The Folia Melodies

The Folia Melodies
Author(s): Richard Hudson

Source: Acta Musicologica , Jan. - Jun., 1973, Vol. 45, Fasc. 1 (Jan. - Jun., 1973), pp. 98-
119
Published by: International Musicological Society
Stable URL: http://www.jstor.com/stable/932224
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98
The Folia Melodies

RICHARD HUDSON (LOS ANGELES/CALIF.)
The history of the folia falls into two periods. The earlier foli
Salinas in 1577, originated in Portugal, became popular in Sp
ported into Italy around 1600 along with the Spanish guitar and
saraband, the passacaglia, and the ciaccona. Large numbers of suc
guitar books from the first half of the 17th century, and isolat
as late as 1664 in Italy, 1774 in Spain. The later folia, although
respects to the earlier one, has some different and distinct character
during the final quarter of the 17th century, particularly in Fr
enjoyed a wide popularity throughout the remainder of the Ba
appeared even in a few works of the 19th and 20th centuries. In add
a chordal scheme that influenced both folias. The scheme appea
sources at the end of the 15th century and became an integral p
dance style from 1500 to 1650. Both the later folia and the cho
been described fairly extensively in musicological literature.' Only re
has the earlier folia been examined in detail.2 In another article I hav
harmonic and rhythmic construction and its relation to the ch
would like now to consider particularly the melodic aspects of th
entities, commencing with the possibilities inherent in the chordal s
then investigating the manner in which melody is fashioned in
folias.
The chordal scheme is shown on the third staff of Ex. 1; below it are three
variant forms. In the Italian dance style (1500-1650) these chord progressions
join other schemes as central frameworks of composition. The music for a dance
or an instrumentally accompanied song (its created by distributing the chords of
one of the schemes at equal or unequal intervals throughout the piece, and then by
adding, as desired, melodic figuration or new chords that circle separate framework
chords. Since each of the schemes or chord-rows appears in a number of different
musical forms, I have found it useful to invent a terminology that is independent
of any particular one. Naming each according to the first chord that distinguishes
1 The principal works are the following: OTTO GomBosI, Folia, in: MGG 4, cols. 479-484; Italia, patria
del basso ostinato, in: La rassegna musicale 7 (1934), p. 14--25; Zur Friihgeschichte der Folia, in: AMI 8
(1936), p. 119-129; and The Cultural and Folkloristic Background of the Folia, in: Papers of the
American Musicological Society (1940), p. 88-95. JOHN WARD, The Vihuela de Mano and Its Music
(1536-1576) (Ph. D. diss., New York University 1953), p. 300-325; and The Folia, in: Kongressbericht
der IGMw, 5. Kongress, Utrecht, 1952 (Amsterdam 1953), p. 415-422. LAWRENCE H. MOE, Dance Music in
Printed Italian Lute Tablatures from 1507 to 1611 (Ph. D. diss., Harvard University 1956), p. 121-128,
164-169; and Folia, in: Harvard Dictionary of Music, ed. WILLI APEL (2nd. ed. Cambridge, Mass. 1969),
p. 322-323. ANDREAS MOSER, Zur Genesis der Folies d'Espagne, in: AfMw I (1918-1919), p. 358-371;
PAUL NETTL, Zwei spanische Ostinatothemen, in: ZfMw I (1918-1919), p. 694-698; JEFFREY PULVER,
Folies d'Espagne, in: The Monthly Musical Record 50 (1920), p. 32-33 and 103-104; FREDERICK NIECKS,
Les Folies d'Espagne: A Study, in: The Musical Times 29 (1888), p. 717-721.
2 HELGA SPOHR, Studien zur italienischen Tanzkomposition um 1600 (Ph. D. diss., Albert-Ludwigs-
Universitit, Freiburg i. B. 1956), p. 56-68.
3 The Folia Dance and the Folia Formula in 17th Century Guitar Music, in: MD 25 (1971), p. 199-221

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R. Hudson: The Folia Melodies 99
Ex. 1: The melodic tone-series associa

rals indicate major triads, lower ca
Tone-series 4
3 2 3 5 4 3 2 3
1 1
Tone-series 7
1 1 2 3 2 1 7 1
Chord-row V
i i VII III VII i V i
Without the initial i chord
V i VII III VII i V i
Without III
i V i VII VII i V i
Lacking both i and III
V i VII VII i V i
it from the others, th

Scheme IV; that of the
The scheme that concern
chord (or first, in the
cologists have in the pa
historically inaccurate
form; Scheme V is an
dance style to define m
mode that leads during
VII, and V, the mode p
The four versions of S
from the late 15th cent
4 See my article The Concep

tury, in: AMI 42 (1970), p. 163-183.
5 See WARD'S Kongressbericht article, p. 416-417.

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100 R. Hudson: The Folia Melodies
style around 1650. By bringin

