Enríquez de Valderrábano: Introduction to Silva de Sirenas (1547)
English translation of Richard Pollard’s Spanish edition and transcription
Editor’s Introduction
I have taken the text from the original edition of 1547. I have modernised the spelling, recording the changes in the critical notes; the reader is informed of each phonetic variation only once. Thus, when “perfectión” appears in the notes, the reader will know that all following words with the same -tion ending had the same spelling in the original.
Like his compatriot Fuenllana, Valderrábano writes here a kind of aesthetic thesis. He shows his closeness to Greek mythology and justifies his book for the worldly vihuela with samples, or crumbs, of a humanist education. In itself it is a curious document for the curious guitarist who would like — and in truth ought — to learn more about the history of his instrument. Although the guitar was not the direct descendant of the vihuela, the vihuela occupied the social and musical position that the guitar would later take, though the later guitarist would generally place still less emphasis on classical culture, moving away from the theories of vocal music and from the Greco-Roman intellectual world so common during the Renaissance. We may regret a little that twenty-first-century guitarists often know neither Latin nor mythology, and do not draw inspiration from them; but culture can always be rescued, whether through letters or customs, so there is still hope.
My long-term project will be to publish all the introductions to the sixteenth-century vihuela books, with explanatory notes and with the text modernised to a certain extent. Any errors are mine, and I ask the reader’s forgiveness: this was, in 2019, the first online modernisation of this text in the twenty-first century. I do not doubt for a moment that future editions will be still more complete. And let us not forget that Valderrábano himself told us to correct any error we find in his book; future translators, editors, and musicologists may therefore do me the same favour. Today, through the internet and YouTube, we can seek out the music of the composers whom Valderrábano used for his arrangements or tablatures. It is therefore a good moment for both the musician and the musical historian to enjoy and appreciate this music and these musical traditions, which still live on in us in the twenty-first century. Vale.
To the Most Illustrious Lord Don Francisco de Zúñiga, Count of Miranda
Socrates, who among the philosophers of his time was held to be a true oracle, said that when all the desires, affections, and movements of the soul came together in the soul and obeyed Reason, from them all there arose, as from concordant voices, a harmony so excellent and gentle that it awakened man and made him consider the movement and consonance of the heavens. This he called true music, and not without cause; for in the understanding of man music is of great perfection, since through it the sensitive and intellectual powers are brought into agreement. From this is born the consonance of reason, of knowing, of feeling, of understanding, and of judging the good in order to flee the evil.
Concerning this, the divine Plato said that music was given to us chiefly to temper and moderate the affections and passions of the soul. It was so highly esteemed that, in order to exalt philosophy, Plato himself — and before him the Pythagoreans — called it Music, because philosophy resembles music in its effects. This music is caused and perfected by seven Sirens in the soul, that is, by seven virtues, which awaken the spirit through their concord and harmony so that it may feel and know divine and human things, and the great good that follows from such knowledge.
God placed this music with such reason and perfection in no earthly creature as He did in man, nor in any stringed instruments as He did in the vihuela. And so it is clear that whatever the ancient wise men and all others wrote in praise of music seems, with still greater reason, to be attributed to the vihuela, in which there is the most perfect consonance of strings. Understanding this, therefore, Most Illustrious Lord, and having seen what others have written in this art, it seemed to me that it could still be extended, according to how much depth may be clarified in it. I therefore dared to make this work and offer it to Your Lordship, who understands it so well, so that under your protection it might dare to come into the light and take on value. With such favour and defence, I know well that it will be secure against those who might wish to reproach and slander it. Our Lord, etc.
Editorial note: the Spanish note rightly connects the Sirens with Plato, Republic 617b. Plato has eight Sirens, one on each circle of the spindle, producing one harmony from eight tones. Valderrábano’s seven Sirens are better understood as an adaptation to the seven virtues and, musically, to the seven degrees of the scale. The octave is often treated as the return of the first degree at a higher pitch rather than as a new member of the scale.
