAS muy faciles” : per 2 dif. Bricefio (1626), f. 15r

: D-387 “SEGUILLAS nuevas y mui fAciles”

gr 1 dif. Bricefio (1626), f. 16r -

D-388 “SEGUIDILLAS nuevas y mui faciles”

or 1 dif. Bricefio (1626), f. 22r

D-389 “SEGUIDILLAS ff4ciles, y nuevas. Los nim[ero]s del punteado tamb[ié]n sirven para exec[uta]r los golpes de rasgueado”

gt and gp (plus melody in staff notation) dif. | Minguet y Yrol (ca. 1754) B, pl. 5

Russell (1982), p. 47, suggests that this piece is probably an arrangement of a dance melody published in Paris in 1704 by Feuillet under the title “La saltarelle.”

THE REPERTOIRE 39 D-390 “SIGUIDILLAS”

h 1 dif. E Mn. M.816, f. 18r-18v and 17r D-391 “Otras SIGUIDILLAS”

h 1 dif. E Mn M816, f. 18v

D-392 “[Otras SIGUIDILLAS]”

h 1 dif. E Mn M.816, f. 19r

D-393 “Las SEGUIDILLAS”

h 1 dif. US We Mk.290, f. 29v

D-394 “CHINFONIA”

k 9 dif. E Mn M.1360, f. 229v—230v

D-395 “SOMBRAS”

gr 1 dif. E Mn M.811, p. 102

gp 1 dif. E Mn M.811, pp. 111-12

D-396 “SOMBRAS”

D-397 “Las SOMBRAS”

gp 9 dif. Murcia (1714), pp. 105-7

D-398 “Las SOMBRAS” h 1 dif. Fernandez de Huete (1702), pl.6 D-399 “TAMBORILERO”

k 2 dif. E Mn M1358, f. 69v—70r

D-400 “La TARANTELA”

gr 1 dif. Sanz (1674), f. 19r

D-401 “TARANTELA”

gp 3 dif. E Mn M811, pp. 126-27

D-402 “TARANTELAS”

gp 12 dif. Murcia (1714), pp. 111-12 D-403 “TARANTELA”

h 2 dif. Ruiz de Ribayaz (1677), p. 138

D-404 “La TARANTELA”

h 8 dif. Fernandez de Huete (1702), pl. 21-22

D-405 “TARANTELA”

m 5 dif. E Bc M.1452, f. 243r

D-406 “TORNEO”

gp 1 dif. Sanz (1674), f. 20r

D-407 “TORNEO, td4fese hasta la batalla cinco vezes”

gp 1 dif. Ruiz de Ribayaz (1677), pp. 89-91 D-408 “TORNEO sobre la C que es +”

gp 1 dif. E Mn M.2209, f.36r—37v

D-409 “El TORNEO por la C” | gp 1 dif. E Mn M.811, pp. 79-83

40 INTRODUCTION : D-410 “TORNEO”

h 1 dif. Ruiz de Ribayaz (1677), pp. 135-38

D-411 “TURDION”

gp 2 dif. Ruiz de Ribayaz (1677), pp. 91-92 D-412 “TURDEON”

h 3 dif. Ruiz de Ribayaz (1677), pp. 131-33

D-413 “Licién de dos maneras sobre el VILLANO [#1]”

gr 1 dif. Bricefio (1626), f. 6v

D-414 “Licién de dos maneras sobre el VILLANO [#2]”

gr 1 dif. Bricefio (1626), f. 6v

D-415 “VILLANO”

gr 1 dif. Sanz (1674), f. 18r

D-416 “Otro [VILLANO]”

gr 1 dif. Sanz (1674), f. 18r

D-417 “VILLANO”

gr 1 dif. Ruiz de Ribayaz (1677), p. 67 D-418 “VILLANO”

gr 1 dif. E Mn M.811, p. 96

D-419 “VILLANO”

gp 1 dif. Sanz (1674), f. 20r

D-420 “VILLANOS” | gp 6 dif. Sanz (1674), f. 43r D-421 “[Treze diferencias de] VILLANO”

gp 13. dif. Guerau (1694), f. 55r—56r ,

D-422 “BILLANO sobre la C ques +” | gp 12 dif. © EMnM.2209, f. 8r—8v ,

D-423 “VILLANO”

gp 2 dif. E Mn M811, p. 103’

D-424 “VILLANOS”

ho 3 dif. Ruiz de Ribayaz (1677), p. 131 D-425 “VILLANOS”

h 4 dif. Fernandez de Huete (1702), pl. 9 D-426 “VILLANOS agaitados”

, h 4 dif. Fernéndez de Huete (1702), pl. 10 D-427 “El VILLANO”

k 11 dif. E Mn M.1360, f. 203r—-204r D-428 “VILLANO”

m 4 dif. E Bc M.1452, f. 240v

D-429 “Lo VILLANO pfer] A”

m 2 dif. E Bc M.741/22, f. 20v

THE REPERTOIRE 41 D-430 “VYLLANO”

m 2 dif. E Bc M.741/22, f. 61r

D-431 “{VILLANO] CAVALLERO” ] gr 1 dif. E Mn M.811, p. 96

D-432 “VILLANO CAVALLERO”

gp 1 dif. E Mn M811, p. 103”

D-433 “EL VILLANO CAVALLERO”

h 1 dif. Fernandez de Huete (1702), pl. 9-10 D-434 “ZANGARILLEJA”

gp 1 dif. E Mn M.811, p. 152

D-435 “Differencias de la CARABANDA”