the order of their derivation o
Since a chord-row, especially in
musical element, the formatio
natural patterns suggested by t
cessions of tones that match Sc
They are consistently a third a
or closing tone. I have labeled
possesses, but which never o
included or omitted; the blacke
of the tonic chords in the chor
notes in the tone-series chang
When employed in a particu
are associated with specific r
times. When many pieces of th
of Scheme V and one of its to
framework. In any particular p
results in a specific melody an
I believe, to conceive of three
from any rhythmic implication
has been added a design of r
positions of a single type), a
melodic or rhythmic variati
concept applies to a chord-ro
progression (of a single piece
Throughout its long history S
tone-series shown in Ex. 1. Fur
utilizing Scheme V seem to f
preference seems to alternat
century through the first qu
frequently, appearing in som
cionero de Palacio7 and in a n
Throughout the middle two quarters of the 16th century, ,emphasis shifts to Tone-
6 Almost the same tone-series that I show on the upper staff of Ex. 1 is given by Ward (his disserta-
tion, p. 301) in company with the complete version of the chord-row.
7 I located most of the 15th and 16th century Scheme V compositions referred to in this paragraph
through the writings of Gombosi, Ward, and Moe mentioned in footnote 1; to their sources I have
added a few others. A modern edition of the Cancionero musical de Palacio is printed in Monumentos
de la mzfsica espaiiola, Vols. V and X, ed. HIGINIO ANGLES (Barcelona 1947-1951). Tone-series 4 appears
in the upper voice of the following pieces based on the complete chordal scheme: Nos. 12, 81, 121, 126,
179, 271, and 361; for the chord-row without the III chord, see Nos. 59 and 197; without the initial i
chord, Nos. 79 and 310. Two exceptions that employ Series 7 are Nos. 9 and 92.
8 BARTOLOMEO TROMBONCINO, Aqua non e I humor che versan gli occhi (1514), in: ALFRED EINSTEIN, The
Italian Madrigal (Princeton 1949) III, p. 318-319; and Gli a pur from Frottole libro quarto (Venice
1520), in: Madrigals of the 16th and 17th Centuries, copied by Dr. Alfred Einstein (Northampton, Smith
College Library) 84; GIACOMO FOGLIANO, La non vuol esser pi' mia (1515), in: EDITH GERSON-KIwI,
Studien zur Geschichte des italienischen Liedmadrigals im XVI. Jahrhundert (Wiirzburg 1938), p. 21.

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series 7, which appears in som

forms that are often used as
J'aimerais mieux dormir seulet
Valderrabano, and Cabez6n;13 in
Wyatt's Blame Not My Lute,15
in Diego Ortiz's Recercadas qua
9 See Gaillarde No. 3 from Quatorze g

Keyboard Dances from the Earlier Sixt
Music 8 (American Institute of Musicolo
Intabolatura ... sopra el lauto . . . Libro
from the 1563 edition by GERALD LEFK
D.C. 1960), p. 110.
10 See La cara cossa del Berdolin, from: Venice, Biblioteca Marciana, Ms. Ital. IV. 1227 (collocazione
11699), printed by KNUD JEPPESEN in: Balli antichi veneziani per cembalo (Copenhagen 1962) No. 10;
Tone-series 7 accompanies Scheme V also in the Saltarello de Roy, No. 25. See also HANS NEWSIDLER'S
Ein welisch Tentzlein Clira cassa, from: Das ander Buch. Ein new kiinstlich Lautten Buch (Niirnberg
1544), transcribed in: DTO, Jg. 18/2, Bd. 37: Osterreichische Lautenmusik im XVI. Jahrhundert, ed.
ADOLF KOCZIRZ (Vienna 1911; repr. Graz 1959), p. 54; and Caracossa for cittern by SEBASTIAN VREEDMAN,
in: Carminum quae cythara pulsantur liber secundus (Louvain 1569), transcribed by JOHANNES WOLF in:
Handbuch der Notationskunde (Leipzig 1919; repr. Hildesheim 1963) II, p. 133. Tone-series 7 appears in
the upper voice at the beginning of the Passo e mezzo della cara cosa of GIACOMO DE GORZANIS (Il
secondo libro de intabulatura di liuto [Venice 1563]), transcribed by OSCAR CHILESOTTI in: Note circa
alcuni liutisti italiani della prima metti del cinquecento, in: Rivista musicale italiana 9 (1902), p. 56-58.
The following padoana and saltarello, as well as the other cara cosa examples given by Chilesotti, seem
to combine both tone-series.
11 See London, British Museum, Ms. Royal Appendix 59-62, fol. 16v, transcribed by Ward in his
dissertation, Ex. 47 (p. 50 of the musical examples).
12 See the melody given by JEHAN TABOUROT (Thoinot Arbeau) in his Orchesographie (Langres
English transl. Mary Stewart Evans (New York 1967), p. 113-115. Tone-series 4, on the other ha
appears in the J'aymeroye mieux dor[mir] from ADRIAN LE RoY's A Briefe and easye instru[c]ti
learne the tableture, to conducte and dispose thy hande unto the Lute, englished by 1. Alford Londe
(London 1568), transcribed in: Adrian Le Roy, Fantaisies et Danses, ed. P. JANSEN and D. HEARTZ (Pa
1962), p. 21-22 (concerning other examples, see p. XII). Le Roy, however, seems to favor Tone-
series 4 for all of his Scheme V pieces; see the Pavane si je m'en voy and its gaillarde (p. 16-18),
The First Gaillarde Milanoise (p. 23), and Fowerth Milano[ise] (p. 27).
1s For vihuela pavanas, see ALONSO DE MUDARRA, Tres libros de mz'sica en cifra (Seville 1546), modern
ed. EMILIO PUJOL in: Monumentos de la mz'sica espafiola 7 (Barcelona 1949), p. 22-23, 29; ENRIQUEZ DE
VALDERRABANO, Libro de misica de vihuela intitulado Silva de Sirenas (Valladolid 1547), transcribed by
PUJOL in: Monumentos de la mtisica espaiiola 23 (Barcelona 1965), p. 65-68, 69-71; DIEGO PISADOR,
Libro de mirsica de vihuela (Salamanca 1552), transcribed in: Les luthistes espagnols du XVIe siecle, ed.
G. MORPHY (Leipzig 1902) II, p. 193. Excerpts from these works are given by NETTL in: ZfMw I (1918-
1919), p. 695-697. Cabez6n has two sets of Diferencias sobre la pavana italiana, in: Obras de mu'sica
para tecla, arpa y vihuela (Madrid 1578), fols. 186v and 190v, printed by CHARLES JACOBS in: The
Collected Works of Antonio de Cabez6n I (Brooklyn 1967), p. 40-43, 50-54. Another work of Cabez6n,
however, uses Tone-series 4: Pavana con su glosa from the Libro de cifra nueva para tecla, harpa y
vihuela (Alcala de Henares 1557), compiled by VENEGAS DE HENESTROSA, fol. 67 (in: Jacobs' Collected
Works I, 80-81).
14 Vienna, tsterreichische Nationalbibliothek, Ms. 18821, transcribed by ADOLF KOCZIRZ in: DTO,
Jg. 18/2, Bd. 37, p. 111.
15 Washington, D.C., Folger Shakespeare Library, Ms. 448.16, fol. 4v. For a reconstruction of the
music, see IvY L. MUMFORD, Musical Settings to the Poems of Sir Thomas Wyatt, in: ML 37 (1956),
p. 318; and ARTHUR WILLIAM BYLER, Italian Currents in the Popular Music of England in the Sixteenth
Century (Ph. D. diss. University of Chicago 1952), p. 136-137. Byler also describes some other English
compositions based on Scheme V.
18 Tratado de glosas sobre cla'usulas y otros generos de puntos en la mftsica de violones (Rome 1553),
p. 117-119, 130-133, modern ed. MAX SCHNEIDER (Kassel 1967). Ortiz's pieces employ a particular
structure that often occurs in 16th century compositions based on Scheme V. The Scheme (without the
initial i chord) appears once in longer note values (sometimes this section is repeated), followed by
two (or sometimes more) statements of the Scheme in diminished note values. Only the final statement
ends on the tonic. This same structure can be found almost a century later in the Pavana gagliarda di
Spagna from ANTONIO CARBONCHI's Le dodici chitarre spostate (Florence 1643), copy in Rome, Biblioteca

