Lash Dissertation PDF

I
THE FACULTAD ORGANICA OF FRANCISCO CORREA DE ARAUXO:
CERTAIN ASPECTS OF THEORY AND PERFORMANCE
by
Andr~ Duane Lash

/
Submitted in Partial Fulfillment

of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
Supervised by Dr. Ernest Livingstone

Department of Musicology
Eastman School of Music
University of Rochester
Rochester, New York
1986
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CURRICULUM VITAE
Andre'
Kansas.
Duane
Lash was born on Xay 18,
1947 at Coffeyville,
He attended Kansas State College of Pittsburg
burg State University)
(now Pitts-
from 1965 to 1969, receiving the degree Bach-
elor of Music EJ.Hcation with concentrations in both piano and organ.

From
1972
Seminary,
Husic,
year
to
1974
where
with
1977-78
Rochester,
he
he
studied
received
at Southwestern Baptist Theological
the
degree Master of Music in Church
emphasis in Organ Performance.

at
the
He spent the academic
Eastman School of Music of the University of
where he fulfilled residency requirements for the degree
Doctor of Husical Arts in Performance and Literature with Organ as

the major and Music History as the minor fields of study.
His major
professor in Organ at the Eastman School was Russell Saunders; his

academic
advisors included Dr. Alfred Bichsel and Dr. Jessie Owens;
and his dissertation advisor was Dr. Ernest Livingstone.

Mr. Lash has served on the faculties of Brewton-Parker College
and Oklahoma Baptist University.
He is an Associate of the American
Guild of Organists (A.A.G.O.).
iii
ACKNOWLEDGEMENTS
The
writer
appreciation
the
wishes
in
particular
to
express
to his dissertation advisor, Dr.
his
deepest
Ernest Livingstone of
Faculty of Musicology of the Eastman School of
~1usic,
who has
given countless hours of his time untangling the many thorny problems
of
translation,
indeed
not only aiding greatly in the translation
of the Spanish but translating in entirety the passages which were

originally given in Latin,
including the poem given on Fol.IIIv of
the
In
original
(cf.p.lS).
encouragement
and
addition,
Dr.
Livingstone's untiring
advice in refinement of the writing has been of
immeasurable value; without his aid the completion of the thesis would
have been impossi.ble.
In
following
who
addition
Dr. Livingstone,
I wish to acknowledge the
persons for their invaluable assistance:
served
dissertation
ultimate
to
as
my
advisor
in
drafting
the
Dr. Jessie Owens,
proposal
for
this
and who gave many useful suggestions reflected in its
form;
Dr.
Delbert Disselhorst of the University of Iowa,
whose loan of a microfilm of the Facultad Orginica enabled me to begin

both
the
edition
translation
for
errors
materials; Dr.
of
the text and the checking of the Kastner
before
had
received
my
own
copy
of
these
Lenora McCroskey of North Texas State University, who
graciously lent me her edition of the Kastner transcription for an

extended period of time; Dr. Louise Goldberg and the staff of Sibley
Music Library, who have indulged my frequent desires for access to
materials
in
the
library's
Rare
Book hcldings; Max Mayse and Dan
Abrahamson of the Reuter Organ Company fer making available detailed
iv
technical information concerning the voicing of the VanDeren Memorial

Organ at Oklahoma Baptist University; and my major professor in organ
at the Eastman School of Music, Mr. Russell Saunders, whose interest
and
encouragement
in
the
area of early Spanish organ music was a
catalyst in the initiation of this project.
untold
loving
Finally,
hours
work in the typing of initial drafts and for her
of
patience
document.
wish
and
to
thank my wife, Sheryl Beaty Lash, for
encouragement
toward
the
completion of
this
ABSTRACT OF DISSERTATION
Almost
of
forty
Francisco Correa
years have elapsed since the Facultad Organica

de
Arauxo
first
began to appear in a complete
edition transcribed into modern notation by Macario Santiago Kastner.

Various
writings
aspects
of
have
since
appeared
and
have
addressed important
Correa's life and work; while a recent translation and

I
study of the preface to the Facultad Organica by Jon Burnett Holland,

written concurrently with and therefore not available to the present
author, solves many riddles for the English-speaking reader, additional
research and the careful analysis of internal evidence in the music
suggest choices of performance practice which are neither as obvious
nor as limited as has sometimes been supposed.
The
life
of
Correa,
spanning the period from approximately
1575 to 1655, saw the evolution of music from the refinement of the
High
of
Resaissance
the
Early
approach.
to the daring and sometimes tumultuous experiments
Baroque,
There
is
and
this
is
reflected in his compositional
much
that
is
Baroque:
passage-work, the irrepressible energy
of
the
florid
much of the music,
virtuosic
and the
concern with specific types of registration, all typical features of

Baroque keyboard compositional style.
Yet Correa's musical roots lie
in the sixteenth century, an era most clearly typified in Spanish music

by
its
rather
conservative
sacred
vocal
polyphony;
and
Correa's
relationship
to these conservative musical roots shows in the linear
chromaticism
and
by
his
consist~nt
inherent
use
of
mysticism of certain tientos, as well as

modal
terminology
genera.
vi
and references to the
vii
A complete
translation of Correa's preface into English is
followed by a discussion of his treatment of modality, particularly

the seventh mode, which he appears to define more by ambitus than by
finalis.
Problems
of ornamentation, articulation, rhythmic alter-
ation, and registration are then considered, with both a careful scrutiny of the internal evidence of the musical works and a consideration
of
Correa's
historical
position.
Conclusions
regarding
Correa's
historical importance are given at the close of the text, along with
appendices giving complete translations of the original lengthy titles
of the tientos and a list of errors in Kastner's transcription.
TABLE OF CONTENTS
Curriculum Vitae
iii
Acknowledgements
iv
Abstract of Dissertation
vi
Introduction
I.
Translation of Preface to Book of Tientos and Exercises

of Practical and Theoretical Music for Organ, Entitled
Teacher of Organ
Table of Tientos Divided into Grades of Difficulty
An Epigram
de Alanis
and~Encomium
7
7
of the Licentiate John Alvarez

16
Prologue in Praise of the Tablature
18
Observations
22
First Point, ~orrea' s remarks about the Possibility

of Usage of the Chromatic Unison and Diminished and
Augmented Octave]
25
Second Point, ~oncerning the Titles of the Individual

Pieces and Their Clarification of Gender and Accidental~ 27
Third Point, [in Defense of the Twe 1ve-Mode System]
28
Fourth Point, [a Chart of the Octave Species of the

Twelve Modes]
29
Fifth and Sixth Points, ~xplanations of Correa's

Use of Accidentals]
31
Seventh Point, [Explaining Correa's Usage of 0,

and 0 3]
t, c, t ,
33
Eighth Point, ~oncerning the Arithmetic and Harmonic

Divisions of the Octave Species]
35
Ninth Point, [concerning the Relationship of the

Ambitus of Each Voice-part to the Mode of the Piece]
37
Tenth Point, [concerning Equal and Unequal Proportions]
39
Eleventh Point, [concerning the Use of the "ayrezillo

de proporcitn menor'j
41
viii
ix
Twelfth Point, [concerning Types of Dissonances]
43
Thirteenth Point, [Concerning the Use of Twenty-four

and Thirty-two Notes Per Measur~
47
Fourteenth Point, [concerning Works for "medio registro 11

with Two Solo Voice~
48
Fifteenth Point,[Concerning Perfect and Imperfect

Consonances and Dissonance~
49
Sixteenth Point,[Forbidding Similarity of Motion to a

Perfect Interval]
59
Seventeenth Point, [Concerning the "pun to intenso

contra remisso'j
60
Chapter One, The Notation Symbols of the Diatonic

Gender
64
Chapter Two, The Notation Symbols of the Chromatic

Gender
66
Chapter Three, The Notation Symbols of the Enharmonic

Gender
67
Chapter Four, The Manner of Placing the Fingers

and Arranging the Tablature
69
Chapter Five, What Quiebro and Redoble Are and How

Many Kinds There Are
71
Chapter Six, Positioning of the Fingers to Play Any

Work on the Organ with Perfection
75
Chapter Seven, How to Perform Any Work and With Which

Hand and Fingers
78
How to Perform Diminutions
79
Strong and Weak Parts of the Measure
80
Sesquialtera
80
Chapter Eight, With Which Fingers of Each Hand the

Positions Have to be Given
81
A Second Order of Fingerings
83
A Third Order of Fingerings
85
Chapter Nine, Closed and Open Consonances
91
Chapter Ten, Ascending and Descending Runs in Both

Hands, For Those Who Already Begin to be Masters
96
Chapter Ten [sic], Observations Concerning Perfect

Playing of Tablature
103
Method of Tuning
107
the Clavichord
II. Correa's Treatment of the Modes
109
Correa's Scheme of Modal Order
114
Correa's Usage of the Terms Concerning Genera
117
Correa's Unique Treatment of the Seventh Mode
120
III. Problems of Performance Practice
131
Ornamentation
132
Fingering and Articulation
149
Rhythmic Alteration
159
Registration
174
Summary and Conclusion
192
Bibliography
197
Appendix A: Translations of Complete Titles of the Musical

Compositions of the Facultad Org~nica
201
Appendix B:
222
Errata in Kastner Edition
INTRODUCTION
Almost
of
forty years have elapsed since the Facultad Orgtnica
Francisco Correa de Arauxo first began to appear in a complete
edition, transcribed into modern notation by Macario Santiago Kastner.

Although
numerous articles by James Wyly and Robert Stevenson have
appeared
and have addressed important aspects of Correa's life and
the interpretation of his works, a monograph by Charles Jacobs and

a
translation and commentary by Jon Burnett Holland remain the only
major studies of the work of this important composer.

treatise
contains
writings,
of
an
his
excellent
compositional
overview of
style,
and
While Jacobs'
Correa's
theoretical
of certain problems of
transcription from the original tablature, it leaves large portions

of the preface untranslated or only summarized; in addition, further
research in such crucial areas as ornamentation and registration seems
to
indicate
that
performance
are
conclusions
would
which
was
correct
neither
at
as
times
choices
obvious
indicate.
concerning
nor
as
these
limited
aspects
as
of
Jacobs'
Dr. Holland's dissertation,
written during approximately the same time frame as the
present thesis, was not available to the present author. While Holland
has
supplied a major study of Correa's life and writings, the present
treatise provides an addiitonal translation, which closely parallels

the flavor and style of the original, and additional commentary on
various problems of theory and performance practice.
For either the musicologist or the performer of keyboard music
there is a regrettable paucity of information concerning Andalusian
and Castilian organ music of the early seventeenth century.
1
We know
of no other prolific composer from southern Spain during Correa's era,

and the bulk of extant Iberian organ music of the time has its origins
in the somewhat distant kingdoms of Catalonia and Portugal; the
dramatic enlightenment which has taken place since World War II
concerning performance practice in early French, Italian, and North
German organ music serves only to emphasize the dearth of research
into developments on the Iberian peninsula at that time. Furthermore,
the early 1600's were a time of transition:
those
the
of
other nations, were still using the modal terminology of
Renaissance
which
Spanish composers, like
would
while
be
their music moved toward the tonal approach
standard
a century later in the works of Domenico
Scarlatti and Antonio Soler.

composer
combined
prattica
is
various
Determining the degree to which each
elements
of
prima
prattica
and seconda
challenging but necessary task if one is to have a
true understanding of the style of any composer from this era.

The
1575
life
of Correa, spanning the period from approximately
to 1655, saw the evolution of music from the refinement of the
High Renaissance to the daring and sometimes tumultuous experiments

of the Early Baroque.
When Correa was born, operas had not yet been
written;
the Obras de Musica of Antonio de Cabezon, though composed
earlier,
had
not
yet
been published by his son Hernando; and the
sectional toccata which was the basis for Italian and North German
keyboard
being.
literature for the next hundred years was just coming into
On the other hand, by the year of Correa's death the early
Florentine pastoral dramas and operatic experiments had given way to
Roman and Venetian developments; Johann Jacob Froberger was successfully
synthesizing
the
Italian toccata with French elements such
as the style brise'; and the works not only of the CabezO'n father and
son but also of Frescobaldi, Titelouze and Scheidt had appeared in
print.
The effusive nature of Baroque art had found expression in the
elaborate design and glittering tonal brilliance of the North German

Baroque organ, and in Spain this had been paralleled by the transition
from the conservative, Brabant-influenced stoplists of the late
sixteenth and early seventeenth centuries to the gargantuan instruments of mid-century with their sprawling facades and multiple sets of
J
horizontal reeds.
It was within these years of change that Correa
lived and wrote.