Prologue
Since all men, according to the wise, naturally desire to know, and since they are easily stirred, according to their inclination and nature, towards every kind of science and knowledge of things, so among all the sciences the one most proportioned to our understanding and reason, and the one most in harmony with the structure and soul of man, is music. For it has a great likeness to hearing, and both have a likeness to the spirit. And not only is every kind of music, as the divine Plato said, the work of God, but even, as Strabo says, it was invented for His glory and praise.
I, then, friend reader, as one of the lovers of music and of the vihuela, after it had carried off my senses from childhood and drawn me after itself — although at first my intention was more to satisfy appetite and inclination than to win the name of musician — nevertheless, by art, nature, study, industry, labour, and by divine grace, I was able to attain something over many years. I dared to make this work so that, by means of tablature, those devoted to it might be taught and increased with greater speed and ease, trying to play works of great, medium, and lesser value, each according to his hand and ability. Thus the profit of so honest an occupation might be common to all. I gave the work the name Silva de Sirenas [Forest of Sirens], because of the variety and diversity of things to be found in it.
In it, if truth may be spoken without arrogance, besides the variety of music it contains, there will be found many novelties: in the art and style of composed works and fantasies modelled on the compositions of famous musicians; in the skill and invention of playing two together on two vihuelas, in different modes and consonances, which I believe will be a new thing; and in many other refinements, which whoever looks at it and tries it attentively will see. He will understand that it could not have been done without much labour. In that labour I always had regard to making the artifice and the benefit of it easy.
Whoever, then, is inclined to such things and walks through the forest of this book will also taste other compositions of regulated music: first, on plainchant, which is the foundation for understanding it; and he will also find motets, songs, duos, sections of Masses, sonnets, pavanes, villancicos, and various diferencias for discanting. Among these there are easy and difficult things to play, according to the degrees that we shall indicate.
I included some exquisite compositions partly to spare the labour that would have been involved in searching for them, extracting them from canto de órgano, and placing them on the vihuela; and partly so that whoever sets down pieces like those I have set down — especially if he sings the coloured voice — may expect to gain the fruit that has profited me. I did not add divisions to every composed piece, so that it might be played better and with less difficulty, and so that each player might add divisions according to his own hand. Also, the music composed nowadays carries so much counterpoint that it does not tolerate divisions, although in some places I added the divisions that were suitable, as a model for those who may wish to play them.
I chose this way of placing many different things in brief, gathering from very serious and approved musicians what is most useful and pleasant for the vihuela and what is sweetest and most savoury for good ears and for lovers of it. I did so both because to persist in one thing usually easily produces weariness, and because variety and brevity are usually always pleasing.
I know well that many will murmur against this work and its author, finding faults in its invention, variety, brevity, composition, and artifice. I have only this to answer: I could not satisfy everyone. And for anyone to whom this does not suffice, I shall profit if he simply passes on. I wished to print it while alive so that, if I am warned of any oversight or error, I may recognise and correct it. I shall take this care, and the musical reader of noble and generous heart will take care to favour this labour of mine, whatever it may be, since I undertook it in order to give relief and rest to the students of the music of this instrument.
Although others have given this instruction in tablature with sufficient art and skill, and quite vividly and sharply, here many other different things will be found — in style, in hand, in art, in spirit, in position, in ease, and in invention. I shall be content, if I cannot have a place among the first or second ranks, at least to have one among the third. Let lovers of Music therefore enjoy these labours of another, for music is savoury; and after they have tried both one thing and another, let them judge temperately.
Note on “canto de órgano”: this means measured or polyphonic music, often contrasted with plainchant. Juan Bermudo’s Arte tripharia describes it as music made of unequal figures and different quantities of signs, rather as grammar uses long and short syllables to make harmony in verse.