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of the Italian dance style abo

preference seems to return
regina,17 the spagnoletta,s1 a
in the earlier folia. Finally, al
tions as a chord-row in a spec
tinues to live in the later folia,
employs Tone-series 7.
Musicale Governativa del Conservato

uses this structure is printed in MGG
17 FABRITIO CAROSO, II ballarino (Ve
author's Nobilth di dame (Venice 1600
in: Biblioteca di raritah musicali (Mil
of Bibliotheca musica bononiensis (B
Musicale, Ms. Q 34 (dated 1613), the
istrumentale in Italia nei secoli XVI,
18 There are many examples of this fo
See, for example, CAROSO'S II ballari
madriglia in his Nobilta' di dame, p.
d'amore (Milan 1602; facs. ed. Bologn
Fitzwilliam Virginal Book, modern ed.
repr. New York 1963) II, p. 471; and B
per cimbalo ed organo (Venice 1664),
a Majella, p. 24-28, modern ed. BART
p. 37-43.
19 The pavaniglia is identical to CABEZ6N'S Pavana italiana (see footnote 13), JOHN BULL'S Spanish Pav
(The Fitzwilliam Virginal Book II, p. 131-134), and the Pavane d'Espagne in the Nederlandtsche Gedenck
Clanck of ADRIAEN VALERIUS (Haarlem 1626; facs. ed. Amsterdam & Antwerp 1947), p. 246. The fo
enjoys great popularity during the first half of the 17th century and ordinarily exhibits a consist
melodic framework based on Tone-series 7, thus representing an exception to the usual preference
Series 4 during this period. However, NEGRI in: Le gratie d'amore presents two versions: a Pavanigl
alla Romana (p. 135), which has the traditional melody, and a Pavaniglia . . . all'uso di Milano
(p. 159) with a new melody based mainly on Tone-series 4. The two melodies, moving often in
parallel thirds in the same manner as the two tone-series in Ex. 1, are as follows, with the numerals
below the lower staff showing the usual chordal framework.
All'uso Milano
III VI I II V I
i 1V
For further informatio

p. 69-73.

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During each of these periods o

favored tone-series. In a numbe
obscures the melody, so that th
to combine them both. In some
may be split between several vo
than with melody, even beginni
up to 7 when the VII chord arr
In spite of some exceptions and
of relatively simple composition
erence for Tone-series 4 and 7 is,
In 1577 then, when the earliest
for a considerable length of ti
variants and tone-series shown in
a musical design is created for a s
phrase-structure. We will now
the two folias.
Ex. 2: The basic form of the earlier fo

p. 308) on the top staff (transposed
Biblioteca Comunale, Ms. 586 (H72)
measure 1 2 3 4 6 7 8 9
i V i VII i V
10 11 12 13 14 15 16
i VII i V I
The lower staff o

the earlier folia as
17th century. Earl
(the rasgueado st
selected notes on
bined with the ch
since each simply

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and no melody. I have transcr

in Ex. 2 by showing the num
(indicating the direction the
folias consist of a single state
presumably, a number of times
The harmonic in progression
chord and then lacking i and
periods. The first ends on V,
often varied both harmonical
shown on the lower staff of
Ex. 3: Harmonic variants of the earli
1 2 3 4 5 6 7
i V i VII i
I (II) I (III) I
(IV)
8 9 10 11 12 13 14 15
V (i V i VII i V
I (III) I
11. 112. I
16 Ritornello
i iv V i
I IV I
20 This
guitar f
27, cop

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half, which is indicated in severa