Vv 44 dif. A Wn, Ms addition to Valderrabano, f. 105r-105v D-436 “Una CARAVANDA chaconada”

pr 2 dif. Bricefio (1626), f. 14r

D-437 “LaCARAVANDA ESPANOLA muy facil [#1]”

gr 1 dif. Bricefio (1626), f. 7v

D-438 “LaCARAVANDA ESPANOLA muy facil [#2]”

gr 1 dif. Bricefio (1626), f. 7v

D-439 “CARAVANDA Ilamada del oratorio”

gr 2 dif. Bricefio (1626), f. 13r

D-440 “ZARABANDA”

or 1 dif. Ruiz de Ribayaz (1677), p. 67 D-441 “ZARABANDA”

gp 3 dif. Sanz (1674), f. 411 “Zarabandas,” Ruiz de Ribayaz (1677), pp. 81-82

D-442 “ZARABANDAS”

h 4 dif. Ruiz de Ribayaz (1677), pp. 125-26 D-443 “ZARAVANDA”

h 2 dif. Fernandez de Huete (1702), pl. 3 D-444 “ZARABANDE”

k 4 dif. E Mn M.1360, f. 202r-202v

D-445 “{ZARABANDA] quarta”

k 4 dif. E Mn M.1360, f. 207r D-446 “[ZARABANDA] quinta” 7

k 3 dif. E Mn M.1360, f..2071r-207v

D-447 “CARAVANDA FRANCESA y buena”

gt 2 dif. Bricefio (1626), f. 14r

D-448 “ZARABANDA FRANCESA”

gr 1 dif. Sanz (1674), f. 19r Incipit

42 INTRODUCTION D-449 “OtraZARABANDA FRANCESA”

gr 1 dif. Sanz (1674), f. 19r Incipit

D-450 “ZARABANDA FRANCESA”

gp 1 dif. Sanz (1674), f. 25r Incipit

D-451 “ZARABANDA FRANCESA”

gp 1 dif. Sanz (1674), f. 27r Incipit “Zarabanda,” E Mn M.811, p. 46 Carré (1671) “Sarabande,” p. 14°

D-452 “ZARABANDA FRANCESA” , gp 1 dif. Sanz (1674), f. 36r Incipit

D-453 “ZARABANDA FRANZESA [desta alemanda] por la C”

gp 1 dif. E Mn M.811, pp. 35-36 Incipit

D-454 “ZARABANDA FRANZESA” | gp 1 dif. E Mn M.811, pp. 74-75 Incipit

D-455 “ZARABANDA despacio”

Incipit |

gp 1 dif. Murcia (1714), p. 62 Incipit

D-456 “ZARABANDA despacio”

; gp 1 dif. Murcia (1714), p. 120 D-457 “ZARABANDA despacio”

gp 1 dif. Murcia (1714), p. 122 Incipit

D-458 “ZARABANDA despacio”

gp 2 dif. Murcia (1714), pp. 125-26 Incipit

D-459 “SARA[BAN]DA por la O”

gp 2 dif. E Bc M.691/2(4), f. lv Incipit

D-460 “SARA[BAN]DA por la E”

gp 1 dif. E Bc M.691/2(4), f. 2r Incipit

D-461 “SARA[BAN]DA por la D”

gp 1 dif. E Bc M.691/2(4), f. 2v , Incipit

‘According to Russell and Topp Russell (1982), p. 15; and Russell (1987), pp. 392 and 397.

THE REPERTOIRE 43 D-462 “ZARABANDA despacio”

gp 1 dif. GB Lbm Ms Add. 31640, f. 52v—53r Incipit. Pennington (1981) 2:93-94 Campion (1705) “Sarabande la Geffosse,” p. 67'°

D-463 “ZARABANDA despacio” | gp 1 dif. GB Lbm Ms Add. 31640, f. 70v—7 Lr Incipit. Pennington (1981) 2:133-34

D-464 “ZARABANDA”

gp 1 dif. GB Lbm Ms Add. 31640, f. 80r Incipit. Pennington (1981) 2:156-57

D-465 “ZARABANDA despacio”

gp 1 dif. GB Lbm Ms Add. 31640, f. 84v—85r Incipit. Pennington (1981) 2:167—68 |

Campion (1705) “Sarabande,” p. 26"

D-466 “ZARABANDA despa[ci]o”

gp 1 dif. GB Lbm Ms Add. 31640, f. 92r

Incipit. Pennington (1981) 2:183

D-467 “ZARABANDA despacio”

gp 1 dif. GB Lbm Ms Add. 31640, f. 100r—100v

Incipit. Pennington (1981) 2:202-3 _ }

Francesco Corbetta, “Sarabanda,” in his Varii scherzi di sonate por la chitara spagnola . . . Libro quarto (Brussels, 1648), 50-51; facsimile edition, Archivum musicum 51 (Florence, 1983); modern edition by Pinnell (1976) 2:183

D-468 “ZARABANDA despacio”

gp 1 dif. GB Lbm Ms Add. 31640, f. LO6v—107v Incipit. Pennington (1981), pp. 217-18

D-469 “ZARABANDA despa[ci]o”

gp 1 dif. GB Lbm Ms Add. 31640, f. 112r-112v Incipit. Pennington (1981) 2:229-31 Campion (1705) “Sarabande,” p. 38'®

D-470 “ZARABANDA despacio”

gp 1 dif. GB Lbm Ms Add. 31640, f. 1171r-117v Incipit. Pennington (1981) 2:241-42

D-471 “ZARABANDA mui grave”

gp 1 dif. GB Lbm Ms Add. 31640, f. 123r Incipit. Pennington (1981) 2:254—55 Corbetta (1671) “Sarab[an]de,” p. 8; modern edition by Pinnell (1976) 2:218

D-472. “ZARABANDA despacio”

gp 1 dif. GB Lbm Ms Add. 31640, f. 127r-127v Incipit. Pennington (1981) 2:264-66 |

D-473 “ZARABANDA FRANCESA. Despacio”

k 1 dif. E Mn M.1357, p. 88 Incipit

'? According to Russell (1982), p. 49. ,

| 16 According to Russel] (1982), p. 50.

18 ccording to Russell (1982), p. 49.

44 INTRODUCTION D-474 “ZARABANDA”

k 1 dif. E Mn M.1359, pp. 547-48 Incipit

D-475 “ZARABANDA”

k 1 dif. E Mn M.1359, pp. 554-56 Incipit

D-476 “ZARABANDA”

k 1 dif. E Mn M.1360, f. 199v—200r Incipit

D-477 “ZARABANDAS 1*”

k 1 dif. — E Mn M.1360, f. 205v—206r Incipit “Selebrand Beare [i.e., Sarabande, La Barre],” in Elizabeth Rogers Hir Virginall Booke ... 1656, GB Lbm Ms Add. 10337, p. 18; modern edition by Sargent, Corpus of Early Keyboard Music

Incipit , 19 (1971), p. 11 |

D-478 “[ZARABANDA] segunda”

Incipit ,

k 1 dif. E Mn M.1360, f. 206r

D-479 “(ZARABANDA] terzera”

k 2 dif. E Mn M.1360, f. 206r—207r

D-480 “[ZARABANDA] sexta” |

k 2 dif. E Mn M.1360, f. 207v

Incipit First dif. as “Sarabande de m[onsieu]r Monnard,” in F Pn Réserve Vm’ 674-75 (“Bauyn” manuscript) vol. 3, f. 42v