Correa was to a great degree a man of his time in the trans!tiona! nature of his compositional approach.
This (apparently)
isolated Andalusian with a musical background which is never clearly

disclosed gives us much that is Baroque:
florid virtuosic passage-
work, the irrepressible energy of much of the music, and the concern
with specific types of
~egistration
are all typical features of
Baroque keyboard compositional style in other parts of Europe.
Yet
Correa's musical roots lie in the sixteenth century, an era dominated

in Spain by the most conservative mind-set of the Counter-Reformation,
I
a mind-set typified musically in the sacred polyphony of Cristobal

/
Morales, Francisco Guerrero, and Tomas
/
Lu~s
de Victoria; and Correa's
relationship to these conservative musical roots s bows in the 1 inea r

chromaticism and inherent mysticism of Tientos XXIII and XXVIII.
In attempting to determine the stylistic input of the above
factors and their degree of influence on various aspects of performance,
one must first carefully study the composer's own words; the desirability of reading the composer's own comments in one's own language
for quick reference and comprehension, as well as the need for
availability to others, who might not be conversant with the Spanish
tongue, necessitates a complete translation of Correa's preface from
seventeenth-century Castilian into modern English, a task which, while
tedious, is enlightening as much for insights into Correa's general
musical viewpoint as for any direct revelation of particulars of his
compositional approach.
The translation thus becomes a starting point
for all further aspects of research.

When Correa's preface is compared to the musical compositions
J
in the Facultad Organica, certain discrepancies appear to be present.

For instance, the modal characteristics given on fol. 3 (cf. p. 30) of
the preface do not always seem to correspond exactly to his compos itiona! practice, either in terms of finalis or in terms of solmiza tion.
It appears that when Correa had to choose between a modal
level based on ambitus or one based on either finalis or solmization,

ambitus clearly became the deciding factor.
Other problems arise
concerning the literalness of Correa's prescribed rhythmic alteration,
and
the rigidity with which his own realization of the quiebro
redoble
are to be applied J
and
since the musical text sometimes contra-
indicates the application of Correa's verbal directions.

Two
beginning
special
problems
of Correa's preface
arise
concerning
(fol. II;
cf. 7-15),
the various works by grades of difficulty:
the
chart
at
the
in which he lists
(1) Correa consistently
refers to the verso side of a folio as the next higher-numbered folio;

a comparison with a microfilm of the tablature immediately shows the
error.
51 v.
Therefore in the translation the proper folio number
rather than 52)
by Correa.
is given in brackets beneath the number given
(2) The use of a transcription into modern notation with
modern
pagination
reader;
to facilitate the use of the chart,
have
(i.e.
renders
the folio numbers useless to the modern
been added by the present author.
two additional columns
The column immediately to
the
right of the folio numbers gives the tiento number, while the
far
right-hand column of the chart gives the volume (VI or XII) and
beginning
page
number
of
each
work
as
transcribed by Kastner in
Monumentos de m~sica Espa6ola.

Despite
the
preface
tiona!
have
the
above
concerning
historical
difficulties,
the
insights gleaned from
Correa's pedagogical viewpoint, his transi-
position,
and
appropriate performance practices
proven invaluable in the understanding of the musical contents
I
of the Facultad Organica.
In
the interest of clear organization, the text of this paper
has been divided into three main sections:

1
( 1)
the translation of
For an explanation of these ornaments, see pp. 71-74
below.
the
Facultad Organica;
problems
(2) Correa's treatment of modality; and
(3)
concerning the following elements of performance practice:
ornamentation,
fingering and articulation, rhythmic alteration, and
registration.
A summarization of the ramifications for performance
practice
and
conclusions
regarding
are given at the close of the text.
Correa's
historical
importance
TRANSLATION OF PREFACE
To
Book of Tientos and Exercises of Practical and
Theoretical Music for Organ, Entitled Teacher of Organ
[Fol. II] Table of tientos and exercises for organ contained

in this book, divided into sections called grades, beginning with the
easiest, requiring the least study, in the first grade, and so on
through grades of increasing difficulty and care, in order of said
exercises eventually reaching the fifth and final grade; this last
grade denotes the greatest difficulty and demands
perfection in its exercises.
the greatest
The second grade is presented as such
not because of musical quality but because it introduces [full]

tientos as opposed to [single] versos [of the first grade].
Folio
Title
Tiento
Number
Page in
Monumen tos ..
First Grade, the Easiest

[ Tien tos for Entire Registers
of the First Grade] 1
Tiento in the first mode [Dorian]
on D with pred~,inantly eighthnotes for the entire register
42
XIV
VI:89
1 A tiento for entire register [Tiento de registro entero] was

composed for registration which was the same throughout the compass
of the keyboard.
Tiento in the fourth mode

[Hypophrygian] on E with predominantly eighth-notes
48
XVII
VI:103
Another tiento in the fourth

mode [Hypophrygian] on E with
eighth-notes and sixteenth-notes
49 [ v.]
XVIII
VI:107
Another tiento in the fourth mode

52
[Hypophrygian] on E with predom[51v.]
inantly eighth-notes and sixteenthnotes
XIX
VI:111
Tiento in the fifth mode [Lydian]

on C with predominantly
eighth-notes
54
[ 53v.]
XX
VI:116
Tiento in the seventh mode

[Mixolydian] on D and A with
predominantly eighth-notes
64
[ 63v.]
XXIV
VI: 138
[Tiento for] divided register for

the soprano, in the seventh mode
[Mixolydian] on G, with predominantly eighth-notes
128
[127v.]
XII:81
Another for the soprano in the

eighth mode [Hypomixolydian]
on G, with predominantly
eighth-notes
123
[ 122v. ]
XLVIII
XII:69
For divided register for the

bass in the first mode [Dorian]
on G, with predominantly
eighth-notes
91
[ 90v.]
XXXV
VI:206
Another for bass in the sixth

mode [Hypolydian] on C with
111
[ 110v.]
XLIII
XII:42
Tientos for Divided Registers

of the First Grade 2
A tiento for divided register [Tientq de medio registro] was to

be played with different registration on the two sides of the c'-c#'
division characteristic of Spanish organs. One or two voices were
played on a solo registration on one side of the division, while
accompanying voices were played on a quieter registration on the
other side.
/.
Another for the bass in the

ninth mode [Aeolian] on A, with
95
XXXVII
XII:6
Second Grade, More Difficult and

Demanding More Perfection than the Preceding
[Tientos for Entire Registers
of the Second Grade]

on D for the entire register in
predominantly sixteenth-notes
40

on D, for five voices with
XIII
VI:83
132
LII
XII:91
Tiento in the fourth mode

[Hypophrygian] on E, with predominantly sixteenth-notes
12
[11v.]
IV
VI:22
Another tiento in the fourth mode

[Hypophrygian] on E, with predominantly eighth-notes
44
XV
VI:93
Tiento in the sixth mode

[Hypolydian] on F, with predominantly eighth-notes
55
XXI
VI:l20
Another tiento in the sixth mode

[Hypolydian] on F, with predominantly sixteenth-notes
57
XXII
VI: 124
93
[ 92v. ]
XXXVI
XII:!
XXXVIII
XII: 10
[ 39v.]
[ 43v. ]
[Fol IIv.] Divided Registers of

the Second Grade
[Tiento for] divided registers for

soprano in the tenth mode,
[Hypoaeolian] on D, with predominantly sixteenth-notes
Another for divided registers for

97
soprano, with predominantly
sixteenth-notes [no mode specified]
10
Another for soprano in the fourth

mode [Hypophrygian] onE, with
100
[ 99v.]
XXXIX
XII: 16

soprano in the seventh mode on
G [Mixolydian], using sixteenths
115
XLV
XII:52
Another for soprano in the seventh

mode on G, using sixteenths
118
[ 117v.]
XLVI
XII:58
[Tiento for] divided register in

the eighth mode [Hypomixolydian]
on C, with predominantly
six teen th-no tes
120
[ 119v.]
XLVII
XII:63

the tenth mode [Hypoaeolian] on
A, with predominantly eighth-notes
130
[ 129v. ]
LI
XII:86

the irregular twelfth mode
[Hypoionian] on G, with predominantly eighth-notes
125
[ 124v.]
XLIX
XII:74

the bass in the first mode
[Dorian] on G, with predominantly eighth-notes
89
[ 88v.]
XXXIV
VI:202

bass in the second mode
[Hypodorian] on D, with predominantly eighth-notes
85
[ 84v. ]
XXXII
VI:l91
Another tiento for the bass in the

second mode [Hypodorian] on D,
with predominantly eighth-notes
87
[ 86v. ]
XXXIII
VI:197
The Third Grade, More Difficult and

Demanding More Perfection than the Last Two
of the Third Grade]
Tiento for the entire register in
the third mode [Phrygian] on A,
with predominantly sixteenth-notes
III
VI:l3
11
XVI
VI:97
Tiento in the fifth mode [Lydian]

15
on F, diatonic [with no key signa- [ 14v.]
ture], with predominantly sixteenthnotes
VI:28
Tiento in the diatonic [with no

key signature] sixth mode [Hypolydian] on F, with predominantly
six teen th-no tes
17
VI
VI:33
Another in the sixth mode [Hypolydian] on F, over the batalla,

60
[ 59v.]
XXIII
VI: 129
Tiento in the seventh mode

[Mixolydian] on A, transposed,
with predominantly sixteenthnotes
20
[ 19v.]
VII
VI:39
Tiento in the ninth mode [Aeolian]

on F-sharp, accidental [with key
signature], with predominantly
eighth-notes
27
IX
VI:55
Tiento in the eleventh mode

[Ionian] on F, with predominan Uy
sixteenth-notes
34
[ 33v.]
XI
VI:69
LXVI
XII:224
XLIV
XII:46
Tiento in the fourth mode [Hypophrygian] on E, in the style

of a canzona with predominantly
eighth-notes
46
196
Variations on the Chanson
"Gaybergier" with predominantly
sixteenth-notes [no mode specified]
Tientos for Divided
of the Third Grade
Regis~ers

112
soprano in the sixth mode [Hypolydian], using b-flat and b-natural,
12
[Tiento for) divided register for

soprano in the seventh mode
[Mixolydian] on D, with predominantly sixteenth-notes
65
XXV
VI: 140
Another for soprano in the seventh

mode [Mixolydian] on D, with predominantly sixteenth-notes
68
XXVI
VI: 147
Another for divided register for

soprano in the second and seventh
mode, [Hypodorian and Mixolydian]
on D, with predominantly
sixteenth-notes
71
[ 70v.]
XXVII
VI:153

second mode [Hypodorian) on D,
73
XXVIII
VI:l60

second mode [Hypodorian] on D,
76
XXIX
VI:166
XLI
XII:28
XXXI
VI:183
[Tiento for) divided register for

soprano in the twelfth mode
[Hypoionianj on C, with predominantly sixteenth-notes
bass in the seventh mode [Mixolydian] on D, with predominantly
six teen th-no te s
[75v.]
105
[ 104v. ]
82
[81v.]
[Fol. III) Table. Exercises for the Fourth Grade,

More Advanced than the Preceding

of the Fourth Grade)
Exercise for the entire register
in the first mode [Dorian] on D,
3[1] 3
Correa has 3 in his index but the actual folio number is 1.
VI:l
13
Exercise in the second mode [Hypodorian] on G, with predominantly

six teen th-no te s
II
VI:7
Exercise in the eighth mode

[Hypomixolydian] on G, with
23
VIII
VI:46
Exercise in the tenth mode

(Hypoaeolian] on A, with predominantly sixteenth-notes
30
VI:62
Exercise in the twelfth mode

[Hypoionian] on F, with predominantly sixteenth-notes
37
[ 36v.]
XII
VI: 75
108
[107v.]
XLII
XII:35
[Exercise for] divided register for 78

bass in the second mode [Hypo[77v.]
dorian] on D, with predominantly
six teen th-no tes
XXX
VI: 172
Another for divided register for

bass in the ninth mode [Aeolian]
on A, with predominantly eighthnotes
102
XL
XII:21
Exercise for divided register for

two sopranos in the second mode
[Hypodorian] on D, with predominantly sixteenth-notes
137
[ 136v.]
LIII
XII: 100
Another for two sopranos in the

seventh mode [Mixolydian] on D,
140
[139v.]
LIV
XII:l06

two basses in the second mode
[Hypodorian] on D, with predominantly sixteenth-notes
143
LV
XII:ll2
Tientos for Divided Registers

of the Third [sic] Grade
Exercise for divided register

for soprano in the twelfth mode
[Hypoionian] on C, with predominantly sixteenth-notes
14
Another for two basses in the

fourth mode [Hypophrygian] on E,
147
[ 146v.]
LVI
XII: 120
Another for two basses in the

eighth mode [Hypomixolydian] on
G, with predominantly sixteenthnotes
150
LVII
XII:l27
Exercises of the Fifth and Final Grade,

a Grade Superior to All
of the Fifth Grade]
[The song] Susana in the first
mode [Dorian] on D, embellished
with predominantly thirty-second
notes
167
LXI
XII:l66
Exercise for the entire register

in the first mode [Dorian] on D,
with predominantly thirty-second
notes
174
[ 173v.]
LXII
XII: 180
Sixteen variations on "[Gucfrdame

las] Vacas" on D, with predominantly thirty-second notes
190
[189v.]
LXV
XII:213
Chanson "Dexaldos mi madre"

in the eighth mode on C, with
predominantly twenty-four notes
to the measure
184
LXIV
XII:201
Exercise for divided register

for soprano in the second mode
[Hypodorian] on D, with predominantly thirty-second notes
154
[153v.]
LVIII
XII:l34
Another for soprano in the second

mode [Hypodorian] on D, with
predominantly thirty-second notes
158
LIX
XII:146
Another for soprano in the sixth

mode [Hypolydian] on F, with
predominantly twenty-four notes
to the measure
180
[179v.]
LXIII
XII:l91
[Exercises for] Divided Registers

of the Fifth Grade
15

bass in the second mode [Hypodorian] on D, with predominantly
thirty-second notes
XII:l57
163
Prosa for the Most Blessed Sacrament, and a