Musice Laus, nullo authore — In Praise of Music, anonymous
One of the most excellent things of great perfection that God created in the understanding of man, friend reader, and one of the things most fitting and necessary for him, was the artifice and fittingness of Music. For through it we come to know divine and human things, their harmony and structure, and also to contemplate the order and consonance with which God disposed all things.
With music, then, God fashioned the higher spheres, which are the heavens, so wisely and divinely, with such harmony and measure, that from their course and revolution, as Pythagoras said, there is caused a most gentle harmony of concordant voices in diverse spaces, which the blessed enjoy in heaven. In imitation of this the wise composed the vihuela and also that sweet and most perfect consonance which musicians call the diapason.
With this music God created the earth and the other elements around it. Among them He placed such concord and fittingness that, although they are different, through the artifice of His harmony and agreement they keep their companion, the earth, suspended in the balance and centre of the heavens. By this music and tempering, all things are created and produced upon it.
With this music, then, the great world is governed; and the little world, which is man, is moved and ruled by the music of the four elements. For the soul of man, as Aristotle said, either is music or has music and harmony. Man, therefore, is music and is composed with music; and among all animals, the knowledge, practice, and judgement of it naturally belong to him.
Thus it appears that the perfect man, according to the Platonists, consists in rational movement; movement in order; order in rhythm and harmony; and harmony in number and consonance of bodies and voices. Harmony belongs to ordered choirs. It is therefore fitting by nature to man, who alone knows this number and order of harmony born from reason. For what else is music but order, reason, harmony, and temperance, from which religion, philosophy, the arts, the virtues, and the perfect life arise — all founded in music?
With music, then, God created all visible things of this lower world and the invisible and apparent things of the higher world, since what belongs to this lower sphere is governed by the things above, and even by the things here below the things above are known. Through music we know God; with the music of choirs we honour and sanctify Him, for with it God wishes to be praised and glorified. And so we sacrifice and solemnise with music: the divine offices are celebrated with music, priests teach religion and divine worship to laypeople through music, and holy temples are founded with music.
With music, then, we draw near to God and He to us. Finally, through music there grow charity, piety, contemplation, and the devotion of the faithful. For with music the spirit is kindled and souls are lifted up in praise and knowledge of their Creator, by which holiness, perfection, and the joy of the highest good are attained. Concerning this, the divine Plato said that Music was a gift and work of God, for the rest, consolation, and recreation of man, and also for His glory and praise.
Music, therefore, is a divine thing, very profitable and necessary for man, and worthy that all good and wise people should learn it and practise it with understanding. It makes men graceful, orderly, gentle, tractable, clean, humane, humble, bold, spirited, of good condition and conversation; and finally it begets many other great virtues in its lovers, from which good and praiseworthy customs are born.
Through music concord and friendship increase among men. Through it the repose of the body and the gentleness of the soul are perfected. Through it all men, as Plato said, are drawn into company and readily join together in feasts and rejoicings. Finally, through music peoples and nations rejoice and grow, and commonwealths are adorned and increased by good and wise governors.
For with music the wise taught the arts, the virtues, and good customs to those who knew little, as many writers have said of Orpheus, Linus, Musaeus, and Amphion. The world, therefore, man, the soul, religion, sacrifices, virtues, arts, and commonwealths consist in music and had their beginning from music.
With reason, then, the ancient gentiles attributed great glory and veneration to music, for it is of great force and efficacy, and of remarkable profit and remedy for human beings. This appears clearly: singing animates the rower, whose beginning was given by the voice and command of the master; music strengthens the miserable, gladdens the sorrowful, refreshes the sick, relieves the traveller, gives rest to the anxious, consoles the suffering, accompanies the lone shepherd in the wilderness, moves the senses of infants, and through it nurses quiet angry children. Finally, music is pleasing to every kind of person and every age.