tween each rendition of the main
progression as Ex. 2, except for a t
which extends the duration of V
Other second-beat accents result
Ex. 3 by half-notes. Although the s
pictorially the chord insertions,
notes with the stroke directions
down-up stroke pattern continue
Most of the new chords relate to
special system of chordal variatio
and 9 the framework chord V is
IV in measure 5 similarly varies th
but by no means always, added i
in my other folia article3 ) to br
Scheme V. These second-beat chor
in the harmonic meter between 3
i chord are omitted. In addition,
mixed within a single piece.
Although my previous folia art
rhythmic structure, I did offer th
harmonic patterns of the guitar fo
Scale degree 2 was set, for examp
and II; I provided two notes in m
non-harmonic tone with each of th
then, and rounding out the phr
melody that followed, for the m
sequent discovery of some actual
melody fairly closely led to my
article.
On the top staff of Ex. 2, over the basic harmonic framework of the earlier folia,
I have set a melody from Francisco Salinas' De musica libri septem (Salamanca
1577). Salinas gives two melodies that illustrate a particular metrical scheme. 23 He
seems to make no mention of the first melody in his text, but describes the second
Gesellschaft der Musikfreunde (complete). A rasgueado guitar folia from LODOvIco DEL MONTE'S Vago
fior di virtit (Venice, no date) is transcribed by OSCAR CHILESOTTI in: Notes sur les tablatures de luth
et de guitare, in: LAVIGNAC and DE LA LAURENCIE, Encyclopedie de la musique (Paris 1913-1931) Part 1/2,
p. 677. On p. 676 appears a facsimile of the page containing this and two other Folias alla vera spagnola.
21 The word ritornello or ripresa is not used in the Italian dance style with precisely the same meaning
it had with Monteverdi and other monodists. See my article The Ripresa, the Ritornello, and the
Passacaglia, in: JAMS 24 (1971), p. 364-394.
22 For a more detailed description of chordal variation and its relationship to the musical organization
of this music, see my article, Chordal Aspects of the Italian Dance Style 1500-1650, in: Journal of the
Lute Society of America 3 (1970), p. 35-52.
p3 p. 308-309. Facs. ed. (Kassel 1958).

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as an example of a popular ty
however, the second melody m
whereas the first fits the ear
framework is shown in Ex. 2, i
the opening i chord or by ext
two changes, the framework
with Ex. 1 shows that the melo
There are a number of text
Spanish texts are printed in
1626).26 Several Spanish and It
by guitar chord letters, in It
17th century.27 Most of these
manner shown in Ex. 4. Ex. 4
Ex. 4: Metrical plans of earlier folia
(a) The scheme used by Salinas for
u W A ? V ,
(b) The scheme usually used in 17th century
UV V , V/ U .. v. v (U)
comparison with his melody on the top staff of Ex. 2 shows that the musical struc-
ture accommodates two such lines. The other folia texts, however, follow the metrical
plan of Ex. 4b. Here one trochaic foot is usually added at the beginning, to be sung
to the two-beat musical anacrusis, and an unaccented ,syllable is sometimes included

at the end. The entire scheme is then split into two lines of poetry at the point
indicated by the slash. The musical structure therefore matches one four-line stanza
24 "...quas Lusitani, Follias, vocant..." The Latin scholar whom I consulted concerning this passage
concluded that the statement about the folia refers to the second melody, and that nowhere in the text
is the other melody specifically mentioned. J. B. TREND, in his article on the folia in Grove's Dictionary
of Music and Musicians (5th ed. London 1954) 3, p. 182, states that "the earliest tune described as
being that of the folia is found in [the work of] Salinas..., who gives two versions." Trend's transcrip-
tion of the first melody should show the E's flatted. Salinas actually begins the melody on B, and the C
is not sharped.
25 This melody, along with several others that are given by Salinas at various spots in his book, is
included by WARD in his article Romanesca, in MGG 11 (1963), col. 778.
26 Fols. 8-11 (copy in Paris, Bibliotheque Nationale). Other Spanish texts are given by EMILIO COTARELO
Y MoRI in: Colecci6n de entremeses I (Nueva Biblioteca de Autores Espafioles 17 [Madrid 1911]),
p. ccxlv-ccxlvi.
27 Florence, Biblioteca Riccardiana, Ms. 2793, fols. 37v-38; Ms. 2951, fols. 129v-130v, 153-154v, and
165v-166v; Ms. 2973 (III), fol. 29. See also Florence, Biblioteca Nazionale Centrale, Magl. XIX. 143,
fol. 54.

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Ex. 5: The earlier folia in polyphoni
(a) Kapsberger, Libro primo d'intavo

p. 28: Folia, opening statement.
I LI I I .'
1 2 3 4 5 6 7 8
+ t
(b) Stefani, Scherz

p. 24: Partita di D
Al-ma mi- a do- ve ten va - i Al-ma mi- a che fug- gi til

2 3 4 5 6 7 8
i V I VII i V
Un ch'a- do
9 10 11 12 13 14 15 16
I VII i iv I

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of poetry. When, as was indic

repeated, this is accompanied
of the Spanish texts the same tw
Ex. 5 presents two illustratio
positions (in distinction to the m
guitar pieces). The first is fro
Giovanni Girolamo Kapsberger
the folia structure Partita Ia, w
a relatively unvaried form of
framework outlined in Ex. 3 rat
occurs one measure earlier (in
Giovanni Stefani's Scherzi amo
and uses both major and min
guitar notation are transcribed
In both examples the V chord
Salinas melody in Ex. 2. Exx.
Ex. 6: Earlier and later folias from