Plainsong for the Immaculate Conception, with
Three Variations over the Same Plainsong
Prosa for the Most Blessed
Sacrament in the tenth mode
[Hypoaeolian] on A
199
LXVII
XII:230
Plainsong for the Immaculate

Conception of Our Lady
202
LXVIII
XII:236
Another plainsong, and three

variations: the first with
predominantly six, the second
with predominantly nine, and
the third with predominantly
twelve notes per measure, in
the form of [an exercise for]
divided register for soprano
203
LXIX
XII:238
16
[Fol. Illv.] [Licentiati Ioannis

Alvares de Alanis, in
laudem Auctoris.
Epigrammaton, et encomium.]
An Epigram and Encomium
of the Licentiate John Alvarez de Alanis
in Praise of the Author
With your muse on high, whose flourishing temples (with the remaining
muses)
Resound with solemn sacred music
0 Phoebus [Apollo] attend to your prayers and surround
The master's 4 forehead with your locks.
The distinguished [lit.: noble] Correa's [thoughts] like gently flying
birds
Have produced a book that augurs well [has great promise].
Behold, the inspirational sister 5 prepares a trumpet for your time and
labor6;
And I rejoice at your fame [as] your excellence 7 now appears worthy of
lasting marble.
And the pages seem to me now as valuable as cedar
Since the delightful music is made of short and long as well as black
and white notes.
The scoreS has long-lasting power and is as imperishable
As the heavens and as durable as diamonds.
As long as the sun [god] with his reins swerves the chariot around
4 lit.: the father's, i.e. producer's of the book, Correa's

5 lit.: the nurturing sister, i.e. the muse of music Polyhymnia, one of
the nine "sisters"
6 i.e. makes you famous
7 lit.: laurel wreath
8 lit. : parclnuen t
17
After racing across the sky and then makes its wheels drink [the
waters of] the sea 9 ,
As long as Hybla10bears honeycombs and Tmolus11bees,
As long as the Baetic [Andalusian coast] bears fish,
Your fame will raise you to heaven.
May [your work] have a happy future, may it outlive new ages;
And may it live to overcome [all] ages with its indestructible fame.
Let not the envious dog 12 tear its merit with his ravenous teeth
Nor any old hag13 curse [lit.: bark] it like Scythian cavemen.
Let Zoilus12, appalling in word and gesture, turn silent
And may this book always be well thought of.14
i.e. runs its course

10 a mountain in Sicily with many flowers and herbs attracting bees
(allusion to industriousness)
11 a mountain range in Lydia, home of many bees
12 symbol of insidious criticism; Zoilus (4th century B.C.) ruthlessly
attacked Homer and Plato
13 reference to Sybils (prophetesses)
14 lit.: be in pious mouths
18
[ Fol. IV)
Prologue in Praise of the Tablature
Tablature in music was a very humane and merciful device used
by masters with the young and with those of little skill.
In view of
the need for such people to remember their lessons, and to add that
which they lack in order to be proficient, and in view of the great
difficulty (not only for beginners but also for those more advanced in
music) in preparing to play any organ work, no matter how small and
easy it might be; a new manner of symbols was invented through divine
inspiration, providing the necessary remedy for these problems, which,
while bringing about the same effects (in such perfection and elegance
as that of mensural notation and without the loss of the musical
jewels contained therein), would reduce that difficulty and discouragement to great ease and smoothness, making level and easy the
road previously extremely difficult and painful.
symbols called tablature
15
This new kind of
was first used in s.everal different ways:
15 Keyboard tablatures of various types had been in use since the

early fourteenth century. The earliest such tablatures, such as
the Robertsbridge Codex, used a combination of tablature and staff
notation (as indeed German keyboard tablature continued to do well
into the eighteenth century).
The chief Spanish contributions
clearly show the influence of Spanish vihuela tablature, which
developed early in the sixteenth century and used a pseudo-staff
consisting of one line for each course of the vihuela and a number
for each fret.
When applied to keyboard notation, these traits
took the forms of ( 1) the placement of each contrapuntal voice
on a single iine of the pseudo-staff; and (2) the use of numbers
in place of letters.
Both of these innovations first appeared in
1555 in Declaraci6n de instrumentos musicales by Juan Bermudo;
the system was further refined in Libro de cifra nueva by Venegas
--I
de Henestrosa (1557) and in Obras -::---7
de musica
by Antonio de Cabezon
(1578), who reduced the numbering system to 1 through 7 = f through
e' and added dashes, dots, and commas to indicate the correct
octaves. Correa employed this later, more refined style of Spanish
keyboard tablature.
19
sometimes with
letters of the alphabet; sometimes in the Castilian
manner with numbers, with various accidentals and signs, which is not
easy and concerning which can be claimed that it was totally neglected
until the genius of our Spaniards brought about the invention of this
type of tablature we have today, and in which the music of this book
is notated so easily and altogether so perfectly that there is no
better sys tern.
This has been so easy and advantageous to the t1ass and
services of the Holy Catholic Church that wherever it has been used it
has produced marvelous effects, CAU$ing young beginners to achieve in
a brief time
what in previous tlu1es could not be achieved after many
years of study.
And it is no wonder: because in it not only the
master but the reasoning student might see how the first voice enters
the passage, and how the others enter in relation to each other, and
how, after the first [voice] completes its entrance, it accompanies
the second through its entrance, and how the first and second accompany the third, and these three accompany the fourth.
And after
all four have worked out the theme, observe how they revel in imitating some passage in diminution, or in frolicking without imitation,
or conversing in a thousand possible ways, until one of these voices
pulls up its reins on its course, and falls silent, only to begin
again [Fol. IVv.] with new ideas, or with the same [ideas] repeated to
a different type of accompaniment.
In this way the various voices
manage to imitate each other, awaiting the occurrence of a cadence,

now silencing one voice, now bringing to life a voice previously
silenced, and silencing it until the last has imitated the second idea
or has completed the repetition of the first.
In these pauses, the
20
good student likewise observes the quality of the cadence, whether

final or passing, with minor or major third flatted or sharped; the
accompaniment that it has, on which dissonance it comes to rest,
whether it is truly final [prepares a final cadence] or leads to
another.
Note likewise, when not wanting to use the same theme, the
writer pairs another different one with it or imitates the same theme
passively, that is by exchanging voices.
Observe the mode and its
proper cadences, and note the moderation with which it uses irregular
cadences,
at~empting
pleasant digressions, departing from
its
character for infrequent passages and returning through these (or

through other [modes]) to its normal character.
Consider likewise the
species that the tenor, alto, and soprano have in relation to the low
bass, and likewise those which the alto and soprano have in relation
to the tenor; and lastly those of the soprano in relation to the alto;
this consideration acquaints one with the good and bad, with the
perfect and imperfect.
and dissonance
Note the deliberate irregularities, freedom
treatment and accompaniment.
Note the embellished
passage, the melodic line, the repetition and imitation, the passage
now slow, now fast, now complex and intricate: the pleasant little
morsel, the sweet treat, the little toy, and a thousand other tidbits
that the eminent in art disclose each day.
already
knowledge~ble)
Understand (if you are
the genera and their intervals, the proportions
and their numbers (material that unveils the depth and breadth of
music).
Observe the beginning, middle and end of the measures, and
all the rest that is contained therein, observing arsis and thesis,
21
what voices sound together, and the location of each.
All of this we,
the masters, achieve in organ playing with great difficulty and at the
end of many years of study, while there are many who not even in all
their lives can attain immediate comprehension of four
unadorned voices; yet it is through the tablature that
simul~neous
students in a
very short time of study have succeeded in understanding (not only

unadorned but what is even more) embellished passages.
Although there
are many who do not think well of the tablature, we have
ob~ined
these advantages and many others from it and so have the students.
It
would give me great contentment if the same were to result from my

book.
May the well-intentioned [readers, musicians], to whom alone I
address everything
con~ined
therein, always keep in mind [and use]
the tablature and my book to the shame and confusion of the venomous
critics.
In particular the following remarks [should be observed].
22
[Fol. 1]
Observations
You will find in this book, dear discerning Reader, many

strange features worthy of being esteemed by those who are quite
knowledgeable; and of being known by those who wish to become quite
knowledgeable in this endeavor. You will also find the reasons that
these strange features have and that I had in teaching them as briefly
as possible, leaving all that is omitted here for a better occasion
and a special treatise; first I might predict now that you will find
many remarks and indications placed in the practical exercises,
something new which has never been done before by a musical practitioner.
You will also notice the new language and manner of speech,
calling some works diatonic, others chromatic, and others enharmonic;l6
calling some works soft, others hard semichromatic, and others hard
semienharmonic; and finally, calling others soft semienharmonic, as is
more extensively contained in the book of versets.
16 rhese terms, which had their origin in ancient Greek melodic

theory, were extensively used to refer to the genero in medieval
and Renaissance modal theory. In Correa's usage, "hard" refers
to the use of one or more sharps in the key signature, "soft" to
the use of flats.
"Diatonic" is used to describe those works
having no sharps or flats in the key signature; "semichromatic"
refers to the use of one flat or sharp, "chromatic" to the use
of two. Correa here uses the term "semienharmonic" to refer to
the use of three sharps or flats, but is inconsistent in this
terminology, since on fol. 14 ( cf. p. 66-6 7 ) he appears to give
the term "enharmonic" the same meaning. For further enlightenment,
consult pp. 64-69 and I I 7- I I8 of this dissertation.
23
Likewise you will find exercises in the ninth, tenth, eleventh, and twelfth modes, and it will seem to you that this is an
invention without good reason.
You will find some of the tientos terminating on a final of F
played with B-natural, these being the first ones of the fifth and
sixth modes respectively.
You will also encounter exercises with key
signatures, with a natural or naturals after the time signature, to

avoid continual placing of sharps on all the "mis", and it will seem
(to be) a thing so new that I am the first to do it.
You will also find here the works without acciden tals ("naturales") and these are to be called diatonic, notated without either
flats or key signatures.
You will find also some pieces notated in tempus imperfectum,
C, and others with a line through C; some with tempus perfectum marked
0 and others marked
$:
all of which are used to distinguish the
different tempi that must be apportioned to the measure.

You will see and read at the beginnings of the tientos the
appropriate octave species of each one, counting in some from the
finalis and in others from the dominant.
You will find a new opinion of mine, i.e. that there are no
pieces for divided registers in the first mode with the final of D,
nor in the second mode on G, nor in the fifth mode on C, nor in the
sixth mode on F, and so forth; this is to be understood as a rule,
according to the ambitus of the stated modes, with the disposition of
the notes of the. organ and of the limits within which we travel in
these pieces and (in) others for divided registers.
24
You will encounter, likewise, some unknown proportions of

five, nine, eleven, and eighteen notes per measure, and others that
are [Fol. lv.] in the versets.
You will find,in some groups of notes of the same proportion,
notes [numbers] which signify a difference of ayre [interpretation];
as for example: in the sesquialtera proportion six or twelve notes to
the measure have the number two or three above them.
You will also see certain dissonances and liberties for which,
at first sight, it will seem to you, there is no room in the laws of
good music; look to them and ponder them well and strive to be aware
of all of them which men of note have written, and to understand the
theory of these dissonances, and the reasons which these men could
have had for writing them; and you should have no doubt about any of
these.
Likewise you will find works of ternary major proportion with
twenty-four notes per measure and of binary major proportion with
thirty-two notes per measure, a new thing and by no author of this
kingdom ever put into print up to now.
You will also find other opinions of mine: that works "de
m'edios registros doblados" [i.e. half the keyboard] for two soprano
voices or two bass voices must be in five voices, and in no way in
four [so that there are three accompanying voices limited to the other
half of the keyboard.]
You will see on one occasion the fourth used as a partial
perfect consonance and on another occasion as an imperfect consonance,
25
to make you understand the respect and reverence that the old musicians
(of the greatest name)
had for this interval and that all the
theorists, ancient and modern, have.

You will find in certain prefatory remarks of the pieces of
this
book
new
term called "virtuality", which is a similar but
unequal movement of two voices to a perfect consonance.