For this reason they not only made it a liberal art worthy of noble and courtly minds, but also inserted and mixed it into all the other arts and disciplines. With music they placed valour in commonwealths, laws, and customs; with it they also gave art and grace to everything they wrote and treated. It is clear that the great orators founded their popular speeches in music; with music they adorned their arguments in the Senate; with consonances and rhythms they polished periods and clauses; with musical tones they arranged the sweetness of the voice, intoning each thing according to what it signified; and finally, with ordered music, they moderated the face and composed the movement of all the members and the body. With consonances, then, they moved, appeased, taught, and persuaded reason towards what they most desired.
Who would doubt the great musical art on which poets are founded, and the measure of rhythms and consonances in their verses and composition? With music they instruct, delight, incite, and win affection; indeed, they even carry away the souls of their listeners. Concerning this the divine Plato said that all poetry was nothing but an imitation and translation of music, from which knowledge of honourable things descends. Thus it appears that the ancients called the same people musicians, poets, and wise men. Even the first theologians who spoke of divine things were musicians and poets, namely Mercury Trismegistus, Orpheus, Linus, Musaeus, Amphion, Thamyris, Olympus, Marsyas, Connus, from whom Socrates learned, and many others.
The Muses, the poets say, were the inventors of music and of the liberal arts. Homer’s Sirens, with consonant songs and verses, promised science and knowledge of immortal things, if one believed them. Apollo of Delphi likewise gave his oracles and responses in musical verse, and so too did the Sibyls give their prophecies. Music, therefore, is a most ancient thing, since, as we said, it took its foundation from the harmony of the heavens and from their Maker.
It was so highly regarded by the ancient Lacedaemonians and Athenians that, as Plato says, they had as a common custom and law the teaching of letters and music to the sons of nobles, especially music of the vihuela. The Romans afterwards took up this same custom, and for a time even forgot other arts because of it. Once the benefit that followed from it was known, many wise philosophers prized it, such as Pythagoras, Aristoxenus, Ismenias, Asclepiades, Xenocrates, Plato, Aristotle, Theophrastus, Galen, Plutarch, and afterwards the holy Boethius. Some even began to learn it in old age, as Cicero relates of Socrates, who in his final age learned to play the vihuela.
Great and renowned captains likewise learned to play and sing with it: Achilles, the strength of the Greek army, learned from his teacher Chiron; Epaminondas, a leading man of Greece, also learned it; and many others did so as well. Thus in all the banquets and rejoicings which the nobles and wise men of Athens held among themselves, they sang, passing musical instruments — vihuelas and flutes — from hand to hand, the valiant deeds and notable feats that distinguished captains had performed in the service of their commonwealth and for the liberty of their homeland. I believe they did this so that the past might be heard with greater willingness and preserved with less labour, and so that in this way the history of notable persons and deeds would not perish. Also, because through the sweetness and consonance of voices and strings the spirits of those who listen are kindled and lifted up, and they are readily incited to love and imitate that which is sung and sounded with the artifice of music.
For this reason the valiant captain and no less a philosopher, Themistocles, was reproached and even considered somewhat less wise because at a banquet he did not know how to play a vihuela. Authoritative writers say that the ancient Greeks used a kind of music called Phrygian in order to enter battle and attack their enemies, because it inflamed the blood with courage and stirred hearts to greater strength and boldness. They also say that the soldiers and armies of the Lacedaemonians changed formation and attacked to the rhythm and measure of flutes, so that all might be moderated and walk in order and consonance, and not one more than another, as is done today.
Thus it is that the differences of instruments and tones in music, as Aristotle says, cause different movements and changes in the souls of those who listen: some move to joy, others to sadness, others to contemplation, others to sleep, others to fury, others to lust, others to temperance, others to gentleness and concord, others to chastity and devotion, others to boldness and courage, and others to diverse affections.
Hence the Greeks celebrate five kinds of music from five provinces, of such efficacy and perfection that the hearts and wills of the hearers were made such as their tones and consonances were: namely those of the Phrygians, Dorians, Lydians, Ionians, and Aeolians, from which the ancient musicians made an art. We recognise this well enough in poets, who, with music and consonance, as we said, wisely compose their verses with such number and reason that they called them numbers, and in such diversity of compositions and rhythms that they move the affections we named above.