D-481 “[ZARABANDA] séptima”

k 2 dif. E Mn M.1360, f. 208r—208v Incipit

D-482 “SARABANDA ITALIANAZ ou estrangeiras p[ar]a orgdo ou arpa”

Incipit. Kastner (1972), p. 5 .

k (or h) 1 dif. PB Ms 964, f. 217r

D-483 “SARABANDAS la silvie”

m 1 dif. E Be M.1452, f. 122v—123r Incipit

D-484 “SARABANDE [de 7° tono]”

unspecified 1 dif. Canciones francesas (ca. 1701), p. 55 Incipit Jean-Baptiste Lully, “Sarabande” LWV 31/23; published in André Danican Philidor (l’atné), Suite de danses pour les violons et haut-bois, qui se jouent ordinairement aux bals chez le roy (Paris, 1699), p. 11'9

D-485 “ZARAMBEQUE” gr 1 dif. E Mn M.811, p. 99

'9 According to Masson (1938), p. 181. | , |

THE REPERTOIRE 45 D-486 “ZARAMBEQUE”

gp 2 dif. Ruiz de Ribayaz (1677), p. 72 D-487 “ZARAMBEQUE”

gp 6 dif. E Mn M.811, p. 108

D-488 “ZARAMBEQUES”

h 4 dif. Ruiz de Ribayaz (1677), p. 109 :

D-489 “ZARAMBEQUE”

h 2 dif. Fernandez de Huete (1702), pl. 5

D-490 “ZARAMBEQUE”

h 2 dif. Ferndndez de Huete (1702), pl. 7

D-491 “ZARAMBEQUE criollo”

h 3 dif. Ferndndez de Huete (1702), pl. 4

D-492. “CARAMBEQUE”

violin 3 dif. E Mn M.2618’, f. 2v

D-493 “{No title given]”

h 3 dif. E Mn M.816, f. 26v—27r

D-494 “(No title given]”

D-495 “[No title given]” | h 5 dif. E Bc M.741/22, f. 621-62v

violin 2 dif. E Mn M.2618’, f. 2v

46 INTRODUCTION Chart 41. Inventory of Spanish pasacalles

P-1 “PASSEO” gr 1 dif. (transposed to all 12 pitch-levels) Amat (ca. 1596), pp. 24-26 Concordance: “Passacalles,” Minguet y Yrol (ca. 1754) B, p. 10

P-2 “Primero PASACALLE”

or 1 dif. Bricefio (1626), f. 14v

P-3 “Segundo PASACALLE”

gr 1 dif. Bricefio (1626), f. 14v

P-4per“Tercero PASACALLE” | 1 dif. Bricefio (1626), f. 14v P-5 or“Quarto PASACALLE” , 1 dif. Bricefio (1626), f. 14v P-6 “Quinto PASACALLE”

er 1 dif. Bricefio (1626), f. 14v , P-7 “Sesto PASACALLE” gr 1 dif. Bricefio (1626), f. 14v P-8 “Séptimo PASACALLE”

pr 1 dif. Bricefio (1626), f. 14v

P-9pr 1“Octavo PASACALLE” , dif. Bricefio (1626), f. 14v P-10 “Noveno PASACALLE”

gr 1 dif. Bricefio (1626), f. 14v ,

P-ll “Décimo PASACALLE”

pr 1 dif. Bricefio (1626), f. 14v

P-12. “Honceno PASACALLE”

pr 1 dif. Bricefio (1626), f. 14v

P-13 “Docemo PASACALLE”

gr 1 dif. Bricefio (1626), f. 14v

P-14 “PASACALLE o fantasfa”

gr 1 dif. Bricefio (1626), f. 14r

P-15 “PASACALLE”

or 1 dif. Doizi de Velasco (1640), p. 65 P-16 “Demostracién desta obra en dos PASSACALLES [#1]”

pr 3 dif. Sanz (1674), f. 16r

P-17 “Demostracién desta obra en dos PASSACALLES [#2]”

gr 3 dif. Sanz (1674), f. 16r

P-18 “PASSACALLES [#1]”

gr 1 dif. Sanz (1674), f. 18r

P-19 “PASSACALLES [#2]”

gr 3 dif. Sanz (1674), f. 18r

THE REPERTOIRE 47 P-20 “Otros PASSACALLES [#3]”

gr 3 dif. Sanz (1674), f. 18r

P-21 “Otros PASSACALLES [#4]”

gt 3. dif. Sanz (1674), f. 18r

P-22 “PASSACALLE para tafier de rasgado por el cruzado” :

gr 1 dif. Ruiz de Ribayaz (1677), p. 9

P-23 “Otro [PASSACALLE por el cruzado]”

gr 1 dif. Ruiz de Ribayaz (1677), p. 9

P-24 “[PASSACALLE] por el uno”

gt 1 dif. Ruiz de Ribayaz (1677), p. 14

P-25 “[PASSACALLE] por el dos”

gt 1 dif. Ruiz de Ribayaz (1677), p. 14

P-26 “[PASSACALLE] por el tres”

pr 1 dif. Ruiz de Ribayaz (1677), p. 14

P-27 “(PASSACALLE] por el quatro”

gr 1 dif. Ruiz de Ribayaz (1677), p. 14

P-28 “[PASSACALLE] por el cinco”

gr 1 dif. Ruiz de Ribayaz (1677), p. 14

P-29 “[{[PASSACALLE] por el seis”

gr 1 dif. Ruiz de Ribayaz (1677), p. 14

P-30 “{[PASSACALLE] por el siete”

gr 1 dif. Ruiz de Ribayaz (1677), p. 14

P-31 “{PASSACALLE] por el ocho”

gr 1 dif. Ruiz de Ribayaz (1677), p. 14

P-32 “{[PASSACALLE] por el nueve”

gr 1 dif. Ruiz de Ribayaz (1677), p. 14

} P-33. “{PASSACALLE] por el diez” gr 1 dif. Ruiz de Ribayaz (1677), p. 14 P-34 “{PASSACALLE] por patilla”