Likewise
resolution,
you
will
find
new
intense
dissonance
the interval of a chromatic semi tone,
the twelfth mode, folio 37, measure 2817;
the
without
in the tiento in
diminished
octave
in
the tiento in the seventh mode for bass, folio 30 [83], measure 7918;
and
the pludiapason or augmented octave in the tiento on the eighth
mode, folio 23, measure 15319. actually an augmented double octave.

And
curiosities
you
so
and
that
you. will
well-founded
(very briefly)
not be left dissatisfied with these

novelties,
I want to explain them to
giving you the reasons
avoid wasting of space)
that I
(some, though not all, to
had in attempting these, and showing
their correctness and compatibility with the rules of good music.
First Point
Two
reasons,
among others,
impelled me concerning the first
point, which deals with the positioning of hands:
the first [was]
seeing how much is to be noticed that is written in the works of very

serious authors concerning liberties, dissonances, and audacities that
17
Tiento XII
18
Tiento XXXI
19
Tiento VIII
26
are used, and how they are [actually] little noticed because they are
[Fol. 2] written in three, four, or five voices of polyphony, sometimes divided into booklets [part-books] which not all, but rather
very few can readily understand, unless they are in tablature: and
thus I wanted to write in tablature some of the many things that I
have seen in the stated authors, to give them to you to drink (as they
say).
The second reason is that I want to do in music what many
scholars try to do in their fields, namely to augment, to amplify, and

to extend: and as in music there may be much more to say and do than
has already been said and done, I have wanted to add and invent
another new kind of theory of rules of music, that are the usual cases
that customarily appear (and that may occur to any composer), in the
setting, the concurrence, and succession of the voices: doubting,
affirming, and resolving, as I have done, opening the way in only one
instance, that is, whether a dissonant note can be played against its
resolution separately [successively] or simultaneously, meaning the
sudden dissonant chromatic unison, diminished octave or augmented
octave.
And because I have intended (God willing) to write a book of
the stated rules of music {which are those I mention), I have made
these remarks in order to tell you that such and such a case occurred
in such and such a tiento, in such and such a measure, on the arsis or
thesis, with such and such voices, sounding such and such intervals,
proceeding through such and such genders, with such and such proportions, in such and such other conditions, and in case of doubt, it
is affirmed by both of the above reasons; it will be very useful, God
27
willing, to have come to light, that which must be [for the explanation of treatment of dissonances] after the publication of the
versets.
Second Point
Concerning the second point, which is to give titles to the

pieces or tientos of various kinds, it is to help you understand how
much the awareness and thinking-through of this material matters for
many purposes, primarily so that you come to notice the accidentals,
and with one term or word, you are able to identify the transposition
to be observed in playing
and singing; likewise know the mixture of
the genders20rn the use of notes with and without accidentals and the
dissonances that are created by this mixture; and know, or desire to
know, the procedure of the genders through their intervals, so that
when you are a master in playing and improvising, you may organize
more complicated tientos and exercises, availing yourself of these
intervals on appropriate occasions. And observe at the same time that
one proceeds through such and such a gender or genders in three ways:
i.e. forming the intervals, proceeding through the [accidental] signs,
and [Fol. 2v.] cadencing as I describe below on Fol. 158 [in the title
of Tiento LIX], and more extensively in the promised book of versets,
and therefore I will say no more.21
20 For information regarding Correa's definition and treatment of
the diatonic, chromatic, and enharmonic genders, see pp. 64-69,
117-118,201f. of this dissertation.
21 Correa apparently had planned to write a book of versets; however,
no trace remains of this work. It is doubtful that it ever reached
publication, as there is no mention of it in other sources of the
era.
28
Third Point
About the third point: considering the ancients that had in
music only four species of consonant and perfect diapentes, which are:
the first--ut, _E!, mi, fa, sol; the second--:!,!, mi, fa, sol, la; the
third--mi, fa, sol, re, mi; the fourth--fa, sol, !:!, mi, fa and that
adding to this species the diatessaron, above the diapente in the
"master tones" [authentic modes], and below [it] in the "pupil tones"
[plagal modes], (and in plain-chant) this came to produce eight
different octave species; they [the ancients] determined that the
modes or tones of music should be eight.
But afterwards because the
moderns with mature deliberation and agreement, considering that the

syllables of music are six namely ut. !!' mi, fa, sol, la, and that
two modes terminate on_!!, and two on mi, and two on fa, and two on
sol (according to the order of the ancients), thus judged it reasonable not to deprive the two extreme syllables remaining, which
are~
[=C) and la [=A], of another two tones for each one, and so (without
disturbing the old order) they gave la the ninth and tenth modes, and
to ut the eleventh and twelfth; the latter two, for good reason, ought
to be the first two modes because they are
and foundation
on~,
and first syllable of music.
which is the basis
The reason which the
moderns had was the stated one of [the usage of] six syllables
together with the ancients' eight species, converting mi to fa if this
is the only syllable remaining.
It is sufficient to have different
modes or tones, such as happen in the fifth and sixth modes using
B-flat, and in the seventh and eighth of the ancients [using F-sharp],
29
and this syllable of difference [mi or fa] is found in different

locations in the four octave species of the four additional modes; it
then follows clearly that the modes of music are twelve according to
the opinion of the moderns.
Fourth Point
The declaration of this fourth point depends also on the

understanding of the preceding, in which I said that the octave
species mentioned are of twelve kinds, and commence on great C.
Following are twelve different octave species, according to
the different positions of the diapentes and diatessarons, which
pertain to the tones of plain-chant in [Fol. 3] which the "authentic"
[maestros] tones have the diatessaron above the diapente; and it is the
reverse in all the plagals.
30
[authentic]
ut
c.
ut
re
mi
fa
re
mi
fa
sol
mi
fa
sol
re
fa
sol
re
mi
ut
re
mi
fa
re
mi
fa
sol
mi
fa
sol
mi
fa
la
sol
fa
mi
fa
sol
re
ut
mi
fa
re
mi
fa
mi
fa
sol
1a
fa
sol
re
mi
sol
re
mi
fa
re
mi
fa
sol
mi
fa
sol
la
sol
la
E.
sol
fa
mi
sol
re
fa
la
fa
ut
mi
sol
fa
D.
fa
mi
mi
c.
mi
re
re
fa
mi
la
9
re
re
re
A.
fa
ut
sol
sol
mi
A.
G.
fa
re
G.
ut
mi
ut
F.
fa
la
mi
E.
mi
sol
re
D.
re
[plagal]
sol
la
The different octave species, being as there are
twelve: it
follows that there are also twelve modes, and from this results that
the fifth and sixth tones terminating on F and using B-flat to be
precise are nothing but the eleventh and twelfth modes transposed,
which, for good reasons, start on C, since the octave species are of
the same solmization; and consequently the fifth and sixth modes, with
b-natural, naturally finish on F, as many graduals and other chants
I
are sung in these modes, and Antonio de Cabezon used it in the

diatonic Kyries of the fifth mode on F, folio 49 versus and 50 of his
collection, and Morales used it in a verse of the gradual of the
Requiem Mass with the words "in memoria aeterna", etc. transposed
31
semichromatically from B-flat to B-natural, which is the same as the

mode ending on F without B-flat; and it is used in other chants; and I
use it in the two tientos that have been mentioned previously, which
was not inventing any new thing, but pointing out a little-known
curiosity
to those who wish to know,
to whom I also point out
another, namely that the b-na tural in these two modes is one which
alerts and spurs on those that sing; and it will be seen thus when the
choir sings fauxbourdon on the sixth mode.
If this mode is played
using B-flat, then upon entering again on the A [dominant] the choir
comes in so carelessly that
the~
[dominant] almost becomes B-flat:
(fa in the hexachord): if, however, B-natural is played in the sixth

[Fol. 3v.] mode, it appears that the chorus is alerted and sings the A
clearly thus giving the major third [above F] the correct size, as it
should be; thus, in these cases it is good to use the sixth mode with
B-natural, and he who is a master in the technique of composition
right away shows his ingenuity.
Fifth and Sixth Point
When I first opened my eyes to music,there was in this city no

trace of music for the organ using acciden tals: and the first that I
saw notated in tablature after some years were some versets in the
eighth tone by Peraza, and then there were a few more, others by Diego
of Castillo, prebendary organist at the cathedral of Seville, and
afterwards at the Royal Chapel, and all had sharps placed on all the
32
figures 1, [the symbols for F in Spanish keyboard tablature]; and

considering what the Philosopher stated: "frustra fiunt per plura quae
fieri possunt per pauciora"22, and noticing that one could avoid the
inconvenience and nuisance of placing a capital rounded B at the
beginning of the work, I judged it common practice to place in the
works with sharps only one large natural [at the beginning] that would
act as a sharp for all the figures 1, which are the sharps of F; and
if C's are to be sharped I place two naturals; and if G's are to be
sharped I place three naturals, each [over]23 the number which is to be
sharped, although for the learned it is not necessary to place
numerals, inasmuch as the mentioned sharps are found in their stated
order by proceeding through descending diatessarons from G, saying fa,
mi, !:!_,
~,
and beginning the next te trachord [on D]
Likewise flats
are found in ascending diatessarons [from F], first a B-flat, then an

E-flat and then an A-flat; with one flat, two flats and three flats
and likewise one capital rounded B [at the beginning] will stand for
the first flat [B-flat], two for the second [E-flat] and three for the
third (A-flat) 24: according to what is more extensively contained in
the book of versets which I have promised.
And here I judged it
reasonable common practice to place no ace iden tal sign [at the
beginning]
in natural "diatonic" works: because what is natural does
not need an ace iden tal sign such as ~and B, denoting the "chroma tic''
gender.
And in this [Fol. 4] I follow most great keyboardists of Old
22 Free translation: "In whatever you do, be economical with means."

23 The original, however, reads "under" (debaxo}
24 In his tientos he never places more than one B at the beginning
33
Castile, who in "diatonic" works do not place a natural sign, nor do

the masters of the chapel, and of plain-chant (as I explain below}.
And (in placing accidentals} I also follow Nicolas Barroducense, a
very great old author who places a natural in the numerals for F and
C, which have to be sharped, (see his treatise of music, chapter four,
in his table of accidentals, and later chapter six on musica ficta,
etc.}: and it is important not to omit the [correct] playing of B-fa-be-mi, and beginning on F adjusting and equalizing the B-naturals and
B-flats for the distinction of the hard and soft genders [hexachords],
as will be explained in my promised book of versets.
Seventh Point
Many works by very great masters I have seen notated now with
tempus imperfectum [C), now with tempo partido [41 indiscriminately,
for which there is no reason, given their great disparity.! am content
with the way Father Manual Rodr{guez Coelho employs it in the book
which he wrote in mensural notation for players of the keyboard, etc.
inasmuch as he uses the imperfectum [C] in works of sixteen notes to
the measure [sixteenth notes] without mixing it with the other tempo;
and thus, considering this [usage] and the purpose of the tempo "por
medio''
[41 as combining two measures in one, which can best
be done in
works of eight to a measure [eighth-notes], I determined to attribute

the tempo partido to those [works] of eight [notes per measure] for
the stated reason, and the [tempus] imperfectum for those of sixteen
34
notes [to the measure] as it should be: so as to clarify the difference in executing the rhythm of one and of the other.
And because
between these two extremes of slower rhythm ["Compas a espacio"] and

I
faster rhythm ["Compas a priesa"], there should also be a middle one,

it is good that it might be in the stated signature of "Tempo perfecto
de por medio" [~], which gives more value to its longer notes than the
imperfecto partido
accomoda te [ 1]
l1
and less than the imperfecto [C); for this will
those works which, although they are eight to the
measure, by their ligatures require a little more breadth, and (2)

those of eight [notes to the measure] which are separate [not in
ligatures] and of complex embellishment, and which require the perfecto de por medio (~], being that [signature] (of all) which gives
least value and least time to its notes; and because the works of
twenty-four or thirty-two notes to the measure demand a different
amount of time for their execution, they are notated in the following
form.
Inasmuch as these [works) of twenty-four [notes to the measure]
are composed of three equal parts and are ternary and must be identified by a number three placed [ahead of) 25 the time signature, and as
this has to be [Fol. 4v.] major time, or major proportion, and they
demand a tempo broader than those mentioned above, therefore they are
notated with the "tiempo perfecto de por media"
of]
26
denotes
it
as
was
stated
[+3]:
(ahead
[while] with the perfecto [O] one
a grave [slow] tempo, [this] is written with the line through
the middle and a
three ahead because it [the three] denotes a major
25 Actually placed after the meter signature.
26 Idem
with a three
35
proportion, and is the slowest of all [except for the following].
The
works of thirty-two notes to the measure are notated with the pure
tiempo imperfecto: this is without additional indication (i.e., without
a slash), inasmuch as this tempo is [truly) the slowest and signifies
a greater breadth in the manner of execution.
Eighth Point
To understand this point you have to assume that, as described

in the following,
the modes have two different octave species, an
Arithmetic one pertaining to the master or authentic [modes), and

another, harmonic one, pertaining to the pupil or plagal [modes] (as
is understood in polyphony); the arithmetic
[authentic] begins a
fourth below the end of the contra-bass; as it is indeed the first

mode, with final of D,
proceeding to [small]
a,
the octave species begins on [great] A,

ascending:~'
mi, _!!, !!' mi, fa, sol, la.
The harmonic [plagal) begins from the same note where
the mode
finishes 1the finalis), as it is indeed the second mode, hence [small]

d, ascending: re, ~'
!!'
sol, ~' mi, ~' sol.27 I said polyphony
because the modes of plainchant have the [same] octave species and the
stated divisions of mutation [as] polyphony, as can be seen in the
fourth point above.
Then as there is this disparity of octave species
in the "master" and "pupil" modes of polyphony, and as the beginners

would be confused in determining the gender of these exercises, it
27 Ambitus and solmization of the two forms of the mode are reversed.
36
occurred to me to place these octave species in the same manner in the