This diversity of tones, sounds, consonances, and rhythms of due proportion, with many other musical refinements, is found all together in a vihuela, and more perfectly than in any other instrument. For in the vihuela there is the most perfect and profound music, the sweetest and gentlest consonance, the one that most pleases the ear and gladdens the understanding, and likewise the one of greatest efficacy, which most moves and kindles the spirits of those who listen. I could bring forward many things in praise of music and the vihuela, but I leave it here, because everything that can be said and has been said of it does not equal the praise and glory that it deserves, even though no one should speak ill of it.
Translator’s correction: the list of Greek modes/provinces in the Spanish edition is confused. “Tónicos” is almost certainly a mistaken form for “Jónicos/Ionians”. The five intended names are Phrygian, Dorian, Lydian, Ionian, and Aeolian. I have translated the list accordingly.
In Henrici summi musici Syrenas epigramma, nullo authore
Epigram on the Sirens of Henrique, supreme musician, anonymous.
Latin text:
Quisquis
dulcisonos musarum gnoscere cantus
Gliscis, et Aonis consona
fila lyrae,
Audi Demodochum sacrum, quem doctus Apollo
Edocuit
fidibus, quem comitesque nouem
Naturae gnatum dices, artisque
mirandae
Mirificos alta qui tonat arte sonos.
Diuinum
credas resonantem Poeana carmen,
Et per septenos plectra mouere
polos.
Huc pete, pelle moras, non sunt hic horrida saxa,
Quae
in mare Sirenum praecipitare solent.
Innocua oblectant hae
cunctos voce camenae,
Et retinent tutas carmine et arte
rates.
Non Acheloides sunt hae, sed Calliopides,
Nec nantes
mergunt, sed tamen ore placent.
English translation:
Whoever you are who longs to know the sweet-sounding songs of the Muses and the harmonious strings of the Aonian lyre, listen to sacred Demodocus, whom learned Apollo taught upon the strings, and whom you will call, together with the nine companions, a child of Nature and of marvellous art; he thunders wondrous sounds with lofty skill. You would believe the resonant song to be divine, and the plectra to move through the seven poles. Come here; cast delays aside. Here there are no dreadful rocks such as are wont to hurl men into the sea of the Sirens. These harmless Camenae delight all with their voice, and by song and art keep the ships safe. These are not daughters of Achelous, but daughters of Calliope; nor do they drown swimmers, but rather please them with their mouths.
Corrective note: the Spanish edition’s tentative translation of this poem is not reliable. “Demodochum” is Demodocus, the bard in the Odyssey. “Aonis” means Aonian, an epithet associated with the Muses. “Acheloides” means daughters of Achelous, a traditional name for the Sirens; “Calliopides” means daughters of Calliope. “Poeana” is uncertain in this printed form. It should not be confidently identified as “the goddess of vengeance”; it may reflect a corrupt or unusual form connected with Paean/Apollo or with a proper poetic term. I have therefore translated the line cautiously as “the resonant song”.
Eiusdem nulli tetrastichon — A tetrastich by the same anonymous author
Latin text:
Ithacus
ad cantus Syrenum clauserat aures,
Ne patriae oblitus carmine,
saxa colat.
Si sapis ad nostras, o Lector, dirige cursum,
Nulla
vado hoc leui tristia fata iacent.
English translation:
The Ithacan had closed his ears to the songs of the Sirens, lest, forgetful of his homeland through their song, he should haunt their rocks. If you are wise, reader, steer your course towards our Sirens: no grim fates lie hidden in this gentle ford.
Corrective note: “Ithacus” is Odysseus/Ulysses, the man of Ithaca. The poem contrasts Homer’s dangerous Sirens with Valderrábano’s safe, learned, musical Sirens. The Spanish note mistranslated several clauses; the corrected sense is that the reader should not fear these Sirens, because they delight and instruct rather than destroy.
