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Topic: Fauxbourdon

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	fauxbourdon - Hutchinson encyclopedia article about fauxbourdon (Site not responding. Last check: 2007-10-29)
		The fauxbourdon itself (that is, the lowest part) was also used as the basis of entirely new compositions.
		In the later 15th and early 16th centuries, the use of the term in both France and England was enormously extended to include techniques in which the idea of 6–3 chords was entirely lost.
		It is to this final stage in its history that the Italian use of the term belongs, meaning initially a kind of fauxbourdon in four parts with the ‘true’ bass supplied beneath the false one, and ultimately nothing more than simple declamatory composition in note-against-note style.
	encyclopedia.farlex.com /Fauxbourdon (238 words)

	Fauxbourdon - Wikipedia, the free encyclopedia
		'Fauxbourdon (also Fauxbordon, and also commonly two words: Faux bourdon) – French for false bass – is a technique of musical harmonisation used in the late Middle Ages and early Renaissance, particularly by composers of the Burgundian School.
		Sometimes fauxbourdon is taken to be a homophonous four part setting.
		Even though its first use appears to have been in Italy, fauxbourdon was to become a defining characteristic of the Burgundian style which flourished in the Low Countries through the middle of the 15th century.
	en.wikipedia.org /wiki/Fauxbourdon (587 words)

	Joyce Kelley
		Fauxbourdon "signaled the fact that the performers could add a third part.
		Dufay also uses fauxbourdon at various places throughout the motet where the tenor rests and at the close of the piece in an extensive free section.
		Line 13 reads, "Oh holy peace, long awaited," and Dufay cleverly extends "expectata" so that the cadence is four measures late and thus "long awaited." In line 14, "mortalibus" (mortals) is strikingly mournful with a surprising minor 6th on the syllable "bus" in measure 65.
	www.haverford.edu /musc/multimedia/music230/kelley/Supremum.html (2317 words)

	Music History Resources
		Fauxbourdon technique was used for settings of the simpler Office chants (hymns and antiphons) and of psalms and psalmlike texts such as the Magnificat and the Te Deum.
		The important practical consequence of this style was not in the production of such Office pieces, but in the emergence around the middle of the century of a new style of three-part writing.
		New 'Fauxbourdon' style: voices assume more equal importance, more unified, consonant sound, treble is sometimes ornamented, homophonic texture.
	www.geocities.com /papandrew/outlines/grout05.html (858 words)

	The Guillaume Dufay Biography Page on Classic Cat
		Dufay wrote in most of the common forms of the day, including masses, motets, Magnificats, hymns, simple chant settings in fauxbourdon, and antiphons within the area of sacred music, and rondeaux, ballades, virelais and a few other chanson types within the realm of secular music.
		None of his surviving music is specifically instrumental, although instruments were certainly used for some of his secular music, especially for the lower parts; all of his sacred music is vocal.
		Dufay may have been the first composer to use the term fauxbourdon to describe this style, which was prominent in 15th century liturgical music, especially that of the Burgundian school.
	www.classiccat.net /dufay_g/biography.htm (2434 words)

	[No title]
		To produce Fauxbourdon in its original fifteenth-century style, voice each triad in the key of C with its root on top, its fifth in the middle and its third on the bottom, as in Ex.
		Some of the motes in the Fauxbourdon line now sound like 6ths, 7ths, 9ths, or 11ths added to the left-hand triad, as indicated by the small numbers next to notes in the example.
		Some of the notes in the Fauxbourdon will sound like 6ths, 7ths, 9ths, or 11ths added to the left-hand triad.
	fowlerbrothers.com /bill/ttl.htm (468 words)

	Glossary of Musical Term - F
		Fagott (German) or fagotto (Italian) is the bassoon, the bass of the woodwind section in the orchestra (see Bassoon).
		"fauxbourdon") A 16th-century term for simple four-part harmonizations of psalm tones or other liturgical recitatives.
		According to recent studies, fauxbourdon was invented by Dufay about 1428.
	lcsproductions.net /MusHistRev/Glossary/F.html (1021 words)

	GUILLAME DUFAY (Site not responding. Last check: 2007-10-29)
		A fauxbourdon is a "scheme for improvising four-part harmony against a psalm tone in the treble which results in mostly root position chords" (Grout, 811).
		In the fauxbourdon, the homophonic texture allows for melodic freedom and points of imitation.
		The middle voice in a fauxbourdon is composed a fourth lower than the soprano melody and therefore has no independence.
	www.vanderbilt.edu /htdocs/Blair/Courses/MUSL242/f98/jhaf.htm (1323 words)