"master" and in the "pupil" modes, beginning to count from the final
note.
Thus my purpose may be realized, namely that the student may
recognize the gender of exercises and tientos, through which notes and
keys they travel, whether they all are in white and diatonic keys, or
contain also some black [keys]; these may be flats or sharps, "chrorna tic" or "enharmonic", which is very important in many respects.
presented the modes in this order until the middle of this book, that
is until it appeared to me that this would suffice to obtain the
stated end.
And once it is obtained it is good for them to go on to
obtain other goals, which are the knowledge of the arithmetic and
harmonic divisions mentioned; the awareness of the ambitus of the
modes; and the observation of the most exact order, which is to
attribute the arithmetic octave species to the master [modes] as it
should be, and the harmonic to the "pupil" modes as has been done; at
the same time I explain [Fol. 5] the correct ambitus of each mode,
from [ the tien to contained in] folio 112 to 115 until the end of the
book.
And because the ambitus of each of the said "master" modes can
be known, namely that they have to begin to traverse its octave

species from a fourth below its final28, I observe that by adding to it
a diatessaron below such octave species and final, and another octave
above the same, one will find that of the two stated octaves and one
diatessaron are made eighteen notes, which constitute the true ambitus
of each "master" mode, to which can be added one free note above and
28 The ambitus Correa indicates is what we would call mixed mode
There is actually very litle difference between the ambitus of
Dorian authentic (F-G-)A to d" (-e") and of Dorian plagal (G-)A
to e" (-f") according to Correa.
37
two below, which are in all twenty-one; and if one might wish to know
that [true ambitus] of the "pupil" [modes], by adding another harmonic
octave species over the first, and by [adding] also a diapente,
nineteen notes will be found, which make the correct ambitus of each
"pupil" mode, and to this can be added one free note above and another
below, which are in all twenty-one; and this ambitus is so employed
only in the unembellished [passages], because in diminutions this rule
is disregarded, inasmuch as the diminution has freedom to go beyond
these limits, above as well as below.
Likewise, neither at the
finalis, nor even in the cadences it is observed, inasmuch as the

lower voice can on these occasions be played in a lower octave, for
the adornmertt and fullness of the final cadence.
This freedom the
organ, and also all instruments, enjoys most among many it has [in
contrast to the restrictions of vocal writing].
Ninth Point
In reference to what I said before, in the fourth point, that

the octave species of each mode is composed of two consonances, which
are the diapente and diatessaron, you should know that the ancients
divided the octave in two manners: one, positioning the diapente below
and the d ia tessaron above, this division relating to the "master"
modes of plainchant; and the other, positioning the diapente above and
the diatessaron below, this division relating to the "pupil" tones or
modes, also of plainchant.
And in polyphony we assign the diates-
38
sarons to the outer parts, a fifteenth one from the other, and the
diapentes to the inner parts, one octave from one another:
this
arrangement [of diatessarons and diapentes] is attributed to the

"master" modes and contains eighteen notes, on the other hand we
position the diapentes in the outer voices, also a fifteenth one from
the other, and the dia tessarons in the inner voices, also an octave
one from the other, with a total ambitus of nineteen notes. Those
octave species which have the diatessaron positioned [Fol. 5v.] in the
lower voice and the diapente in the upper are called Arithmetic29, and
those which have it [the diatessaron] in the upper part and the
diapente in the lower are called harmonic.30 Plainly there is nothing
else but these two octave species, the one bounded by a fourth in the
lower voice, the Arithmetic, and the other bounded by a fifth, the
harmonic, which we ordinarily use.
Therefore, as to each of the four
voices of polyphony one of the stated octave species was given, to wit
(in the "master" modes) to the bass the Arithmetic; and to the tenor
the harmonic, and to the contralto the Arithmetic, an octave above the
bass, and to the soprano the harmonic, an octave above the tenor; and
in the
"pupil"
Arithmetic:
modes, to the bass the harmonic, to the soprano the
and as the stated order of the ancients has been and
should be observed by the moderns, and it must be rigorously observed

by those who are to come, you will realize that obviously in diatonic
works for half-register in the soprano which end on D, the three lower
voices of necessity have the position of the "pupil" modes, i.e. the
29 Reversed!
30 ib:id.
39
bass in the octave from D to d, which has the harmonic octave species;
the tenor from A to a, an Arithmetic octave species; the contralto
from d to c' (although it lacks one note, which would exceed the
principal-tone [register]) is also harmonic, because of the diapen te
that is in the lower part; and the soprano of necessity
must be
counted a' to a" (because its octave species cannot be counted from
small .!:' since it would [also] cross registers; it has also an
arithmetic3 1 octave species; and consequently bass, tenor, alto, and
soprano [have] the positioning of a "pupil" mode.
Therefore my
opinion stands proven, that there cannot be a work for half-register

for soprano in the first mode on D (as I state in the first tientos
and exercises of this part)32 but by necessity they have to be in the
second mode or the irregular seventh mode, [and] in conclusion, more
properly in the second mode.
Tenth Point
Take good notice of the table of proportions attributed to

Pythagoras, and you will come to know many different proportions, and
I wish briefly to call some of them to your attention.
A proportion
means one number compared to another, such as one number of notes in

one voice to a different number in another.
And so if you have one
against one it will be equal proportion; if two against one, duple;

[ Fol. 6] if three against one, triple; if four, quadruple; if five,
31 Reversed!
32 The original has este porte, which probably should be esta parte.
40
quintuple; if six, sextuple; if seven against one, septuple; and many

others, two against two, against three, against four, against five,
etc. which you will see in the mentioned table.
And so you are able
to proceed ad infinitum theoretically, although in practice, you can

only go as far in the number of notes per measure as your hands would
be able to play; these (if they are simple) can be divided exactly
equally, you have to execute them equally and [in a] binary [manner],
and those which can be divided into three equal parts, you have to
execute them unequally and [in a] ternary [manner], accenting the
first, playing normally the second, and lightening the third note.
And in the number of notes such as five, seven, eleven, thirteen,
fifteen, seventeen, etc. which cannot be divided into two nor into
three parts, you have to make of them two unequal parts; you must play
the larger group on the strong beats of the measure, and the smaller
on the weak, in such a manner that to this last group you may give
that equal and divisible number of notes which you would give if to
such proportion you were to add another note, and then take away
one-third of the notes for this weak portion of the measure.
So if
you add one note to the quintuple proportion it will be sextuple: one
third of six is two; so then, you have to execute the rhythm in the
quintuple proportion giving three notes to the strong part of the
measure, and two to the weak, these two (that is, the number that you
should have taken away) [from the total] being left, for the weak part
of the measure; and if adding one [note] to the measure, one-third
does not come out evenly as you are attempting, add to it two [notes]
41
and you will obtain it. And notice that you have to add not actually
(that is, playing or singing with that addition) but mentally, that
is, in your mind before you play, and thus you will know which note of
the group falls on the weak part of the measure.33
Eleventh Point
Some groupings of notes in sesquialtera proportion, that is

six or twelve notes per measure, and also of nine and of eighteen
notes per measure, can be played in two different ways.
The first,
easier manner is to play them equally and plainly, that is, without
pausing more on one than on another, and this ayre (style) is like
major proportion, in which are three whole-notes, six half-notes, and
twelve quarter-notes, equal and plain.
The second manner is to play
them somewhat unequally, and with that charm and graciousness ( typical) of minor proportion, staying more on the first note and less on
the second and third, and then stopping on the fourth and less on the
fifth and sixth; and this style (though more difficult) is the most
used by organists.
It is (almost) as if making the first a half-note,
and the second and third [Fol. 6v.] quarter-notes, or in half-notation, one quarter-note and two eighth-notes, and so on through all
33 Correa speaks of "la prirnera figura de la ultima tercia parte." This

refers to the method of calculation for the grouping of notes, not to
their actual execution.
42
the notes of each measure.
It stands to reason that this disparity,
(which can occur in whichever tempo [be it] entero (0 or C) or partido

(~ or f)), appears also in the [numbers placed above], signs which
denote these groupings so that it can be known when such notes have to
be played equally or unequally. And since the first manner is so
similar to the binary grouping of notes, in which all of those of like
value are sounded with great equality of time, without lengthening one
more than another, and since also a binary grouping demands a number
two:
it seemed reasonable to place above such notes (although of
sesquialtera proportion) a number two, which denotes that they have to

be played equally, just as the number two is equal, formed of two
unities equally paired, and which can be divided into these.
And let
it not appear that I said something new, as I have seen many works of
the great masters in tablature of twelve notes to the measure with a
numeral two above instead of the three we usually place.
The second
manner, which occurs when they are played unequally (pausing more on
the first, fourth, seventh, tenth, etc. and less on those in-between,
which is as if playing one quarter-note and two eighth-notes, more or
less), always has been notated with a three above, to denote the air
[style] of minor proportion or delivery of such notes in sesquialtera
34
[by] Cabez6n and Manuel Rodriguez Pradillo and many others. And
34 This alteration, referred to in Spanish as ayrezillo de proporci~n
menor, had first been documented by the German Hermann Finck in
the second book of Practica Musica in 1556, thus greatly antedating
the .more widely known French convention of notes inegales. Evidence
of the use of the ayrezillo still existed in Germany in Correa's
day;
however,
Correa gives the only documentation of its
application to keyboard literature.
More extensive commentary
on the evolution of this alteration and its applicability to
Iberian keyboard music can be found on pages 162-172.
43
tiJerefore there is no reason to change such usage, especially since it

is based on reason.
And so it is agreed that the three above the
notes (in mensural notation) and numerals (in tablature) signifies the
mentioned little air of minor proportion and ternary grouping; and the
two, equality of notes as in binary (grouping).
Twelfth Point
All the dissonances of the music (that can rightfully be

called dissonances) are such only in two manners:
to wit, dissonances
by number [in the tablature], and dissonances by gender.
A dissonance
by number is that which is produced be tween two contiguous and

opposing numerals.
A dissonance by gender is that which occurs
between two syllables or contrary properties in a gender, such as mi

against fa, or vice versa.
Contiguous and opposing numerals are such as one and two, two
and three, three and four, four and five, five and six, six and seven,
seven and eight.
And expressed [fol. 7] letter-names f and g, g and
a, a and b or b-flat and c, c and d, d and e, e and f.
All these are
seconds, which are dissonances in the music, and occur between

ascending numerals.
From these originate other dissonances which
occur in opposing descending numerals and are sevenths; their numerals

are eight and two, nine and three, ten and four, eleven and five,
twelve and six, thirteen and seven, fourteen and eight, all of which
expressed in letter-names are: f above g a seventh below, g and a [in
the same manner], a and b orb-flat, b orb-flat and c, c and d, d and
e, e and f.
The compounds, hi-compounds, and tri-compounds of these
44
ascending and descending [intervals] are a seventh and a ninth, a

fourteenth and a twenty-first, etc. so that the seventh and ninth, and
those [intervals] which derive from them all have their origin in the
second; and the reason is that they occur in notes [pitch-classes]
similar to those of the second, and that even though those [notes] of
the seventh and ninth are not contiguous as [are] those of the second,
their numerals must be so [contiguous] and the seventh and ninth still
are dissonances; because [even though they are farther apart] they are
compound intervals, and do not regularly exist of themselves, but by
their simple and original [form], which is the second, from which they
receive their entity, for better or for worse.
From this might be
inferred a very important reason (besides those that will be mentioned

later) to prove that the fourth is not a dissonance.
That interval
would be a falsa or dissonance in which both notes are of the same

gender and are contiguous and conflicting numbers [notes] or
[dis~nt]
notes with contiguous, consequently conflicting, syllables.
The
fourth ls of one gender, and is not committed between contiguous and

consequently contrary notes, but between remote ones; therefore is the
fourth not a dissonance?
The consequence is very clear, and without
doubt that (by its very nature) it is not a dissonance except only in
the opinion of some practical musicians [for] the reasons which will
be given later, which is similarity and not peculiarity.
type of dissonance being
which is of gender.
~ken
care of, let us
~lk
The first
about the second,
A dissonance of gender is that which occurs
between two notes of different genders or properties, one soft and