Account of the Work
Since the intention of the book has been declared, it is fitting to state the rules for understanding the tablature and the particular things contained in it. First, the following six lines, figured below in the original, are the six courses of the vihuela, taken in this way.
On these six courses are shown the following figures, which are the numbers used to know the value of each fret, counting from one to ten: 1, 2, 3, 4, 5, 6, 7, 8, 9, X, except for the letter 0, which, on whatever course it appears, is to be played open. Thus the present figures are to serve to show you on which frets the fingers are to be placed on the vihuela, as is figured in the original.
On
the first fret: the sixth course.
Fifth course: on the third
fret.
Fourth course: on the third fret.
Third course: on
the third fret.
Second course: on the first fret.
First
course: on the first fret.
When the figures stand one after another, the courses of the vihuela are to be played one after another, as shown above in the original. And if two, three, or four figures come together facing one another, the courses of the vihuela are to be played together, as they are figured there.
Now that the six courses and frets of the vihuela have been treated, it is necessary to know the measure and tempo with which the music of the present book is to be played. In music, the measure is an equal raising of the foot or hand in time. Thus the figures enclosed between two lines running from top to bottom — that is, from the sixth course to the first — are worth one measure. If there is one stroke, it is to be given the value of a semibreve; if there are two strokes, two minims; if there are four strokes, four semiminims; and in this way every number, whether standing with others or by itself, is to be given the value of the figure that it has as its sign.
There are small dots that run from the tablature figure to the mensural figures of canto de órgano. They are placed so that what is to be played may be recognised more quickly. Likewise, all the strokes that come from one mensural figure to another are to be played according to the measure of the first sign until a different sign appears. If it is a semibreve, all the following strokes until another different figure is reached will be worth a semibreve, that is, a small measure. If it is a minim or any other sign, it will be worth what the first is worth until another different sign appears.
Now that the measure has been discussed, there remain three kinds of proportions that will be found in this book: a ternary number of three minims to the measure, or three semiminims, or three semibreves. This will be recognised when the relevant sign appears above the tablature. It should also be known that every red figure is placed for singing and should not cease to be played. If it stands at the beginning of the measure and there is one, it is worth a semibreve; if there are two red figures, and the second red figure has a red dot above it, that figure is worth a semibreve. This is so that, if the figure is sung, the voice should not stop singing until another figure comes.
In some places there are black dots placed at the side and below; these serve in the same way as the first dots mentioned above. There are other dots in the third book, in the canto de órgano of the motets and songs, placed under certain letters a, b, c. These serve to declare more quickly the consonance of the tablature that comes with the canto de órgano, and they are placed at intervals so that it will not be so difficult to find.
There is only one time-sign, which signifies in this way: wherever it appears in a work, the piece is to be played slowly; if it appears with two dots, faster; and if with three, much faster. There is also a sign, shown in the original, which is placed in order to return and play again from that sign until another of the same kind appears.
There are things easy and difficult to play. So that each person may know what is suitable for him to play according to his hand and ability, he will find the works of this book in three grades. Where it says “first grade”, it is the easiest to play; where it says “second grade”, it is a little more difficult; and when it is of the third grade, it is the most difficult to play. Yet they are not so difficult that anyone with a reasonable hand will be unable to play them.
More difficult things could have been placed in the book, but the vihuela does not tolerate great difficulties. Easier things could also have been placed, but the music would not have had its proper being. There are some fantasies that lack redobles, and they too bring difficulty with them; but those who have some ability will enjoy the redobles and the order of voices found in the present book.
It should be known that if in any of the compositions I have placed for two vihuelas it should appear that a minim or semibreve is missing, they should know that this was not an oversight. Rather, in order for the music to be more savoury, it was necessary for one vihuela to take that minim or semibreve from the other, and to avoid the unpleasant strokes that a single vihuela brings with it; likewise, to remove difficulty in this and in some of the compositions that are played by themselves.