cifras de gitara (1705).
(a) P. 105: Folias, opening statement
S.,-,
do F " .. .
22" I .I I I I , 1 I ! I I I! b .
~~~J. , .
27a The metrical scheme of Ex. 4b appears also in some folia texts from the first half of the 16th century.
See GIL VICENTE's Auto da Sibila Cassandra [15037], in: Gil Vicente, Obras completas, ed. MARQUES
BRAGA (Lisbon 1942-1944), I, p. 62; O velho da horta, 1512 (V,175); Templo d'Apolo, 1526 (IV, 188); and
Triunfo do inverno, 1529 (IV, 327 and 330). A somewhat different scheme appears in his Auto da feira,
1527 or 1528 (I, 245). In the Recopilaci6n en metro (Seville 1554) of DIEGO SkNCHEZ DE BADAJOZ, folias
using the scheme of Ex. 4b occur in Farsa militar (fol. LXXXv) and Farsa del juego de Cailas (fols.
CXLI-CXLII); facs. ed. La Academia Espafiola (Madrid 1929); modern ed. D. V. BARRANTES (Libros de
Antafio, XII [Madrid 1882-1886]) I, p. 409-410 and II, p. 273-278. Since neither author provides
music for his texts, it is not certain how they fit into the musical history that begins in 1577 with
Salinas.
28 According to NIGEL FORTUNE, A Handlist of Printed Italian Secular Monody Books, in: Royal Mu
Association Research Chronicle 3 (1963), p. 38-39, this work was first published in 1619, alth
no copy now exists of the earlier edition.

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(b) P. 136: Folias italianas, first stateme
I" I~
(~::F:F dov-
1 r -I r-19r~
fifth or sixth measure, even though the III chord is not present
punteado guitar example from a Spanish manuscript of 1705 (Ex. 6a
characteristics, although here the first V chord, as in the guitar examp
staff of Ex. 2, does not extend beyond measure 2.
Exx. 3 through 6a suggest, therefore, the extent to which the sim
of Ex. 2 can be varied in individual pieces. Compared to the chordal guit
compositions which include a melody are relatively few in number.
consist of a single statement of the structure and thus constitute, like
guitar pieces, an aria for singing or dancing; or they may presen
statements in a set of ;instrumental variations. Folia pieces that display
in a single statement occur in a lute manuscript of Rasponi (1635
Sonate di chitarra spagnola (Florence 1640) of Antonio Carbonchi.30
tions whose opening statement clearly exhibits Tone-series 4 appear
Piccinini's Intavolatura di liuto e di chitarrone, Libro primo (Bolo
II primo libro di canzone (Naples 1650) of Andrea Falconiero (for t
basso continuo),32 and in Madrid, Biblioteca Nacional, Ms. M. 1359.3
29 Florence, Biblioteca Nazionale Centrale, Magl. XIX. 105, fol. 14.

30 Folias passeggiate per E, p. 19 (the third piece), copy in Florence, Biblioteca Nazio
is the only example I know of a guitar folia before 1650 that is written entirely in
(like lute music) and hence displays, in addition to chords, a melody. Two sourc
period contain sets of folia variations in the combined punteado-rasgueado style:
BARTOLOTTI, Libro primo di chitarra spagnola (Florence [1640]), copy in Bologna, C
grafico Musicale, p. 75-76: Follia; and FOSCARINI, I quatro libri della chitarra spag
date), copy in London, British Museum (K.8.e.9, incorrectly bound with the title
of Books 1-3), p. 23: Folias sopra I'O con parti variate, and p. 34: Fulias [sic] con pa
'I Partite variate sopra la folia aria Romanesca [the last two words were probably
p. 120-121, for chitarrone. Facsimile edition in Alexandri Piccinini, Opera, Vol. I (
italicae, Monumenta bononiensia [Bologna 1962]).
32 Copy in Bologna, Civico Museo Bibliografico Musicale, p. 32-33 of the canto
echa para mi Sefiora Dofia Tarolilla de Carallenos.
33 p. 593-595. The manuscript is entitled Huerto ameno de varias flores de mt
muchos organistas por Fray Antonio Martin, 1708. For information concerning the

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opening variation of Bernardo

mirrors Tone-series 4.34 Sever
tone-?series in the upper voice
Jos6 Jimenez (died 1672),85 t
folias in Madrid, Biblioteca N
folias seem to alternate in th
and 3, revealing more interest i
sources that show Tone-serie
Civico Museo Bibliografico M
statement which 'is exception
anacrusis,39 and Oporto, Portu
which contains a set of four k
however, a new folia scheme ha
and with a melody based on T
The later folia seems to have

earliest example is an Air des
Probably around the same tim
book entitled Pieces de luth
M. 1357-1360, see Catilogo musical d

(Barcelona 1946-1951) I, p. 295-309.
34 Selva di varie compositioni, p. 38-42 (Corpus of Early Keyboard Music VII, p. 59-65).
s5 Edited by H. ANGLcS in: Antologia de organistas espafioles del siglo XVII (Barcelona 1965) I,
p. 33-42.
36 Diferencias de folias, printed in: Johannis Cabanilles, Opera omnia, ed. H. ANGLIs (Barcelona 1933) II,
p. 130-137.
37 Huerto ameno de varias flores de mz'sica recogidas de varios organistas por Fray Antonio Mart
fols. 215v-217v. Another set of keyboard variations that does not begin with a clear statement
either Series 4 or 7 is the Partite sopra folia from Frescobaldi's Toccate e partite d'intavolatura
cimbalo ... Libro primo (Rome 1615), copy in Washington, D.C., Library of Congress, p. 63-65.
It is transcribed from the 1637 edition in Girolamo Frescobaldi, Orgel- und Klavierwerke, ed. PIERRE
PIDOux (Kassel 1954) III, p. 67-69. Helga Spohr has shown (her dissertation, p. 65-68), however,
that this work is based on the scheme of the fedele, a similar but somewhat different form. Montesardo
(Nuova inventione d'intavolatura, p. 24) uses the title Folia chiamata cosi da Spagnuoli, che da Italiani
si chiama Fedele. See my article The Folia, Fedele, and Falsobordone, in: MQ 58 (1972), p. 398-411.
'8 See the example from the Casimiri lute manuscript of around 1625 transcribed by GOMBOSI in: MGG 4
(1955), col. 483. I suspect that the rhythm of both lines should be adjusted so that the VII chord is
extended an additional dotted quarter. In the Rasponi manuscript cited in footnote 29 the writer seems