another hard, one imperfect and another perfect, and these dissonances
45
of gender can occur between distant [non-adjacent] notes so that their

conflict does not consist in an adjacent location, but in an opposing
con d i t 1on , such as fa a g a ins t
, or the o p p o s i te , mi agai ns t fa :
i.e. [F'ol. 7v.] mi [B-natural] to the fa [F above, a rising diminished

fifth]; or the opposite, from fa (F) to the mi [B-natural), rising a
tritone fourth; the mi of this be-mi or be-fa-be-mi, pertaining to the
first Diatessaron, of which the semidietonic gender (which is of the
property of B-netural) is formed, is of en imperfect gender, and more
hard by its nature than the second Die tessaron, where the fa of the
mentioned fe-fa-ut is situated, which is natural in character, softer,
nobler, and more tender, and of which the Diatonic gender is perf ec ted,
suave gender, where the fa of the (mentioned)
~-fa-ut
is
situated; from fe-fa-ut to mi of be-fa-be-mi above, a tritone fourth,

a dissonance is again formed between fa and the mi of the imperfect
gender
for the stated reason;
and
moreover
the
stated
species
of diminished fifth and augmented fourth transposed upward a [perfect)

fourth (as if a diminished fifth were formed from e-la-mi to the fa of
be-fa-be-mi above) are opposite genders, because the first is a
diatonic gender, and the second a soft semi chroma tic gender; and
likewise
from
the fa of be-fa-be-mi to the mi of e-la-mi above is a
tritone fourth, which will again be of the stated opposing genders;

and if the mentioned diminished fifth is from the f-sherp to the c
above, one is.!..! and
another~,
one natural and diatonic on c, and
the other hard semi-chromatic, in opposing and contrary transposed

genders; and consequently, these tritones are
naturally conflicting
46
genders and properties, as it is called.
From the dissonances of
gender result all the dissonances that are formed by the addition or
su b.tra c tion of a minor semi tone to or from the natural conson.snces,
according to what is more completely contained in this treatise on the
punt<~
intense contra remisso
[unresolved dissonance],and also the
diminished and augmented octave, dissonances used by very great

authors, and which I have used, and use, for this and for other
rea sons stated in this treatise.
And these two types of dissonances
of number and gender are by their nature dissonant, and are harsh to
the ear: and so they rightfully deserve the name falsas, whether
obvious or hidden, and a work can never end in them.
Besides the
remaining dissonances there is one consonance which is used as a

dissonance on certain occasions, and this is the fourth, which (as I
have said) is not a dissonance by its nature but a consonance, for the
mentioned reason and for others, and on certain occasions practitioners of music use it as a consonance, which they neither would nor
could do, if by its very nature it were a dissonance; but since it
also has that reputation, (i.e. of a possible dissonance) it is not my
intent to alter the way it is used; and it is only mentioned to show
that I am aware of this so that when they see it used (as perhaps they
will) [ Fol. 8] as a partial perfect consonance like the fifth, or as
an imperfect consonance [between middle voices] they understand I was
able to do it because I knew how.
From these three varieties of dis-
sonances, (number, gender, and partial, which is the [interval of a]

fourth) arose so many different instances; and there is so much that
47
could be said and done that many books could be written.
And material
of such great magnitude cannot be explained in a few words, aud for

this. reason there is enough said about this point: only I observe,
even though the same dissonance can be found nota ted many times, be
sure that the accompaniment and voice
le~ding
is not always the same,
but very different, and therefore consider each case different, by

its novelty; thus you notice whenever there is some novelty.
Thirteenth Point
About the thirteenth point there is little to say; because it

is known that in the major ternary measure (commonly called major
proportion) appear three semibreves, six minims, twelve semiminims:
consequently twenty-four eighth-notes and forty-eight
appear [in the measure].
sixteenth-notes
Thus whoever has such quick hands on the
keyboard and tongue on the flageolet that he could articulate these in

one measure should do it: and so the composition of tientos of ternary
measure of twenty-four notes to the [measure] is not a thing I newly
invented (although it is newly printed).
And thus since in a major
binary measure go one breve, two semibreves, four minims, etc., up to

thirty-two sixteenth-notes it is reasonable to play works of thirtytwo notes to the measure.
Whoever has such natural ability in his
hands, and such lightness that he can execute these without lacking
the necessary touch, clarity, and equality, can use them very well,
and whoever does not have this gift should not go beyond his level of
difficulty. in playing them, because he will ruin his touch if he ever
had a good one.
48
Fourteenth Point
Concerning the fourteenth [point] I say that for runs some

masters of the organ have composed some works for divided register,
that is for two [solo] soprano voices, or for two [solo] bass voices;
which they [these masters], to make them easier, have made [to total]
four voices; but in truth one can see that they have no small inconveniences and imperfections!
First (having two sopranos) the bass
voices do not observe the correct ambitus, but they go [Fol. 8v.]
roaming, taking the function and place of the missing voice as if
remedying and covering the voids that it leaves.
[solo voices] cannot have a rest, but at least
Second, the sopranos

one
[of them] has
to go on singing, also covering and remedying this void made by the

missing voice, in order not to be left with two voices.
Third, these
two basses cannot pause and if one has a rest, there remain in the
other very no table defects which are much to be avoided.
Fourth, the
voices go very far apart and distant [from each other], which is
criticized in good music.
Fifth, all the octaves in the left hand are
open or empty, and consequently lacking the good harmony that results
when they are filled in with a fifth or sixth.
And although one
soprano voice compensates for it, in the end (as I say) it is like
mending with another cloth, because instead of being played on a
principal-tone it is played on a plenum; and instead of being nearby
it is very far-away and distant.
Since it has these many inconven-
iences, I advise composers to set these pieces in five voices.
The
49
works for two [solo] basses for divided registers have these same
inconveniences and one more, which is that being in four voices, and
[that] consequently two sopranos, or soprano
and alto,
being
the
highest, theseare heard so little with the volume of the two basses,
that they can be
neither distinguished nor comprehended; and so
observe the same:
that there should be five voices; because three
upper voices against two basses has the effect that the basses no
longer are too loud: they will indeed sound less loud.
Fifteenth Point
Concerning this point there is so much to be said about the

interval or consonance of a Diatessaron that many books could be
written about it, and God willing, in all those that I shall publish,
if God lets me live long enough, I promise you .to explain its various
.
35
pecu 1 ar i t1es.
And to begin I mention to you one f ree dissonance in
this book to which can be paid much attention, and this is two [kinds]
35
Treatment of the perfect fourth has changed repeatedly during the

course of music history. During the eleventh century the fourth
assumed the role of a consonance in organum. It was also seen as
a consonance between the two top-most voices in the four-voiced
organa of Perotin in the late twelfth and early thirteenth
centuries, and this usage was quite frequent in the motets,
rondeaux, ballades, and virelais of the thirteenth and fourteenth
centuries.
However, in the latter part of the fourteenth century
the fourth came increasingly to be treated in two different
manners:
( 1) in English dis cant and fauxbourdon styles the upper
two voices moved in a more or less constant parallel fourth; (2)
in the writing of the Burgundian school, the fourth was treated
as a dissonance which needed resolution; the exception to this
was between the upper two voices of the final chord of a cadence.
The treatment of the fourth as dissonant became the norm for the
next two centuries and was still the generally accepted practice
at the time of Correa.
50
of fourths, one after the other between the two lower voices, one on
th~
thesis, and the other on the arsis, one perfect, and the other a
tritone: and although (in diminution) they could very well pass by
without further comment, since they fit [the style of composition], I
do not want them simply to pass in a diminution, but also in the plain
unadorned musical line.
And concerning this you have to suppose that
this species of Diatessaron was held in great veneration by the

ancients, and [still] is by all theorists, ancient and modern.
And
certainly with good reason, because it is the sum total of [ Fol. 9]

all the musical
says ut,
~,
syllables,~'_:;:,
mi, fa, sol, la; because whoever
mi intones fa, sol, la, at the same time; and vice-versa
whoever intones these last three intones also, because of their

quantity, the first three.
And in this repeated pattern all the
properties and progressions of sound are found, as well as the

accidentals and the division of the genders.
modes are four since all end
on~'
The finals of all the
.!:!' mi, or fa, and the rest are
reduced to these; and on the fourth are based all the components of
music, which are three: perfect consonance, imperfect consonance, and
dissonance.
Partial perfect consonance resides in it [also], because
from it is produced the fifth (also a partial perfect consonance

according to the practical musicians) and from these two results the
octave, a very perfect consonance: which has a circular form, because
it returns to the beginning [note]. And indeed it is certain, that a
good tree cannot bring forth bad fruit, and the fourth yields such
good fruits, and perfect consonances; it obviousli follows then that
because the fifth [which is perfect] is produced by the fourth, the
51
fourth is also good and perfect, which is confirmed by Salinas in that

small but important line [in] Book II, chapter nine, folio 55, line 33
in these words: "quia ra tionem
habet innumeris secundum acutum
et
grave" 36 , and by the doctor Bergamasco, in the exposition and exemplification of his text [in] Book II, chapter 74, folios 313-321, and
this occurs playing a note on the organ as a starting point, and then
rising one, and
then dropping an octave
to ano.ther of
pitch-class as the second note like the first;
the same
the third [note], which
is an octave below the second, would also be a seventh with respect to

the first, which is the touchstone by which they [the intervals] have
to be proven. And if the second [note) were [the interval of] a third,
the third [note] would be a sixth: and if (the second note were] a
fourth, a fifth would be produced by the fourth, as I have explained.
This is when proceeding from smaller to larger; while proceeding from
larger to smaller the fourth also appears as a
perf~ct
[consonance),
which is the fifth (if this consonance is perfect as the practical

musicians maintain); likewise, if it
wer~
a rising fifth its octave
below would produce the fourth (as I said); if it were a sixth,
the
result would be a third; if it were a seventh, the result would be a

second; and if it were an octave, the result would be a unison.
the perfect produces perfect,
the imperfect imperfect,
and
Thus
the
dissonance dissonance; and the fifth being a partiai perfect consonance produces the fourth, which has the same quality and as such is
used in the endings [finals) in the lower part, according to what
36 "because it has a numerical ratio according to high and low" [i.e.
probably according to its position)
52
agrees with the arithmetic division alotted to the "master" modes of

po~yphony
(as I previously explained) and to what agrees with the very
ancient tuning of the vihuelas [Fol. 9v.], in which we hear the

diatessaron in the lower part, as a partial perfect consonance like
the fifth.
And it agrees with the usage of the Venetians, and Greeks
[sic] of Naples, who according to Salinas and the Bergamasco, loc.

cit.:
assign it to the lower part at the finals of the stated modes.
And it agrees with some practical examples which I have found and have
in my compendium of Book I, folio 110 among others, in Josquin des
Prez, a very important ancient writer, who in one internal cadence
uses it [the perfect fourth] for the space of one measure in the lower
part, remaining complete, without disturbing it with a third nor with
another species [of interval], before observing a rest after it, by
which it is proven that the ancients considered it a partial perfect
consonance; and so to show that I knew and reached this natural and
ar i thrne tic phenomenon, and to use the proven opinion of the ancients
that held this interval [to be] a partial perfect consonance at least
once i.n this book, I have given two perfect consonances, a fourth and
its complement,the fifth, which, superposed, yield a perfect octave;
the fourth may be augmented in cadences.
consonances the two fourths, one perfect
~nd
I call perfect
[sic]
the other augmented
(mayor y tritonica [!]); I have written them in the tiento in the

second mode, fol. 6 first staff, first measure, already quoted at the
53
beginning.
37 The fourth can [also] be called an imperfect consonance
in the same manner as (also) the fifth: because together they form an
octave,
the only [real] and perfect consonance, plus the unison and
the double-octave, according to Vuolico Barroducense Bk. VI, chapter