, gr 1 dif. Ruiz de Ribayaz (1677), p. 14 P-35 “{PASSACALLE] por el uno bemolado”

gr 1 dif. Ruiz de Ribayaz (1677), p. 14

P-36 “PASSACALLES” gr (plus melody in staff notation) 4dif. Minguet y Yrol (ca. 1754) B, pl. 1 P-37. “PASSACALLES con los puntos castellanos, y italianos, y con la 1? 2? 3? y 4 diferencia”

pr 4 dif. Minguet y Yrol (ca. 1754) B, pl. 3 P-38 “PASSACALLE sobre la D con muchas diferencias para soltar una y otra mano. A los 8 de nobiembre 1674”

gp 13. dif. Sanz (1674), f. 21r Concordance: dif. 1-3 and 5—10 as “Passacalles,” Ruiz de Ribayaz (1677), pp. 101-2

P-39 “PASACALLES por la E”

gp 18 dif. Sanz (1674), f. 37r

48 INTRODUCTION P-40 “PASSACALLES por la +, con varios pasajes campanelas, y con cromfticos las 8 ultimas diferencias”

gp 22 dif. Sanz (1674), f. 38r P-41 “PASSACALLES por la O”

gp 26 dif. Sanz (1674), f. 48r

P-42. “PASSACALLES por la C, por crugado, y por quinto tono punto alto”

gp 42 dif. Sanz (ca. 1675), f. 49r—-50r P-43 “PASSACALLES por la I, por patilla, y por octavo tono punto alto”

gp 12 dif. (plus a passo) Sanz (ca. 1675), f. 51r P-44 “PASSACALLES por la E, ... por el cinco, ...y por primero... tono”

gp 10 dif. Sanz (ca. 1675), f. 52r

, P-45 “PASSACALLES por la...D, por el... seis, y por... quarto tono” |

gp 14 dif. Sanz (ca. 1675), f. 52r

P-46 “PASSACALLES por la + ..., por el siete... , por tercer tono”

, 39-42

gp 10 dif. (plus a passo) Sanz (ca. 1675), f. 53r

Concordance: dif. 2-8, 10, and 9, and the passo as “Passac[alle]s de 3° tono,” E Mn M.811, pp.

P-47 “PASSACALLES por la... K, por el... ocho, por... 4° tono punto alto”

gp 12 dif. Sanz (ca. 1675), f. 53r

P-48 = “PASSACALLES por la H, por el quatro, y por quinto tono punto bajo”

gp 20 dif. (plus a fuga) Sanz (ca. 1675), f. 54r

55 ,

P-49 “PASSACALLES por laG..., porel tres... y por el sexto... tono”

gp 13. dif. Sanz (ca. 1675), f. 55r

P-50 “PASSACALLES por la... B, porel ...dos, y por el... quinto tono”

gp 14 dif. Sanz (ca. 1675), f. 55r

P-51 | “PASSACALLES por la O, por el uno bemolado, y por segundo tono”

19 19 dif. (plus a passaje) Sanz (ca. 1675), f. 56r

P-52 “PASSACALLES por la L, por el dos bemolado, y por primer tono punto bajo”

gp 21 dif. (plus a passaje) Sanz (ca. 1675), f. 57r

Concordance: dif. 1-19 as “Passac[alle]s de la L. 1° tono punto baxo,” E Mn M.811, pp. 51-

P-53. “PASSACALLES por la K, por el ocho y por quarto tono punto alto”

gp 20 dif. (plus a passaje) Sanz (ca. 1675), f. 58r

P-54 “PASSACALLE [por el cruzado] por proporcién menor para tafier de punteado”

gp 1 dif. Ruiz de Ribayaz (1677), p. 9

P-55. “PASSACALLE [por el cruzado] por compassillo”

gp 1 dif. Ruiz de Ribayaz (1677), p. 10

P-56 “PASSACALLE porel uno...”

gp 1 dif. Ruiz de Ribayaz (1677), p. 17 P-57 “{PASSACALLE] por el dos”

gp 1 dif. Ruiz de Ribayaz (1677), p. 18

THE REPERTOIRE 49 P-58 “{[PASSACALLE] por el tres”

gp 1 dif. Ruiz de Ribayaz (1677), p. 18

P-59 “[PASSACALLE] por el quatro”

gp 1 dif. Ruiz de Ribayaz (1677), p. 18

P-60 “[PASSACALLE] por el cinco”

gp 1 dif. Ruiz de Ribayaz (1677), p. 18

P-61 “[PASSACALLE] por el seis”

gp 1 dif. Ruiz de Ribayaz (1677), p. 18

P-62 “[PASSACALLE] por el siete”

gp 1 dif. Ruiz de Ribayaz (1677), p. 19

P-63 “{PASSACALLE] por el ocho”

gp 1 dif. Ruiz de Ribayaz (1677), p. 19

P-64 “[PASSACALLE] por el nueve”

gp 1 dif. Ruiz de Ribayaz (1677), p. 19

P-65 “{[PASSACALLE] por el diez”

gp 1 dif. Ruiz de Ribayaz (1677), p. 19

P-66 “[PASSACALLE] por el patilla”

gp 1 dif. Ruiz de Ribayaz (1677), p. 19 ,

P-67 “[{[PASSACALLE] por el uno bemolado”

gp 1 dif. Ruiz de Ribayaz (1677), p. 20

P-68 “PASACALLES de 1° tono [de compassillo]”

gp 17 dif. Guerau (1694), f. lr—2r J. Stevenson (1974), pp. 60-64

P-69 “[PASACALLES de 1° tono de proporcién]”

gp 17 dif. Guerau (1694), f. 2r—3r J. Stevenson (1974), pp. 65-68

P-70 “PASACALLES de 2° tono [de compassillo]”

gp 16 dif. Guerau (1694), f. 3r—4r J. Stevenson (1974), pp. 69~—72

P-71 “[PASACALLES de 2° tono de proporcié6n]”

gp 16 dif. Guerau (1694), f. 5r—6r J. Stevenson (1974), pp. 73-76

P-72 “PASACALLES de 2llo [segundillo de compassillo]”

gp 13 dif. Guerau (1694), f. 6r—7r

J. Stevenson (1974), pp. 77-80

P-73 “{PASACALLES de segundillo de proporcién]”

gp 13. dif. Guerau (1694), f. 7r—8r J. Stevenson (1974), pp. 81-83

P-74. “PASACALLES de 3° tono [de compassillo]”

gp 20 dif. Guerau (1694), f. 8r—-10r J. Stevenson (1974), pp. 84-90

50 INTRODUCTION P-75. “{PASACALLES de 3° tono de proporcién]”

gp 16 dif. Guerau (1694), f. 10r—11r J. Stevenson (1974), pp. 91-94

P-76 “PASACALLES de 4° tono [de compassillo]” gp 14 dif. Guerau (1694), f. 11r-12r