to have difficulty notating hemiola rhythm. In one rhythmic variant measures 2 and 3 (referring to
Ex. 3) are in s meter; measures 4 and 5 combine to form one measure of
39 Transcribed by LUIGZ TORCHI in: Rivista musicale italiana 4 (1897), p. 613.
40 Transcribed by BARTON HUDSON in: A Portuguese Source of Seventeenth Century Iberian Organ
Music (Ph. D. diss. Indiana University, 1961; Ann Arbor: University Microfilms, No. 61-6940) II,
p. 345-347. See Vol. I, p. 86 for remarks concerning the piece.
41 In Bibliotheque de Versailles, MS. 168: Partition de plusieurs marches et batteries de tambour tant
franCoises qu'etrangeres avec les airs de fifre et de hautbois a 3 et 4 parties... recueillis par Philidor
l'ain.. . 1705. The section entitled Marche du Regiment du Roy contains on p. 36: Batteries de
tambours, marche du Regiments du Roy faite par Mr. de Luly [sic] l'an 1670, on p. 36-37: L'air des
hautbois fait par Mr. de Luly, and on p. 38-39: 2e air des hautbois Les folies d'Espagne fait par
Mr. de Luly en trio [actually in four voices] par ordre du Roy l'an 172 [Since Lully died in 1687, this
date, although lacking one digit, could only be 1672] Philidor l'aind en ayant receu l'ordre du Roy a
St. Germain en laye pour le porter a' Mr. de Luly. Jules Ecorcheville mentions this piece in a passage
quoted by GEORG FISCHER, Musik in Hannover (2nd. ed. Hannover & Leipzig 1903), p. 26.

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R. Hudson: The Folia Melodies Ill
d'Espagnes enrichies de plusieurs

set to Farrinel's Ground in six st
Thomas D'Urfey,43 followed by in
in 1685 for violin.44 Although th
England at this time, Michel Fari
Follies d'Espagne et d'Angleterre
en effet, mon mss. contient la Basse
The musical properties of the later
of the structure is shown here, sinc
final cadence on i.47 On the lowes
42 Copy in Paris, Bibliotheque du Conser

l'autheur appears on p. 71-77. Concerning
on the Gallot family in: MGG 4 (1955), co
43 Copy in the British Museum (G. 17). Th
and sixth "strains" combine to form a con
great political fame and appears in numer
Songs, ed. THOMAS D'URFEY (1684), see T
(Cambridge, Mass. 1933), p. 48-53; for c
same music and text are in D'URFEY's Wit
New York 1959), p. 152-156. Part of the s
in: A Royall Ode by Mr. D'Urfey, Congrat
[in 1702] of our most Gratious Soveraign
Peece of the Authors call'd Joy to great
made to some strains of a famous peece o
Collection of the Choicest Songs & Dialo
(London, songs printed at different date
Caesar" appears also as Air LXIII of the B
[1954]), p. 81-82. See CLAUDE M. SIMPSON
N.J. 1966), p. 216-218, and JOHN WARD,
44 The Genteel Companion; Being exact D
and Newest Tunes and Grounds Extant. C
don 1683), copy in the British Museum (K
The King's Health (the 5th and 6th unnu
Division on a Ground appears as the fifth
of Divisions to a Ground for the Treble-V
which, I believe, is the first edition of th
MGG 10, col. 1348, of one a year earlier; H
Farinell's Folies d'Espagne, in: Die Musik
the contents of the second and "much en
includes a number of pieces that are not i
variations (or a "theme" plus ten variat
p. 363-364; and by RIEMANN in: Die Mu
first four strains of the 1682 version of T
3, 2 and 5 of the violin variations. In SAL
vocal setting, except that the fourth st
presents six statements, the first four mat
piece. The fifth begins like the seventh v
pared to the other variations, is lacking
dominant.
45 In Sonate a violino e violone o cimba
published in London, Amsterdam, Paris,
Corelli, ed. J. JOACHIM and F. CHRYSANDE
46 FISCHER, Musik in Hannover, p. 26. Th
sion of Ecorcheville. Scheme V was not un
uses it as a ground in The Division-Violi
ed. London 1965), p. 65-67.
47 In Gallot's piece each of the ten statem
full, followed by a double bar and then t
four measures of the opening half are to

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Ex. 7: Comparison of later folia melo
Lully (1672), opening statement.
The King's Health (1682), first stra
d'Anglebert (1689), opening statem
Corelli (1700), opening statement.
Feuillet (1700).
Marais (1701), opening statement.
Madrid, Bib. Nac., Ms. M. 1360 (170
Lambranzi (1716).
Le Sage & d'Orneval (1724 - 37).

4-/ 44'/ -1
F rPM IF I 0F I I I i LzII w 1 11 T1
J. S. Bach (1742), transposed from B minor.
1 110 ,OE. ..I . Io ''

I.I. 1
)? I
Fi 1
i 1,
i V i VII III VII i V

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complete series from Chord-row V. Abo

of the melody, all of which remain ver
for second-beat accents and for note re
harmonic accent occurs on the opening
on V. This structural change creates fo
rhythmic design.
This framework is used for instrumenta
songs 49 and dances.50 It gains such wides
that it is quoted within larger works.51 F
48 For viola da gamba: MARIN MARAIS, Couplet

(1701); eleven of the thirty-two variations ar
Cembalo, ed. CHRISTIAN D)BEREINER, in: Antiqu
are included in Les Folies d'Espagne fiir Fl6te All
Folies d'Espagne from the manuscript lute bo
possession of Wilhelm Tappert; transcribed by h
p. 94-95. For keyboard: JEAN HENRY d'ANGLEB
clavecin (Paris 1689), facs. ed (New York 1965), p
Kongelige Bibliotek, Mss. (Thottske Samling 292
Tr6lle, fols. 31v-32; Madrid, Biblioteca Nacional,
Variazioni sulla "Follia di Spagna" from a man
Musica, printed in: Antologia di musica antica e m
1931) IX, p. 112-122; C. P. E. BACH, Les folies
(Hamburg 1778), the opening printed by KURT
Revue Belge de Musicologie 6 (1952), p. 198. For v
col basso continuo (c. 1700), partially printed by
anonymous example from Ms. Z of the Schlossk
Musik X, Quartalsband 4, p. 1-2 of the Musikb
Sonate da camera a tre, Op. 1, modern ed. by W
Madrid, Biblioteca Nacional, Ms. M. 816, fols. 3v
49 In addition to the English examples already m
text in the opera Die grossmiichtige Thalestris b
G. F. Hiindel (2nd. ed. Leipzig 1919) I, p. 358; MO
Musical Times 29 (1888), p. 719. In France the f