	FAQ No. 2 (2004) (Site not responding. Last check: 2007-10-29)
		However, remember, not everything is linked directly to the musical selections, for example the rediscovery of Greek treatises at the beginning of the Renaissance.
		For "fauxbourdon," the plainchant is in the upper voice, the next voice sings a perfect fourth below it, and the lowest voice is often a third below that, again producing a chain of first inversion triads.
		Our example is NAWM 28, where the chant is in the upper voice (with a few notes added), and the lowest voice (tenor) is written to be consonant with it.
	www.arts.arizona.edu /rosenblatt/faq2330A.html (999 words)

	Josquin’s La Deploration de la mort de Johannes Ockeghem (Site not responding. Last check: 2007-10-29)
		Through jumping to and fro from various textures Josquin expressed more moods, thought, and depth to the poetry he was writing for.
		Fauxbourdon is a technique in which voices move in locked steps.
		So the things that make Josquin's style stylish are his emphasis on the words, popular tunes as the basis of his chansons, canon, varied textures to express the words, fauxbourdon, and pervasive imitation.
	people.vanderbilt.edu /~adrianna.l.bond/mar4.htm (1891 words)

	Music Fundamentals Syllabus
		Fauxbourdon: The French version of the Gymel as employed by composers Dufay and Binchois, with the distinction that the cantus firmus is in the top or highest voice, and that it was a written rather than improvisational style.
		As it applies to Medieval music, it is generally the Gregorian chant used as the subject of embellishment by polyphonic means.
		century with the development of harmonic ideas based on the thirds and sixths of the gymel and fauxbourdon techniques with an emphasis on beauty of sound and essential musical quality.
	sfvsymphony.com /fundamentals.htm (5096 words)

	A&S Chapter 18 Lecture Notes
		The fourth voice (in this case the tenor) has to leap around somewhat in order to avoid voice-leading problems.
		This progression originates in the very early Renaissance as fauxbourdon and pre-dates four-voice harmonic styles.
		Yet another alternate tenor line; in this solution, both the alto and tenor are moving around somewhat in order to provide more variety in the voicing.
	www.sfcmtheory.com /harmony_supplements/chap_18/chap_18.htm (421 words)

	The DoveSong Sheet Music Library - Renaissance Vesper Service and Compline
		The fauxbourdon style of music during the time of the Renaissance was an outgrowth of an earlier style of music.
		This style provides a method of providing harmony for psalms, magnificats, and other strict forms of chant without losing the original shape and form of these Gregorian compositions.
		All the harmonic settings are in fauxbourdon style with the exception of two hymn settings by Palestrina.
	www.dovesong.com /sheetmusic/Vespers.asp (625 words)

	Western Music History - Rhythm n Raga.org
		In the Ars Nova of the thirteenth and fourteenth centuries, secular music was composed polyphonically, and resulted in elaborate contrapuntal devices and notional practices.
		In the fifteenth century the early renaissance polyphony showed evidence of a new style influenced on fauxbourdon and based on previously improvised traditions.
		At this time textures grew from a reliance on lower voices to treble-dominated textures.
	www.rhythmnraga.org /westernmusichistory.html (1078 words)

	New Page 1
		Borrowing some of the sonorities, he created elegant harmonies in his own music using thirds and sixths, hence influencing the music of Dufay and Binchois.
		Notes are arranged carefully with a homogeneous texture, and easy musical rhythms that match the correct verbal declamation of the text.
		Hints of fauxbourdon, and arguably traces of conductus style where voices move together, can be found as well.
	www.bsu.edu /web/jcarter2/Dunstable.htm (1064 words)

	Short Essay:
		The treble might be newly composed, but often it was an embellishment version of chant.
		The treble contained the chant melody and in the fauxbourdon tradition, the two outer voices were written down while the middle voice improvised to fill out the harmony.
		By contrast to the fauxbourdon technique used by Dufay that is usually applied to hymns in, in which the chant was accompanied by sixths and thirds expanding to octaves and fifths at cadences.
	www.uh.edu /~tkoozin/projects/ogan/essays.html (2333 words)

	Daniel Clark - Form and Analysis
		This is immediately crushed by a more prominent F-natural the very next note, and then the key of C returns with a fauxbourdon.
		This small incident was not the only case of struggle for it seemed that during the initial A section, the V chord was attempting to be tonicized by several different means.
		The final A section contrasts that of the closing exposition A section because it switches the fauxbourdon to the left hand and adds trills in the right hand.
	www.bsu.edu /web/djclark/works/formandanalysis.htm (2477 words)

	[No title] (Site not responding. Last check: 2007-10-29)
		fauxbourdon: like organum but with 3 voices and using 3rds and 6ths, not 4ths and 5ths
		1450): mass movements and motets in 2 to 4 voices, using fauxbourdon, sometimes full triads
		John Dunstable (1385-1453) most famous English composer from 15th century, travelled to France with employer, brought fauxbourdon to Burgundy
	www.uwsp.edu /music/pholland/220/22038.htm (193 words)