J. Stevenson (1974), pp. 95-98

P-77 “{PASACALLES de 4° tono de proporcién]” gp 16 dif. Guerau (1694), f. 12r—13r ]. Stevenson (1974), pp. 99-101

P-78 “PASACALLES de 5° tono [de compassillo]”

gp 15 dif. Guerau (1694), f. 131-141

_ J. Stevenson (1974), pp. 102-6

P-79 “[PASACALLES de 5° tono de proporcién]”

gp 12 dif. Guerau (1694), f. L5r

J. Stevenson (1974), pp. 107-9

P-80 “PASACALLES de 6° t[on]o [de compassillo]”

gp 14 dif. Guerau (1694), f. 15r—16r J]. Stevenson (1974), pp. 110-13

P-81 “{[PASACALLES de 6° tono de proporcié6n]}” , gp 14 dif. Guerau (1694), f. 16r-17r J. Stevenson (1974), pp. 114-16

P-82 “PASACALLES de 7° tono [de compassillo]”

gp 19 dif. Guerau (1694), f. 17r-19r J. Stevenson (1974), pp. 117-22

P-83 “{PASACALLES de 7° tono de proporcién]”

gp 18 dif. Guerau (1694), f. 19r-20r J. Stevenson (1974), pp. 123-27

P-84 “PASACALLES de 8° tono [de compassillo]” |

gp 14 dif. Guerau (1694), f. 20r—21r J. Stevenson (1974), pp. 128-31

P-85 “{[PASACALLES de 8° tono de proporcién]”

gp 15 dif. Guerau (1694), f. 211—22r ]. Stevenson (1974), pp. 132-35

P-86 “PASACALLES de 8° [tono] alto [de compassillo]”

gp 14 dif. Guerau (1694), f. 22r—23r

J. Stevenson (1974), pp. 136-39 ©

P-87 “[PASACALLES de 8° tono alto de proporcién]”

gp 14 dif. Guerau (1694), f. 24r

J. Stevenson (1974), pp. 140-43 P-88 . “PASACALLES de patilla 8° [tono] punto alto [de compassillo]”

gp 14 dif. Guerau (1694), f. 251—26r

]. Stevenson (1974), pp. 144-48

P-89 “[PASACALLES de patilla 8° tono punto alto de proporcién]”

gp 14 dif. Guerau (1694), f. 26r-27r J. Stevenson (1974), pp. 149-51

THE REPERTOIRE 51 P-90 “PASACALLES 1° tono punto bajo [de compassillo}”

gp 12 dif. Guerau (1694), f. 27r—28r J. Stevenson (1974), pp. 152-55

P-91 “[PASACALLES 1° tono punto bajo de proporcién]”

gp 13. dif. Guerau (1694), f. 28r-29r J. Stevenson (1974), pp. 156-58

P-92. “PASACALLES de 8° [tono] alto punto alto [de compassillo]”

gp 13 dif. Guerau (1694), f. 29r—-30r J. Stevenson (1974), pp. 159-62

P-93 “[PASACALLES de 8° tono alto punto alto de proporcién]”

gp 13 dif. Guerau (1694), f. 30r—31r J. Stevenson (1974), pp. 163-65

P-94 “PASACALLES de 7° tono punto alto [de compassillo]”

: gp 14 dif. Guerau (1694), f. 31r-32r J. Stevenson (1974), pp. 166-71

- P-95 “[PASACALLES de 7° tono punto alto de proporcién]”

gp 13. dif. Guerau (1694), f. 32r—33r J. Stevenson (1974), pp. 172-75

P-96 “PASACALLES de 2° tono punto bajo [de compassillo]”

gp 12 dif. Guerau (1694), f. 33r-34r ]. Stevenson (1974), pp. 176-79

P-97. = “[PASACALLES de 2° tono punto bajo de proporcién]”

gp 12. dif. Guerau (1694), f. 34r—-35r J. Stevenson (1974), pp. 180-82

P-98 “PASACALLES sobre la A ques 1”

gp 8 dif. E Mn M.2209, f. 18r—18v

P-99 “PASACALLES sobre la B que es 2”

gp 10 dif. E Mn M.2209, f. 191r—-19v

, P-100 “PASACALLES: sobre la C que es +”

gp 10 dif. E Mn M.2209, f. 20r—20v ,

P-101 “PASACALLES: sobre la D que es 6”

gp 11 dif. E Mn M.2209, f. 211-21 v

P-102 “PASACALLES: sobre la E que es 5”

gp 11 dif. E Mn M.2209, f. 22r—22v P-103 “PASACALLES: sobre la F que es 7”

gp 10 dif. E Mn M.2209, f. 23r—-23v

P-104 “PASACALLES: sobre la G que es 3”

gp 11 dif. E Mn M.2209, f. 24r-24v

P-105 “PASACALLES: sobre la H que es 4”

gp 11 dif. E Mn M.2209, f. 251-25v

P-106 “PASACALLES: sobre la Y que es P”

gp 9 dif. E Mn M.2209, f. 26r—26v

52 INTRODUCTION P-107 “PASACALLES: sobre la K que es 10”

gp 9 dif. E Mn M.2209, f. 27r—27v

P-108 “PASACALLES: sobre la O que es uno be molado”

gp 7 dif. E Mn M.2209, f. 28r—28v ,

P-109 “PASACALLES: por el destenple, por el mismo tono [sobre la H que es 4]”

gp 8 dif. E Mn M.2209, f. 351r—35v P-110 “PASS[ACALLE]S de 5° tono, compassillo”

gp 14 dif. E Mn M.811, pp. 6-10

P-111 “PASSA[CALLE]S por la ca [K]” | gp 19 dif. E MnM.811, pp. 15-20 P-112 “PASSAC[ALLE]S por la C” gp 30 dif. E MnM.811, pp. 27—33 P-113 “PASSAC[ALLE]S de 2° to[n]o”

gp 11 dif. E Mn M.811, pp. 48-51

P-114 “PASSAC[ALLE]S por el seis”