of texts in LE SAGE and D'ORNEVAL, Le theatre d
pisces qui ont 6t6 representees aux foires de S
les vaudevilles & autres airs gravez-notez a la fin
of the Table des airs, to be used, for example, o
LE SAGE, a work presented in 1715 (modern e
Burlesken aus der Rokokozeit [Berlin 1912]). See
les airs graves (Paris 1738) II, p. 31 (No. 112) of t
MAX FRIEDLAENDER, Das deutsche Lied im 18. Jah
50 A letter from Madame de Sevigne in 1689 me
SACHS, World History of the Dance (New York
femme is given by FEUILLET in his Recueil de da
for six repetitions of the music. On p. 102 of hi
with notation for castanets. GOTTFRIED TAUBERT,
a similar example described as Die Folie d'Espagn
zimmer . . . welche zu Paris in der Oper getan
the music and choreography, see KARL HEINZ TA
graphie (Mainz 1968), p. 115. The melody is also
Neue und curieuse theatralische Tantz-Schul (Niir
51 REINHARD KEISER, Der liicherliche Prinz Jodel
tionen liIterer praktischer und theoretischer Musi
p. 3 (in the Sinfonia); J. S. BACH, Aria: Unser tre
tata," Mer hahn en neue Oberkeet, in: Johann S
Arbor 1947) XXIX, p. 183-185. Later works inclu
Collection complete des ceuvres de Gritry (Leipz
and the overture to CHERUBINI's H6tellerie port
(1918-1919), p. 368. Some even later examples ar

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without exception, the harmon

begin with such a statement,
harmony constant and either v
rhythmic animation, or replace
even be based on Tone-series 4.5
Italy, however, that do not com
do exhibit a structure in which
structural difference seems to
two folias, I will consider these
In the excerpt shown as Ex. 6b
between scale degrees 3 and 2.
of variations by Francisco Guer
voice, but one based on neither t
Pasquini seem to begin with his
is apparent in his Variationi sop
tioned above usually present th
of Pasquini sometimes omit the
The later folia, then, is always
Except for the few examples m
Scheme V and has a distinctive
The structural, harmonic, and

in Ex. 8. Like chords are verti
number of different chords, as w
framework, only the III chord
gression of Scheme V.
52 Examples of subsequent variations t
strain; Faronells Division on a Ground
ments 5, 6, 8, 12, 22, and 23.
53 Although most of the folias from the
accent on the V chord, a few rasguead
Their number is so small that they do n
It is possible, however, that they can b
guitar beginning on the first beat, a vo
anacrusis. Examples are found in BENE
London, British Museum, p. 45; Giova
(Milan 1620), copy in Bologna, Civico M
C; CARLO MILANUZZI, Terzo scherzo d
Universittitsbibliothek, p. 49 (four exam
(Macerata 1629), a microfilm copy in
and C); and Florence, Biblioteca Ricca
RIBAYAZ from Luz y norte musical par
its original notation and in transcripti
54 Instrucci6n de mr'sica sobre la guit
3rd ed. (1674), as well as the 8th ed. of
another ed. 1966).
55 Poema harmonico (Madrid 1694); the
56 See, for example, the second half of
works are printed by MAURICE BRO
(American Institute of Musicology 19
de Spange for cittern, transcribed by

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Ex. 8: Comparison of the two folia frameworks.
(a) The earlier folia, showing III as a possible alternate chord.
1 2 3 4 5 6 7 8 9 10 11 12 1
i V i VII i V i V
I I (III) I I (II
(b) The later folia, tra
1 2 3 4 5 6 7 8 9 10 11 12 13
i V i VII III VII i i V i VI II

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Concerning rhythm and st

triple meter. The earlier folia
is occasionally omitted; in eit
may sometimes have a shor
accent falls on the i chord. T
the second half; the later o
characteristic rhythmic eff
changes, which may occur in
various alternations in the h
stroke pattern maintains at
folia also features second-beat
from melodic activity within
to be lively in spirit, with a b
In regard to harmony, both
variant types. The later fol
each chord occupying a singl
The framework of the earlie
the second half and occasional
framework, however, may
harmonically by adding IV,
Sometimes even the second
exactly, by including not
measure 9 and VII on the fi
shifted in time so that they
harmonic and rhythmic poss
of the earlier folia. Although
both major and minor. The l
The melodic framework of
features beyond that of pitc
rhythmic effects described ab
The later folia bases its mel
is varied so slightly from p
melody. Two characteristics ar
and a second-beat accent, most
also in the others. In 1717 Tau
Sarabandenmelodien."58 Joh
57 SEBASTIAN DE COVARRUBIAS HO
castellana o espafiola (Madrid 161
parecen estar los unos y los otros
palabra toscana f o 1 e, que vale va
in his Kongressbericht article, p.
dancers] all seem to be out of their
Tuscan tongue, namely folle, whic
Much of the noise was produced by
of Covarrubias' work, with the addi
5s A facsimile of the page from Rec

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R. Hudson: The Folia Melodies I17
bekannten Folies d'Espagne auf gewisse W

gehiren ... es ist wahrlich mehr Gutes in
nur eine kleine Quart [the interval from C-
Mohren-Tiintzen, die iemahls erfunden seyn
d'Espagne en sarabande appears in 1712 i
(l'ain').60 These sources that mention the
folia, which features in its melody the secon
Baroque saraband.61 In their earlier history,
harmonically, for during the first half of t
when in the minor mode, is usually based on
Both folias appear either as single statem
dance or song, or as the subject of a set o
ment of either folia may be labeled with
called [La(s)] Fol(l)ia(s), but the later folia
or Farinelli's (spelled in various ways) Gro
the earlier type is spelled Fulia(s), or the
Italian rules. There are a number of Spanish
In Madrid, Biblioteca Nacional, Ms. M.
Folias italianas. This manuscript includes
type (p. 98) in addition to the two sets of
in Ex. 6. Pablo Minguet e Irol, in his Reg
el modo de taier todos los instrumentos m
his Folias italianas from the earlier type,
indicates a tempo differentiation by notatin