There is a sign, -ii., which is placed in order to sing again the text of what has gone before, as is customary in canto de órgano, because sometimes the red tablature figure will be found without text, and it is to be played in this way. There are other signs in the abecé book, where these are placed: in the book where the falsetto is sung, and in the book for two people to play together on two vihuelas. In the book for singing falsetto, the said abecé signs are placed in the canto de órgano and in the tablature so that the point may be found more quickly with the tablature and hit very quickly. In the material for two vihuelas, they serve so that if, while playing together in ensemble, one player loses his place, they may immediately come back together by means of the abecé signs.
The aspirations and guardas found in the tablature are to be observed as in canto de órgano, because they are the same. Be warned concerning the aspirations placed in the tablature: they look like the first fret.
This book has been divided into seven books for the reason already heard. So that each person may find what it is suitable for him to play, let him look at the table, where he will find what is fitting for him. And those who have a good hand should not be surprised at some pieces of the first grade, because in them there cannot be the music that exists in the more difficult pieces. Since my aim was to benefit everyone, provided each person takes what is fitting to his hand, I understand that he will have no reason to find fault.
One thing must be observed so that the music of the fantasies and other things in the present book may be played with good style: the tempo must be looked at and the music played according to it. For if a piece is to go quickly and it is played slowly, it will not sound well. For this reason it is necessary to consider the intention of the author.
The rule above is for playing the tablature perfectly.
Advice so that the music of this book may be well played
It should be known that when a consonance of two, three, or four voices is played, or plainchant over counterpoint, it must be done in this way: the fourth course on the second fret and the second course on the first fret together, and then the second course open by itself. For this stroke, namely the second course open, the finger on the fourth course that had been placed for the first stroke is not to be lifted until the open second course has passed.
Thus, from imperfect to perfect consonance the finger will remain still, as from thirteenth to twelfth, or from eleventh to tenth, and from sixth to fifth. In this way the point or consonance played over the finger of the point first touched must sound well, unless it is a place where the finger has to be lifted in order to sound other things or different points.
Editorial note: the Spanish edition supplied “[ha de ser]” in order to complete a suspended sentence. That addition is necessary, and it has been incorporated directly into the English translation.
On the Modes
In the vihuela I do not find a particular mode, except that any mode is played better in one place than in another. To recognise the modes, this must be done in three ways: first, by the range; second, by the cadences; third, by the cadence on which they end. Thus the first and second modes make their cadence on desolré; the third and fourth on elamí; the fifth and sixth on fefaút; and the seventh and eighth on gesolreút.
The modes entitled “mixed” are so called because they do not keep the rule; they are irregular. Sometimes the music ends on a consonance or cadence, which must be taken as the cadence for recognising the mode, rather than only by the final notes and causes stated above.
Note: for the solmisation terms desolré, elamí, fefaút, and gesolreút, compare the explanations in Juan Bermudo’s Declaración de instrumentos musicales (1555).
Printer’s Emblem
So that genius may not fly away, poverty restrains it.
This is the printer’s mark of Francisco Fernández de Córdoba. It is inspired by Andrea Alciato’s Emblematum libellus (1531):
Latin:
Dextra
tenet lapidem, manus altera sustinet alas,
Ut me pluma levat,
sic grave mergit onus.
Ingenio poteram superas volitare per
arces,
Me nisi paupertas invida deprimeret.
English:
My right hand holds a stone; the other hand bears wings.
As the feather lifts me, so the heavy weight sinks me.
By my genius I could have flown through the lofty citadels of heaven,
if envious poverty did not press me down.
Alciato was probably in turn inspired by Juvenal, Satires 3.164–165:
Latin:
Haud
facile emergunt quorum virtutibus obstat
res angusta domi, sed
Romae durior illis.
English:
Those whose virtues are blocked by narrow means at home do not easily rise; but at Rome the struggle is harder still.