gp 9 dif. E Mn M.811, pp. 72-74

P-115 “PASSACA[LLE]S por la E 1° tono”

gp 21 dif. E Mn M.811, pp. 84-90

P-116 “{[PASSACALLES de] proporcién por la A”

gp 3 dif. E MnM.811, p. 132

P-117 “[PASSACALLES de] proporcién por la B” , gp 4 dif. E Mn M811, p. 133

P-118 “PASSAC[ALLE]S por el + a compassillo, 3° tono”

gp 14 dif. GB Lbm Ms Add. 31640, f. 4r—5v Pennington (1981) 2:1-4

P-119 “[PASSACALLES por el +] a proporcién [3° tono]”

gp 14 dif. GB Lbm Ms Add. 31640, f. 6r—7r

Pennington (1981) 2:4—7 |

P-120 “PASSCALLES por la A [a compassillo, 8° tono natural]”

gp 11 dif. GB Lbm Ms Add. 31640, f. 7v—9r Pennington (1981) 2:7-9

P-121 “{[PASSACALLES por la A] a propforci]6n [8° tono natural]”

gp 12 dif. GB Lbm Ms Add. 31640, f. 9r-10v Pennington (1981) 2:10-12

P-122 “[PASSACALLES] por la B 5° tono a compassillo”

gp 12 dif. GB Lbm Ms Add. 31640, f. 1Ov—12r Pennington (1981) 2:12-15

P-123 “[PASSACALLES por la B] a propforci]6n [5° tono]”

gp 12 dif. GB Lbm Ms Add. 31640, f. 12r—13r Pennington (1981) 2:15-17 P-124 “PASSAC[ALLE]S por la C aclarinados [a] compassillo [8° tono por el final]”

gp 13 dif. GB Lbm Ms Add. 31640, f. 13v—L5v Pennington (1981) 2:18-22

THE REPERTOIRE 53 P-125 “[PASSACALLES por la C aclarinados] a prop[orci]6n [8° tono por el final]”

gp 12 dif. GB Lbm Ms Add. 31640, f. 15v—17v Pennington (1981) 2:22—25

P-126 “Otros PASSAC[ALLE]S por la C més faciles [a compassillo 8° tono por el final]”

gp 12 dif. GB Lbm Ms Add. 31640, f. 17v—19r Pennington (1981) 2:26—-28

P-127 “[PASSACALLES por la C més faciles] a prop[orci]6n [8° tono por el final]”

gp 11 dif. GB Lbm Ms Add. 31640, f. 19r—20r Pennington (1981) 2:28-30 P-128 “[PASSACALLES] por la D a compassillo [7° tono]”

gp 15 dif. GB Lbm Ms Add. 31640, f. 20r—22r Pennington (1981) 2:30-33

P-129 “[PASSACALLES por la D] a prop[orci]6n [7° tono]”

gp 10 dif. Gb Lbm Ms Add. 31640, f. 221r—23v Pennington (1981) 2:33-36

P-130 “[PASSACALLES] por la E de compassillo 1° tono” gp 13. dif. GB Lbm Ms Add. 31640, f. 23v—25v Pennington (1981) 2:36—40

P-131 “[PASSACALLES por la E] a prop[orci]6n [1° tono]” :

gp 13. dif. Gb Lbm Ms Add. 31640, f. 25v—26v : Pennington (1981) 2:40-42 P-132 “[PASSACALLES] por la F a compa{ssill]o [8° tono por el final punto alto]”

gp 12 dif. GB Lbm Ms Add. 31640, f. 27r—-28v Pennington (1981) 2:43-45

P-133 “[PASSACALLES por la F] a prop[orci]6n [8° tono por el final punto alto]”

gp 13 dif. GB Lbm Ms Add. 31640, f. 28v—30r |

Pennington (1981) 2:46-48 ,

P-134 “[PASSACALLES] por la G a compassillo [6° tono]” :

gp 13 dif. GB Lbm Ms Add. 31640, f. 30r—32r Pennington (1981) 2:49-52 P-135 “[PASSACALLES por la G] a propforci]6n [6° tono]”

gp 12 dif. GB Lbm Ms Add. 31640, f. 32r—-33r Pennington (1981) 2: 52-55 P-136 “PASSAC[ALLE]S p[o]r la H [a] compassillo [segundillo]”

Pennington (1981) 2:55-58 :

gp 12 dif. GB Lbm Ms Add. 31640, f. 331r-34v P-137. “[PASSACALLES por la H] a prop[orci]6n [segundillo]”

gp 12 dif. GB Lbm Ms Add. 31640, f. 35r—36r Pennington (1981) 2:58-61 P-138 “PASSAC[ALLE]S por la Y [a] compassillo [8° tono punto alto]”

gp 10 dif. GB Lbm Ms Add. 31640, f. 36v—37v Pennington (1981) 2:61-64 P-139 “[PASSACALLES por la Y] a prop[orci]6n [8° tono punto alto]”

gp 12 dif. GB Lbm Ms Add. 31640, f. 37v—38v Pennington (1981) 2:64—66

54 INTRODUCTION P-140 “[PASSACALLES] por la K en seg[un]do traste [de compassillo 7° tono punto alto]”

gp 8 dif. GB Lbm Ms Add. 31640, f. 38v—39v Pennington (1981) 2:66—-68

P-141 ~{PASSACALLES por la K en segundo traste] a prop[orci]6n [7° tono punto alto}”

gp 9 dif. GB Lbm Ms Add. 31640, f. 40r—40v Pennington (1981) 2:69-70

P-142 “Siguen [PASSACALLES] por la K en 3. traste a compassillo [punto bajo primero tono]” , gp 12 dif. GB Lbm Ms Add. 31640, f. 411—-42v

Pennington (1981) 2:71—73 |

P-143 “[PASSACALLES por la K en 3. traste] a prop[orci]6n [punto bajo primero tono]”