5, of the treatise entitled "De praeceptionibus contra punt!," fol.
79, points 1 and 2.
It is clear that each one by itself cannot be
referred to as absolutely perfect, but as part of the perfect interval,. which is the octave, which as this author Barroducense and I
and many others state, is perfect alone, s !nee [ 1) it is in duple
proportion [a ratio of
2:1), and the rest are not, and because [2] it
comprises combinations of the smaller [intervals], and [3] for

previously stated reason,
the
that it has a spherical, circular shape,
moving out from the beginning to which it returns, and because it is

not altered as are the third and the sixth, and if it is it becomes
dissonant, as also does the fifth;
therefore the fifth, and the fourth
also, have a perfect, or at least half-perfect [partial perfect],

character, and in this sense one mieht say that this species of fourth
is imperfect, for natural, arithmetic, and theoretical reasons; and
moving on to the practice, I say also that the practitioners acknowledge the fourth (as havihp, the functinn of an imperfect consonance)
and do not actually say so with the work, because (perhaps)
[Fol. 10]
37 The original is very unclear about this; it reads as follows: "y afsi
di dos perfec tas al trocado, de como se de las quintas, una igual y
otra mayor, para clausula, segun que elias se consideran al trocado,
una hazia una parte, y otra hazia la contraria, para efecto de
componer un cuerpo per fee to que es el diapason. Dos perfec tas llamo a
las dos quartas, una igual y otra mayor, y tritonica que (como digo)
di en el tiento del segundo tono fol. 6. pauta prim. comp. prim. ya
referido al pr incipio." J~l
, _:_J J ,J 0
:1
_.:_~_W:=HJ-lli-
54
they do not notice and rather call it an absolute dissonance, without

reasori, according to Salinas Bk. II, chapter 9, fol. 55, line 16,
entitled "Quod Diatessaron praeter rationem a musicis practicis inter
dissonancias collocetur".38
I say then that they acknowledge its [the
fourth's] function; because they put many fourths one after another,
covered by the third below [creating a chord of the sixth] giving one
[such chord] on the strong, and another on the weak part of the
measure and also in the length of a sPmibreve, and of a breve, which
[constructions]
they could never do and even less if it were a
dissonance of the same species, nor two dissonances immediately within

a half-measure (and even less within one or two whole measures)
whether covered, or exposed in
th~-
outer voices, and so it is wrong to
call it a dissonance, for the reason that I have taken from the
sources, and for the other two reasons that Salinas states in the
cited chapter, and for the other [reason] which I stated previously:
that for a dissonance of [tablature] number to be [actually] a
dissonance, the first dissonance of that gender must occur in the
course of. numerals [notes] adjacent and opposing, which
~and
are~
and re,
mi, etc. and their fellows; because there cannot be contra-
position where there is no material or formal clash [in sound], and

since in the fourth there is none, because it occurs between distant
[non-adjacent] numerals, it follows clearly that it is not a dissonance, and not being a perfect consonance either, but half-perfect,
it has the function of semiperfection, that is, of imperfection as we
have said.
38 "Why the Diatessaron is wrongly placed among the dissonances by the
practical musicians."
55
The practitioners will give a natural role of dissonance based

on go~d mathematics; these [practitioners] (who actu~lly judge it so)
use it in the upper voice at the endings [finals], in which great
per fee: tion is desired and this is one of the strongest reasons which
they who consider it a consonance give
proof
that is [a con-
sonanc.e], at least an imperfect one, and that it is not a dissonance,

inasmuch as
in the finals
there cannot be a hidden dissonance;
therefore, it is obvious that it is not a dissonance:

other reason also,
And I give one
taken from the same sources of the practitioners,
inasmuch as one of them states that a fourth cannot be written (not

even by means of a tie) in two-voice counterpoint on the downbeat of
the measure, which would occur making one semibreve of it syncopated,
and this [is true] although it might be in an actual cadence,. prepared
or attacked [suddenly], or passing; and some, even many, are more
stringent, and they say that not only in counterpoint, but not even in
a composition of two voices can it be written, but that of necessity
there has
[also]
to be a fifth;
the
cadencing
for
the whole cadence. And they say also that there can be a sixth,
which
voice..
is
If
voice,
and
this fifth becomes a second against
imperfect and
the
cadence
consequently is the dissonance necessary
[equivalent]
can
have a
to a third with the cadencing

perfe~t
[Fol.lOv.] or imperfect
consonance, and the fourth is not a dissonance,
since by itself it
is not sufficient to be even an imperfect consonance, does it follow

then that it is perfect? And if they do not want it to be perfect,
it will clearly follow that the fourth is a species neither perfect,
imperfect, nor dissonant, i.e. none of the three [intervallic] species
56
in music, as they themselves show [teach].
For if against the second
half of the syncopated semi breve, the first note of the cadence of the
counte:rpoint [or] cadencing voice can be written as
imperfect
consonance
a perfect or
or a dissonance--and they list fifth, eighth,
third, sixth, second and seventh--and [if] in music there are no more
than these three t}l'pes of species, then it clearly follows that the
fourth is neither perfect, imperfect, nor dissonant, but another,
fourth type of species different from what they teach, or that it is
not a musical species at all, and what they teach is without foundation.
It can also be written tied [as a suspension] between two
voices: like the second and the seventh, and Montanos used it based on
this reasoning.
In conclusion, certainly we the practitioners hold
the fourth to be a strange phenomenon in music, because now we treat

it as a [perfect] consonance in an upper part, now as a dissonance in
a lower part, now as a perfect [consonance] in the endings, now as an
imperfect [consonance] in the endings, now as an imperfect [consonance] in two, three, four, and more successive sixth-chords; and we
treat it as neither when we prohibit it in two voices [two-voice
writing]:
It is a strange consonance, and as I said at the beginning,
it contains the totality of music, since in it come together all the

functions of a perfect consonance, a partial perfect consonance, an
imperfect [consonance], and a dissonance, and rightly the ancients
respected and revered it so much; therefore, it is good that all
should know how much it should be esteemed and not be held in such bad
reputation.
Besides this reason I want to give you another in order
to prove that it is a consonance.
It is well-known [by] all, and
57
especlally [by]
the experts in plain-chant,
that the octave is
composed of two species, one larger and another smaller, which are a
diapente and a diatessaron, which we are discussing,and since this is
known, it is good to know another interesting feature:
ways is the octave formed?
In how many
I say then that it is formed in ten ways,
and in all ten it consists of two similar species, according to the

proper nature of each, one major and the other minor: i.e. the first
is that of diapente and diatessaron; the second of a major sixth and a
minor third; the third, of a minor sixth and a major third; the fourth
of a major seventh and a minor second; the fifth, of a minor seventh
and a major second.
In these five ways the major interval stand.s in
the lower part, and the minor in the upper; then moving to the change
[of position], which is placing the minor interval in the lower part
and
thE~
major in the upper, another five ways will appear [fol. 11],
and thus we know that the octave is composed in ten ways, of two
similar parts, according to the proper nature of each, one major and
the other minor, and also that the fourth is almost of the same nature
as the fifth, and [is] not dissonant as many think:
Because if an
octave consists of a seventh and a second, or vice-versa of the second

and seventh, and each one of these [is] [a dissonance], according to
the proper nature of each, one is major and the other minor; and [if]
it [an octave] consists also of a sixth and a third, or vice-versa, of
a third and a sixth, and each one of these is an imperfect [consonance] according to the proper nature of each, one is major and the
other minor; and [if] it also consists of a fifth and a fourth and
vice-versa, and the fifth is considered a consonance, then it follows
58
[that] the fourth is also one, according to the proper nature of eachs
one being larger and the other smaller, and [since it is] possible to
have two simultaneous [intervals], one minor [or small], and the other
normal [major or perfect], it follows also that one can do the same
with the fourth, making one perfect and the other unequal [here
meaning augmented], as in fact I do, [in the] place and chapter cited
above.
And remember that this arbitrariness should be noted, but not
imitated "because it is not given to everybody to enter Corinth" [a

Latin quote].
Therefore the beginning composers and those who write
light music leave [these complicated devices], about which I have

warned you, alone until they are very well versed and know when not to
use them.
import~nt
And insofar ,as the stated species of a fourth is held by

practicing musicians to be a dissonance there is no reason
to believe that they do not use it. They do not consider it a "typical" dissonance which leads me again to say to all [readers J:
the
stated species [only] resembles a dissonance; inasmuch as it is

similar in its effects to the seventh:
In the case of a 7 [-6]
suspension in a cadence, the higher voice resolves downward one step,

while ilie lower is held which results in an imperfect consonance,
namely a sixth; both then move outward, resulting in a perfect
[consonance], namely an octave:
In the case of a 4 [-3] suspension
the higher voice resolves downward one step, while the plainchant
[cantus firmus] is held, resulting in an imperfect consonance, namely
a third; both then move outward, resulting in a partial perfect
[consonance] namely a fifth.
This occurs only in these two [interval]
species, namely in the seventh and fourth and their compounds, and in
59
the same manner that the fifth and the octave have a certain similarity, and therefore are both referred to as perfect [consonances], the
fifth somewhat less than the octave, as stated by Barroducense.
In
the same manner the fourth and seventh are similar, being both
dissonances as mentioned above, the fourth somewhat less than the
seventh; and when the authors call it [the fourth] a dissonance, it
has to be understood as an analogy only and not as its inherent
quality, which is consonance as I and other reasonable people have
said.
Sixteenth Point
Already you know that in counterpoint, and even in good

composition, two voices cannot both be moved either upward or downward
to a perfect consonance; but such a consonance has to be reached by
contrary or oblique motion. The reason for this is that it [parallel
motion] produces [hidden consecutive] perfect [consonances], i.e.:
ll
This and similar things are prohibited especially in counterpoint., in which all the "virtualities" are prohibited:
I call them
(and they must be called) "virtualities" because the highest voice

that leaped a fourth from ut to fa in the first example virtually
passe:d by mi, as if one jumped from the first to the fourth step of a
staircase without actually setting foot on the second and third,
60
virtually passing by them.
And so these leaps in connection with a
perfect consonance, both voices ascending or descending, are called

virtualities, of which some are admitted by composers, and others
prohibited; but I have found examples of nearly all of these and I
have seen these practiced by various writers, and on various occasions:: they are allowed in two, three, and four voices rather than in
five and six voices, etc., and on the organ (if used with prudence
and discretion) can be permitted, because our music enjoys all the
same liberties, faculties, privileges, and prerogatives as singing,
and many more; for the reasons that I have stated in the treatise on
punto intenso contra remisso, which I mention below.
Seventeenth Point
I began to write this article only to satisfy in the Facultad

some writers who believed it very novel, when they saw in my works
[the] punto intenso contra remisso in a minor chromatic semitone [and]
in a diminished and augmented octave:
and there was so much that
occurred to me in its defense, that I wrote a treatise that can [fol.

12] be printed by itself and pass as a book, and not a small one at
that:
because in theory and practice there are so many basic rules
and e:xamples that it would be a serious waste of (much) paper to have

them incorporated in this book; God willing, it [punto intenso contra
remisso] will be brought to light on another occasion.
Now for their
comfort (leaving theory as ide and for a later occasion) I will deal
61
with some of the practice.
I state then that the first is of Master
Franc:1sco de Montanos, in his treatise on genders, In demonstratione

chromatic!, fol. 22 at the beginning of the sixth measure of the
demonstration;
in which for the space of a half measure he uses one
of thE!Se species of dissonance that is a diminished octave between

the
tenor on high b-fa-be-mi sustenido
on
b-fa-be-mi
bemol [b-flat]
[b-natural], and the soprano
This passage and location ties the
hands, and locks the mouths of those that criticized me, for it cannot
be questioned since, besides expressly having a sharp [changing B-flat
to
B-natural]
which
printing error,
my
critics could reject,
it has the
[additional corroboration] of [providing]
the minor semitone, or sharp,

the stated chromatic gender;
claiming it to be a
[needed]
to complete the interval of
thus they [my critics] have no defense.
The second passage is by Nicolas Gombert, an excellent musician, who

used these dissonances much better in a chanson for five voices, the
text of which begins "Ay me qui voldra", at the eighty-fourth measure,
at thE! quarter-note in soprano and tenor,
after the weak accent of

I
the measure:
This chanson is glossed by Hernando Cabezon,
142,
1, of his father's collection [Obras de musical; and
measure
in fol.
it has a sharp sign expressly placed against the un-sharped, [forming]

a diminished octave in the place cited.
The third passage is in the
same Gombert, and it is a large or augmented octave in the four-voiced

motet
"O gloriosa Dei genitrix"; at the arsis of measure 31 (soprano
and tenor)
this
and farther on at measure 35
large octave.
(soprano and bass) he uses
The same writer also gives us an example of the
62
remaining
interval, which is a minor and chromatic semi tone, which
occurs between soprano and alto in the final cadence of the motet,
ending
in
the tenth or fourth
(irregular) mode on A-la-mi-re with
the text "Adversum me" etc. Josquin des Prez, an ancient and important
writer,
uses the same interval of a simultaneous minor semi tone in
measure 76 of a trio "Pleni sunt" on the quarter-note after the arsis,

and he has expressly placed an accidental:
seventh mode,
passage
the
re and la [built] diatonically on A-la-mi-re, and this
goes on with all the voices: sol,
alto, leaping
performs
fa
[B-natural]
from fe-fa-ut
minor
[F]
la,
sol, mi,
to be-fa-be-mi
to comply with the passage,

it completes
[chromatic]
semi tone,
[fol.
from which originate the claimed

The manner and form which
.....,
._,
li
_1
'-'
-9-
___.....
unavoidably
12v.] the stated dissonance
Jospquin employs is the following:
"
mi; and
and with the solmization of
diminished octave and augmented octave.
(B)
fa,
[B-flat] and the soprano sounding the mi of the same note
the mode and gender;

of
and the trio is in the
-B-
63
,..
J
n
d
_l
' -v
D
d
......
And because I have proven my intentions with such qualified

witnesses as Josquin, Gombert, Hontanos and Hernando de Cabezon, let
it suffice and make an end of this treatise.
64
[Fol 13]
ON THE POSITIONING OF THE TABLATURE
The First Chapter, Concerning the Notation Symbols

of the Diatonic or Natural Gender on the Organ
The symbols for the organ of the diatonic gender are twentyseven, and these are divided into five parts: into three very low
notes, seven low, seven high, seven higher, and three highest.
The
three very low are the three deepest on the organ; they are indicated
in tablature by the numbers five, six, and seven with two slashes on
each, as follows:
The very low notes or keys are three:
1
Desolre
Cefaut
Elami
[C
E]
The seven low notes begin with Great F (which is the second
white key of the left hand, an octave below small f), and are indicated by the first seven numbers with one slash as follows:
The low notes or keys are seven:
l
Fefaut
[F
Gesolreut Alamire Befabemi Cesolfaut Delasolre Elami