in 3 . The connection between Italy and th
following two variations for violin, "si s
muchas, y buenas; veanse la Coreli [isic],
Central, Ms. M. 1453 contains Folias de la
by Folias de Espanya ...64 The previously
59 Der vollkommene Capellmeister (Hamburg 1739), p
TRICHTER's Ritter Exercitien-Lexicon (Leipzig 1742);
6o Paris, Bibliothbque Nationale, Vm'. 3555: Suit
jouent ordinairement it tous les bals chez le roy, p. 3
du fonds de musique ancienne de la Bibliotheque Na
IV, p. 198.
61 The saraband in Italy during the first half of the 17th century did not have this rhythm. This
characteristic appears to have developed in France, probably around mid-century. Among the sarabands
of Louis Couperin (d. 1661), for example, some use second-beat accents, others do not. A number
employ repeated notes along with second-beat accents; see his Oeuvres completes, ed. PAUL BRUNOLD
(Paris 1936), No. 65, second part (p. 66), No. 74 (p. 73), and No. 110 (p. 111-112).
6 See my article The "Zarabanda" and the "Zarabanda Francese" in Italian Guitar Music of the Early
17th Century, in: MD 24 (1970), p. 125-149.
63 Minguet's work was apparently published around 1752-1754 in several sections for the various
instruments (see MGG 5, col. 197). In the copy that I obtained from the Biblioteca Nacional in Madrid
the guitar portion is dated 1774, the flute and psaltery parts 1754; the others are undated. Folias
espafiolas are on fols. 8vy, 10, and 12 of the guitar section; folias italianas on fol. 10 of the guitar part
and fol. 4v of the violin section; a facsimile of this page is printed by FELIP PEDRELL in: Catalech de la
Biblioteca Musical de la Diputaci6 de Barcelona (Barcelona 1908) I, p. 179.
64 The contents of this manuscript are listed in La misica espafiola desde la edad media hasta nuestros
dias, ed. H. ANGLU.S (Barcelona 1941); p. 53.

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Nacional, Ms. M. 1360 include

an earlier one that has Tone-series 7 in the tenor voice and Series 4 in the alto.
Since the two tone-series move essentially in parallel thirds, it is not uncommon
to find them together in a single variation. Sanz in 1674 presents, in addition to
the later folia variations already mentioned, a simple rasgueado folia of the earlier
type.65
The two folias thus exhibit both similarities and differences in melody, rhythm,
structure, and harmony, as well as in nomenclature, social function, geography,
and time. The first music for the earlier folia occurred midway in the development
of a musical style that incorporated fixed chordal schemes as a part of the process
of composition. The later folia appeared only after this style had run its course.
The chronology is depicted in Ex. 9. The solid lines show roughly the periods of
Ex. 9: The chronology of Scheme V and the two folias.
The later folia . . >
The earlier folia ............ .
Scheme V I
1 I I 1
1500 1600 1700 1800
greatest activity; dots

indicates that the late
this chronology show
not a special characteri
the course of over a c
on the other hand, the
history it appeared in n
I have considered the
The two tone-series, w
65 Instrucci6n de maisica, L
66 This is illustrated clearly
Bologna, Civico Museo Bibl
chord (and hence Scheme V
versions of the moresca, b
He also has four pieces en

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seem to alternate throughout hist

of the two folias are depicted in Ex
given for the earlier folia (Exx. 2, 3
It is important, I believe, that th
distinguished as three separate m
relationships that exist between t
almost exactly the two halves of th
The Bibliography of Music in Conrad Gesner's

Pandectae (1548)
LAWRENCE F. BERNSTEIN (PHILADELPHIA/PENNSYLVANIA)
Of all the members of the great circle of Swiss humanists in the f

the 16th century, few may be attributed with works of enduring
many fields of inquiry as Conrad Gesner. Possessed by an unquencha
knowledge and enriched by a classical humanist education, Gesner s
converted every passing interest into a field for systematic sch
number of such fields in which he published the first or most signi
of his day is truly remarkable.
Conrad Gesner was born in Zurich on 16 March 1516, the son of
a furrier, and the former Agathe Frick. His parents were poor, an
with the help of his maternal uncle Joannes Frick that Conrad began
in 1521. Three years later he entered the Latin school at Grossmiinst
soon became a frequent guest of his teacher Oswald Mykonius
Theodor Bibliander and Thomas Platter. In 1529, he went on in the G
schule to study Greek and Latin, accepting board in the home of an
teachers, Joannes Jacob Ammann.
Gesner's father served in the armed forces during the civil war of
killed in the line of battle in Gubel on October 24th, leaving his fam
At this point, too, Ammann could no longer maintain his young
Mykonius was about to move to Basel. Fortunately, however, M
recognized Gesner's intellectual prowess, and he recommended him
Fabricius Capito of Strasbourg for studies in Hebrew.
The recommendation was a strong one:
of Scheme V without its initial i chord. Also in the book are four additional moresche based on
Scheme III, showing that pieces bearing this title were not confined to a single scheme; see my article in:
AMI 42 (1970), p. 169, where I refer to the moresca based on Scheme III. Although the Scheme V pieces
of Costanzo employ almost the same chord progression, each form displays a rhythmic structure
different from the others. As far as I know, only one form, the alta regina, is identical structurally as
well as harmonically to one possible variant of the folia (when the initial I is missing and the other I
chords are major triads). Of the three examples of this form cited in footnote 17, Bologna Q 34 most
clearly shows the similarity; see the excerpt in: Rivista musicale italiana 4 (1897), p. 616.

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