Pennington (1981) 2:74-76 ,

gp 10 dif. GB Lbm Ms Add. 31640, f. 42v—43v P-144 “[PASSACALLES] por 2° tono la O a compassillo”

gp 14 dif. GB Lbm Ms Add. 31640, f. 43v—45r Pennington (1981) 2:76-79

P-145 “[PASSACALLES por 2° tono la Oj a prop[orci]én”

ep 12 dif. GB Lbm Ms Add. 31640, f. 45v—46v Pennington (1981) 2:80-82

P-146 “PASSACALLE por el cruzado”

h 1 dif. Ruiz de Ribayaz (1677), p. 33

P-147 “[{[PASSACALLE] por el uno”

h 1 dif. Ruiz de Ribayaz (1677), p. 33 ,

, P-148 “PASSACALLE [por el dos]”

h 1 dif. Ruiz de Ribayaz (1677), p. 25

P-149 “[PASSACALLE] por el dos”

h 1 dif. Ruiz de Ribayaz (1677), p. 33

) P-150 “{PASSACALLE] por el tres”

h 1 dif. Ruiz de Ribayaz (1677), p. 34

P-151 “[PASSACALLE] por el quatro”

h 1 dif. Ruiz de Ribayaz (1677), p. 34

P-152 “PASSACALLE [por el cinco}” , h 2 dif. Ruiz de Ribayaz (1677), p. 26

P-153 “{PASSACALLE] por el seis” : h 1 dif. Ruiz de Ribayaz (1677), p. 34 P-154 “[PASSACALLE] por el siete”

h 1 dif. Ruiz de Ribayaz (1677), p. 34

P-155 “[{[PASSACALLE] por el ocho”

h 1 dif. Ruiz de Ribayaz (1677), p. 34

P-156 “{PASSACALLE] por el nueve”

h 1 dif. Ruiz de Ribayaz (1677), p. 35

P-157 “[PASSACALLE] por el diez”

h 1 dif. Ruiz de Ribayaz (1677), p. 35

THE REPERTOIRE 55 P-158 “{[PASSACALLE] por patilla”

h 1 dif. Ruiz de Ribayaz (1677), p. 35

P-159 “[PASSACALLE] por el uno bemolado”

h 1 dif. Ruiz de Ribayaz (1677), p. 35

P-160 “PASSACALLE se sube el 1’ con el 6”

h 1 dif. Ferndndez de Huete (1702), pl. 2 P-161 “Diferenzias de PASACALLES de compasillo se sube 1° con 6”

h 24 dif. Fernéndez de Huete (1702), pl. 27-32

P-162 “PASACALLES de proporzién por octabo tono”

h 20 dif. Fernandez de Huete (1702), pl. 32-34

P-163 “PASACALLES de primer tono [a compasillo]”

h 13 dif. Fern4ndez de Huete (1704), pl. 1-3

P-164 “PASACALLES de primer tono a proporcién”

h 6 dif. Fern4ndez de Huete (1704), pl. 3—4

P-165 “PASACALLES de primer tono punto bajo a compa[si]llo”

h 5 dif. Fernandez de Huete (1704), pl. 24-25

P-166 “PASACALLES de primer tono punto baxo a proporzién”

h 4 dif. Fernandez de Huete (1704), pl. 25-26

P-167 “PASACALLES de segundo tono [a compasillo]”

h 7. dif. Fernandez de Huete (1704), pl. 4—5

P-168 “PASACALLES de segundo tono [a proporzién]”

h 6 dif. Fernandez de Huete (1704), pl. 5-6

! P-169 “PASACALLES de 2° tono punto bajo a compasillo”

h 2 dif. Fernandez de Huete (1704), pl. 26

P-170 “{PASACALLES] a proporzién de 2° tono [punto bajo]”

h 2 dif. Fern4ndez de Huete (1704), pl. 26

P-171 “PASACALLES de segundillo a compasillo”

h 12 dif. Ferndndez de Huete (1704), pl. 6-8

P-172 “PASACALLES de segundillo [a proporzién]”

h 12 dif. Fern4ndez de Huete (1704), pl. 8-9

P-173 “PASACALLES de terzer tono a compasillo”

h 6 dif. Ferndndez de Huete (1704), pl. 10

P-174 “PASACALLES de tercero tono a prop[orzi]6n”

h 6 dif. Fernandez de Huete (1704), pl. 11

P-175 “PASACALLES de quarto tono a comp[asi] lo”

h 6 dif. Fern4ndez de Huete (1704), pl. 11-12 P-176 “PASACALLES de quarto tono a prop[orzi]6n” . h 6 dif. Ferndndez de Huete (1704), pl. 12-13 P-177. “PASACALLES de quinto tono [a compasillo]”

h 7 dif. Ferndndez de Huete (1704), pl. 13-15

56 INTRODUCTION P-178 “PASACALLES de quinto tono a prop[orzi]é6n”

h 8 dif. Fernandez de Huete (1704), pl. 15-16

P-179 “PASACALLES de sexto tono a compasillo” ,

h 7 dif. Ferndndez de Huete (1704), pl. 16-17

P-180 “PASACALLES de sexto tono a prop[orzi]6n”

h 8 dif. Fern4ndez de Huete (1704), pl. 17-18

P-181 “PASACALLES de séptimo tono [a compasillo]” |

: h 8 dif. Fern4ndez de Huete (1704), pl. 18-20 P-182 “PASACALLES de 7™° tono a prop[orzi]6n” |

h 6 dif. Fernandez de Huete (1704), pl. 20

P-183 “PASACALLES de 8° tono a comp[asi]]lo” ,

h 7 dif. Fern4ndez de Huete (1704), pl. 20-21

P-184 “PASACALLES de 8° tono a prop[orzi]6n” , h 5 dif. Fern4ndez de Huete (1704), pl. 22

P-185 “PASACALLES de 8 [tono] por la mediacién a compasillo”

h 7 dif. Ferndndez de Huete (1704), pl. 23-24

P-186 “PASACALLES de 8° [tono] por la mediazi6n a proporzién”

h 6 dif. Fernandez de Huete (1704), pl. 24

P-187 “PASACALLES de octavo [tono] de chirimfas a proporzién”

h 4 dif. Fernandez de Huete (1704), pl. 26

P-188 “PASACALLES de quinto tono”

h 6 dif. E Mn M.816, f. 12v—13r

P-189 “PASACALLES de séptimo tono” h 2 dif. E Mn M.816, f. 17v

P-190 “PASACALLES de octabo tono con sus diferencias”

h 11 dif. E Mn M.816, f. 13v—14v

P-191 “{[PASACALLE]”

h 1 dif. E Mn M816, f. 32v

P-192. “PASACALLES”

h 6 dif. US We Mk.290, f. 8r—8v

P-193_ “PASSACALLES”

h 13 dif. US We Mk.290, f. 30r-32v

*P-194 “PASACALLE de 3° tono”

k E Mn R. 14069, Ms addition to Correa de Arauxo, f. 6v *P-195 “PASACALLE”

k E Mn R. 14069, Ms addition to Correa de Arauxo, f. 47v *P-196 “PASACALLES”!

k E Mn R. 14069, Ms addition to Correa de Arauxo, f. 56v

‘According to Preciado (1975), p. 17, the title “Passacalles” is crossed out and replaced by the heading “Clarines.”