	7S:148 Choral Literature
		Your task is to explain these topics in basic terms in the context of a short written paper.
		While it is not possible to describe all the facts presented in the text, your paper should include a compositional form (Mass, motet, or chanson), a compositional device (isorhythm, cantus firmus, descant or fauxbourdon), a composer (Machaut, Dunstable, Dufay, Josquin, or Binchois), and explain how choral performance emerged.
		Use outside sources such as Grove, the Harvard Dictionary, and other reference materials in the music library.
	www.uiowa.edu /~genmusic/148paper1.html (181 words)

	Blue Heron Renaissance Choir
		Spot-on intonation, beautiful blend, and clarity of line are but a few of this ensemble's protean characteristics.
		They also illuminated this master's secular chansons, sacred isorhythmic motets, and hymns in fauxbourdon with richly colored tone and unfailing accuracy.
		In addition, the artfully concealed complexities of Dufay's works were fascinatingly explained in Metcalfe's elegant, erudite program notes, themselves a treat to savor.
	www.blueheronchoir.org /reviews.html (546 words)

	Jean Duron
		In contrast with the psalmody going on in the Grand Cabinet, a De profundis in either part-song or fauxbourdon was permitted in the parish church;
		The coffin was then carried downstairs to the cour d'honneur.
		As the procession reached the bottom of the stairway, the Music of the Chapel sang a De profundis "en fauxbourdon" (not en musique); and drums beat slowly as the French guards conducted the coffin into the courtyard.
	www.ranumspanat.com /duron_funeral.html (3436 words)

	Literature and Styles in Music I (Site not responding. Last check: 2007-10-29)
		Total effect combines full sonorities and smoothness of fauxbourdon style with greater melodic freedom in lower parts than found in English discant
		Now meant to be heard: often appearing in an ornamented version in the top voice
		Fauxbourdon harmony also typical of motets and masses
	www.uwgb.edu /ogradyt/ls1/burgund.htm (326 words)

	MUSL 242: Guillaume Dufay (c. 1400-1474) & the Renaissance (Site not responding. Last check: 2007-10-29)
		This is not to say that Dufay lacked originality or was in any way reactionary.
		To the contrary, he played an important role in the development of fauxbourdon, a technique in which the middle voice shadows the melody a 4th lower and therefore has no independence, and the cyclic mass.
		He was one of the first composers to handle four-voice texture with convincing skill, and the movement in many works of his middle years towards clearly defined tonal and functional harmonic writing both anticipated and helped prepare one of the important stylistic developments of the following century.
	www.vanderbilt.edu /Blair/Courses/MUSL242/dufayel.htm (712 words)

	Please title this page. (grout5.html) (Site not responding. Last check: 2007-10-29)
		Resembles English discant, except that in English style melody is in middle
		Fauxbourdon technique was used for settings of the simpler Office chants
		New "Fauxbourdon" style: voices assume more equal importance,
	www.nv.cc.va.us /home/jwulff/grout5.html (749 words)

	[No title]
		They were also fond of using thirds and sixths, much more abundantly than the continental composers.
		Parallell sixths became popular in Europe probably by the influence of the English composers, who were known for their fauxbourdon form of composition — a piece written in two voices, progressing in parallell sixths with a touch of octaves (that also began and ended the music).
		However, when the composition was performed, a third voice was added, and sung a fourth below the melody in the highest voice.
	www.guitarpress.com /hsp6.html (449 words)

	LM
		From the French, meaning "false bass," this fifteenth-century term is used to describe a style of composition in which the melody, usually a plainsong tune, is moved to a lower voice, often the tenor.
		Since much early chant-based music found the melody in the lower or bass voice, music in this style was given the name "fauxbourdon." Early examples of what later became known as Anglican chant were written as fauxbourdon.
		Glossary definitions provided courtesy of Church Publishing Incorporated, New York, NY,(All Rights reserved) from "An Episcopal Dictionary of the Church, A User Friendly Reference for Episcopalians," Don S. Armentrout and Robert Boak Slocum, editors.
	www.episcopalchurch.org /19625_14361_ENG_Print.html (105 words)

	[No title] (Site not responding. Last check: 2007-10-29)
		Also, name and describe (along the lines specified above) the Continental style that was influenced by faburden.
		How do the styles of faburdon and fauxbourdon differ?
		Discuss the "typical" characteristics of a mid 15th-century cyclic Mass as established by Dufay.
	userpages.umbc.edu /~morin/321trm5.htm (129 words)

	[No title]
		Burgundian court, under the rule of Philip the Good (1419-1467), was filled with prominent multi-national musicians and often saw foreign artists make their guest appearances.
		One of the main actors at the Burgundian court was Guillaume Dufay, whose music was a combination of the English fauxbourdon and independent counterpoint.
		Also, as did the English, Dufay prefered to put the melody line (lead vocal) on top.
	www.guitarpress.com /hsp7.html (341 words)

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