THE REPERTOIRE 57 P-197. “PASACALLES p[rime]ro tono de m[osé]n Juan Cabanillas”

k 26 dif. E Bc M.387, f. 163v—165v

Anglés, BPSM 8 (1933), pp. 43-47 Concordance: “Pasacalles de 1° tono del g[ran]de m[aestr]o Joan Cabanillas presb{tero. Es un prodigio,” E Bc M.386, pp. 180-82?

P-198 “PASACALLES [primero tono] de mi maestro m[osé]n Jua Cabanillas”

k 18 dif. E Bc M.387, f. 165v—166r

Anglés, BPSM 8 (1933), pp. 40-42 Concordance: “Otras pasacalles del g{ran]de ma[es]tro Joan Cabanillas, de 1° tono. Es un prodigio,” E Bc M.386, pp. 183-84

P-199 “PASACALLES de 3” tono de m[osé]n Juan Cabanillas”

k 38 dif. E Bc M.387, f. 353v—355r Anglés, BPSM 8 (1933), pp. 48-52

P-200 “PASACALLES de 4° tono Cavanillas”

k 10 dif. E Bc M.387, f. 215v—216r Anglés, BPSM 8 (1933), pp. 53-54

P-201 “PASA[CA]LLES 8 tono por Gsolreut de Cavanillas”

k 33 dif. E Bc M.387, f. 212v—214r Anglés, BPSM 8 (1933), pp. 55-61

P-202 “PASEOS [3° tono por Elami] de Cavanillas”

k 27 dif. E Bc M.387, f. 230r—23 1v Anglés, BPSM 8 (1933), pp. 120-244

P-203 “PASEOS 6 ton[o] Cavanillas”

k 24 dif. E Bc M.387, f. 23 1v—232v Anglés, BPSM 8 (1933), pp. 125—29°

P-204 “PASSACALLES [2° tono]”

k 20 dif. E Bc M.387, f. 218r—218v

P-205 “{[PASACALLES] 2” [i.e., segundillo]”

, k 8 dif. E Bc M..387, f. 218v—219r P-206 “[PASACALLES] 3 [tono]”

k 21 dif. E Bc M.387, f. 219r—219v

P-207 “{[PASACALLES] 5* tono”

k 14 dif. E Bc M..387, f. 220r—220v

P-208 “{[PASACALLES] 5 tono punto alto”

k 13. dif. E Bc M.387, f. 220v—221r

P-209 “[PASACALLES] 6 tono”

k 20. dif. E Bc M.387, f. 221r—221v

P-210 “{[PASACALLES 7° tono]”

k 10 dif. E Bc M.387, f. 222r

?According to Anglés, BPSM 8 (1933), p. xvii. 3According to Anglés, BPSM 8 (1933), p. xvi. 4Modern edition as two separate pieces. 5Modern edition as two separate pieces.

58 INTRODUCTION P-211 “{PASACALLES] 8 tono”

k 18 dif. E Bc M.387, f. 222r—223r

P-212. “PASSACALLES de primer tono”

k 7 dif. E Mn M.1357, pp. 62-63

P-213 “2° PASACALLES de 1° tono” , k 10 dif. E Mn M.1357, pp. 63-64

P-214 “PASACALLES”

| k 7 dif. E Mn M.1358, f. 70r—70v

P-215 k 22“Otro[s] dif. E Mn[PASACALLES]” M.1358, f. 70v—71v , |

P-216 “PASSACALLES de 1° tono. Proporcién maior” | k 21 dif. E Mn M.1358, f. 71v—72v

P-217 “PASACALLES”

k 4 dif. Emn M. 1360, f. 222v—223r

P-218 “ENTRADAS de 1° tom [de frey Bertolomeu de] Olague”

B. Hudson (1961) 2:214-16

k 13 dif. P Pm Ms 1577 Loc. B,5, f. 69v—70r

P-219 “Mais ENTRADAS de 1° tom do mesmo [i.e., frey Bertolomeu de Olague]”

k 2 dif. P Pm Ms 1577 Loc. B,5, f. 70r B. Hudson (1961) 2:216

P-220 “ENTRADAS de 1° tom”

k 7 dif. P Pm Ms 1577 Loc. B,5, f. 112r—112v B. Hudson (1961) 2:349-50 P-221 “ENTRADAS de 5° tom [de frey Bertolomeu de] Olague”

k 12 dif. P Pm Ms 1577 Loc. B,5, f. 711-71 v B. Hudson (1961) 2:220-22

P-222 “ENTRADAS de 5° tom”

k 7 dif. P Pm Ms 1577 Loc. B,5, f. 112v—113r B. Hudson (1961) 2:350-51

P-223 “Mais ENTRADAS de 5° tom”

k 2 dif. P Pm Ms 1577 Loc. B,5, f. 113r B. Hudson (1961) 2:351

P-224 “ENTRADAS de 6° tom [de frey Bertolomeu de] Olague”

k 9 dif. P Pm Ms 1577 Loc. B,5, f. 71v—72r B. Hudson (1961) 2:223-24

P-225 “ENTRADAS de 8° tom”

k 4 dif. P Pm Ms 1577 Loc. B,5, f. 69r B. Hudson (1961) 2:213

P-226 “ENTRADAS de 8° tom”

k 10 dif. P Pm Ms 1577 Loc. B,5, f. 113r—113v B. Hudson (1961) 2:352-53

THE REPERTOIRE | | 59 *P-227 “PASSAGAGLIA”

k PB Ms 964, f. 226v°

P-228 “PASSEO” , m 10 dif. E Bc M.1452, f. 246r—246v

SA modern edition in Gerhard Doderer, Otto pezzi per strumenti a tastiera di compositori della scuola di Bernardo Pasquini

(Milan, 1973) was not available for consultation.

BLANK PAGE

PART II The Music

BLANK PAGE |

3. Transcriptions of Dances and Diferencias

_ BLANK PAGE

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