G
e]
65
The seven high notes begin on "f agudo" (where the F clef is
located) and are indicated simply by the first seven numbers, without
a slash, as follows:
The high notes or keys are seven:
1
Fefaut
Gesolreut
Alamire
[f
Befabemi
Cesolfaut Delasolre
c'
d'
Elami
e']
The seven higher notes begin on "f sobreagudo" (one note lower
than the G clef) and are indicated by the first seven numbers with
a little dot, as follows:
The higher notes are seven:
1'
Fefaut
Gesolreut
[f'
g'
[Fol.
Alamire Befabemi
a'
13v.]
b'
Cesolfaut Delasolre
c"
d"
Elami
e"]
The three highest notes begin on f" and are in-
dicated by the first three numbers with a comma after each, as follows.
The highest notes:
1'
Fefaut
[f"
2'
Gesolreut
g"
3.,
Alamire
a"]
66
Second Chapter, Concerning the Notation Symbols

of the Chromatic Gender on the Organ
The
notes or keys of the organ of the second gender, soft
chromatic, or ascending chromaticism, are six; two are high, and two
very high and are the black keys of b and e; they are indicated with
a flat, as follows:
it is called "ascending" because it builds its
diatessarons rising.
Low notes and black keys of the soft chromatic gender:
ts.b
~b
[B-flat]
Be-fa-be-mi
[e-flat]
E-la-mi
High notes and black keys of the chromatic gender:

4b
[b-flat]
7b
Be-fa-be-mi
[e'-flat]
E-la-mi
Very high notes and black keys of the chromatic gender:

4b
[b'-flat]
7b
Be-fa-be-mi
The
are
six,
because
notes
[e"-flat]
E-la-mi
of this gender, hard or descending chromaticism,
which have to be counted backwards, that is, descending;

in
this
manner
this
gender
builds
its
diatessarons, one
extremely high, two very high, and one low; all are black keys on
f and c, and they are as follows:
[Fol. 14] Extremely high note with a sharp:
I'*
(f"-sharp)
Fe-fa-ut
67
Very high notes and sharped black keys in this gender:
s*
1 *
[c"-sharp]
['-sharp]
Ce-sol-fa-ut
Fe-fa-ut
High notes and black notes sharped in this gender:

5
[c'-sharp]
Ce-sol-fa-ut
[-sharp 1
Fe-fa-ut
Low note and black key sharped in this gender:
[c-sharp]
Ce-sol-fa-ut
Third Chapter Concerning the Notation Symbols
of the Enharmonic Gender on the Organ
The notes of the soft or ascending enharmonic gender are the
a-flat and the d-fla t, and due to the lack of these on the organ I do
not place them here.
The notes of the hard or descending enharmonic gender are
three, one extremely high, another very high, and another high: all
three are black keys and g-sharps, as follows:
Extremely High
2
'* [g"-sharp ]
Ge-sol-re-ut
Very High
2*
[g'-sharp]
Ge-sol-re-ut
High
2* [g-sharp]
Ge-sol-re-ut
Although in many respects I follow Maestro Francisco de

Salinas:
in this my opinion differs from his, because he considers
g-sharp to be chromatic gender (while dealing with other matters) but

I am c:ertain that it is of the enharmonic gender, because a gender
cannot proceed through more than two diatessaron, which imply two
68
properties [fol. 14v.], so that three properties cannot fit together,

such as b-natural and b-flat: so that the third diatessaron that the
said author attributes to the chromatic gender, applying to it the
G-sharp, must be understood as being of the same form, by accident and
not by nature, as the third diatessaron on b-flat, [which would be the
a-flat] diatonic gender, and in this sense the same author also
applies the g-flat (which originates by saying mi for f-natural) to
the enharmonic gender, overstepping its limits and already entering
half-way a fourth gender, which is without justification (perhaps),
but, under any circumstances this is wrong.
there is another:
Besides this reason,
the function of the chromatic gender is to make out
of F (fa) or Bb (fa) an
F/l(mi)
B(mi) or E(mi) a Bb (fa) or Eb (fa).
or B(mi) and, vice-versa, out of

And the function of the enharm-
onic gender is to make out of G(sol) and D(sol) Gfl(mi) and D/l(mi) and
out of
A(~)
and D(.E!:.) Ab (fa) and Db (fa) because, as I said, each
gender has its jurisdiction and limits, which it may never exceed:
and with permission of such an important author I am, for the time
being, of this opinion. Likewise I do not conform to the opinion of a
certain modern-day person who stated that when there are accidentals,
one does not proceed chromatically or enharmonically, because these
intervals are not formed in these genders as if these genders were
extant [ordered] only for this purpose. If this were not pertinent (as
I prove [it to be] in the book of versets which deals with the
enharmonic [gender], in the formation of its diesis so contrary to
nature) we would have to say that there is no enharmonic gender in
69
music, and if we move through the symbols of these genders, which are
all the flats and sharps, how can we say that we do not proceed
chromatically or enharmonically, (passing, proceeding, and) moving
through the symbols of these genders?
I say we do proceed thus:
salve pace, etc.
Fourth Chapter, on the Manner of Placing the Fingers

and Playing from Tablature
Once we know the symbols that pertain to each gender, and the
numerals that pertain to each note, and we assume that (above all
things) the four lines of each system signify four voices; then the
highest [fol. 15] signifies the soprano, the second the alto, the
third the tenor, and the lowest the bass.
The lines that cross them
from top to bottom signify the measures, and the numerals [notes] that
are adjacent to them should be played on the accented part, and those
that are in the middle (between line and line) on the weak part of the
measure, and all those that are placed on all four, or three, or two,
lines are to be played together [simultaneously].
The figures which
are above the numerals between the systems are the value or length of
each note (according to the kind of figure).
I will deal with these
note values (also called "ayre") exactly in the promised book of

versets, God willing.
Once you know this and have this book, and the clavichord
which may already have the number written on each key, (unless you can
70
remember),
in the verset or work you must seek out the numeral
corresponding to the key you wish to put down, and you must hit it
with the fingers, and the hand--which in the following chapters I
shall explain to you--and not raise it until in the same line another
numeral follows.
Once this happens, raise the preceding key to play
the next, and if a rest follows, which is this
,---
L
I
lift the finger that held it, until there appears another new note in
the same line [voice-part].
And for understanding the following chapter observe:
we call
the thumb the first finger of both hands; next to it, which is called
in La tin the index finger, we call the second; and the middle finger
the third; the ring finger, or the one that is called 'of the heart",
the fourth; and the smallest of all, called "melgari to" by the common
people, we call the fifth.
Here begins the explanation of the playing from tablature on
the organ; with the fingering and position of the hands.
At the beginning of the work, whether it is a tiento, a motet,
or a verset; if only one voice enters, keep the following order.
If it is the soprano that enters alone without accompaniment
in another voice, the right hand is to play it with a quiebro [mordent
o r turn ] or redo b 1 e [ t r i 11 ] p 1 aye d wi t h the t h i r d finger
Wha t a
quiebro or redoble is and how many ways it is executed will be

explained below.
If it is the bass, the left hand is to play it with a
71
quiebro or redoble with the second finger.

If it is the tenor (and if after that, the first voice that
enters is above it, such as the alto or soprano), the left hand is to
play it with the same finger and so on.
[Fol. 15v.] And if after the tenor a lower voice (such as the
bass) enters, the right hand should play it [the tenor] with the third
finger, and so on.
If the alto and after it a higher voice (such as the soprano)
enter, the left hand is to play it [the alto] with the second finger,
etc.; and if a lower voice enters (such as tenor or bass) the right
hand is to play the alto, as was stated, with the third finger, with a
quiebro or redoble.
And observe that whenever the right hand enters with only one
voice, it must play (as was stated) with the third finger, and with a
quiebro on the organ and a redoble on the clavichord, and the left
hand w:1 th the second finger, and so on.
Fifth Chapter, What is "Quiebro" and "Redoble,"

and How Many Kinds of Them are There?
A quiebro is: a fast down-and-up movement with two or three

adjacent notes and is of two kinds; the first uses two notes and two
fingers, the third and second of the right hand, and concludes with
the third finger; and its solmization is
~-ut~,
and higher, mi-re-
-mi, fa-mi-fa, sol-fa-sol, and lastly la-sol-la; each one of these is

a quiebro on all the notes.
The second quiebro uses three notes and
72
three
fingers,
quiebr~,
beginning on a note higher than the last one in the
with the fourth finger of the right hand, proceeding exact-
ly like the first

re:
first
[ quiebro],
and can appear in all these:
and higher,
is
called
mi-re-ut-
and la-sol-fa-sol. The

quiebro
senzillo
[simple],
and the second quiebro
reiterado [repeated].
A redoble is a repercussion [alternation] of two neighboring
notes with a quiebro senzillo at the end, a down-and-up motion, etc.
And
[simple]
this
[redoble]
and one "reiterado"
is
also
of
[repeated]:
two
kinds;
one
"senzillo"
the "senzillo" in tablature
is as follows, and is played with the second, third, and fourth finger
of the right hand.
6 ;
[Fol.
16]
r -; r T r 7T -; r 7 6 7 i r
J. J: J j JJ lf]
I~
The "Reyterado" only differs in that it adds one
note at the beginning, played with the thumb and proceeding as follows:
these all are for the right hand.
SGI 1'1 T7 F7 Fl Fl 67 IF
rf]JftlJJJJJHJJ J1J ....
73
The left hand performs the quiebro senzillo with the second
and third [finger] and ends on the second, and the quiebro reiterado
with thumb, second, and third, ending on second.
The redoble senzillo
begins with the third, second nnd first and ends with a quiebro; and
the [redoble] reiterado begins with the fourth and continues with the
same fingers, and quiebros and redobles, senzillos and reiterados have
the same solmization syllables as in the right hand.
I usually indicate these redobles by an "R" above, which means
RedoblE:_, to avoid writing them all out in the tablature.
Other redobles have been invented by some masters, and I
recommend them for study: enough of these for now.
Here Follows the Manner and Time

in which these Quiebros and Redobles,
Senzillos and Reiterados are used
A redoble is to be used on the sharp [major] third [in the
penultimate chord] in each [unornamented] cadence that lasts one
measure or more, and in all rising half-steps (mi to fa) in the course
of the! cadence; thus in each major [diatonic] semitone that lasts one
measure [or close to it].
It is also to be used in the beginning of any large work, that
beg ins: on mi, on the clavichord, but on the organ (in my opinion) do
not start with redoble, if there is only one voice, but with a quiebro; and never use a redoble (according to my advice) between wholetones, such a C-sol-re-ut, D-sol-re-ut; D-sol-re-ut, E-la-mi; F-fa-ut,
----
-----
-----
--
--
74
a sharp; only in this case some singers and instrumentalists use it,
so that between whole tones there is no redoble, but a quiebro, and
what is called by others trilling, or trill, and by singers quiebro,
we call redoble.
On the Quiebro
A quiebro senzillo can be used (and even must be used) at the

beginning of a verset, or other small work; in the middle of it, on
all the semibreves and minims in which the hand (whichever it is) is
not busy with passage work: and when there is a fast tempo.
[Fol. 16v.]
A quiebro doblado or reiterado (that has the
three :fingers and four motions) must occur at the beginning of a large
slow work and pieces in slow tempo with sixteenth-notes or smaller,
and if in these works there is a semibreve (or minim at times)
unornamented in a measure, i.e. without an ornament that would impede
a turn; and all these, the quiebro doblado, can occur on all the
voices and notes: C-sol-!!:-ut,
re-ut, and
A-la-mi-~,
D-sol-~-ut,
E-la-mi, F-fa-ut, G-sol-
and so, on major seconds where a redoble is not
feasible, a quiebro should occur in its place.
If the music (or a
very great portion of it) is completely plain, you must ornament it

with these devices and in all attacks on semibreves and minims, you
can execute one of them (according to this explanation); and it seems
good to allow some notes to remain plain from time to time.
75
In semiminims the quiebro senzillo can be used, in a slow

tempo, sometimes, and sometimes not.
In eighth-notes {in a very slow
tempo followed by sixteenth-notes), I have seen it occur, although

rarely; but in semicorcheas [alone] never [on sixteenth-notes].
39
Sixth Chapter on the Positioning of the Fingers,

to Play any Work on the Organ with Perfection
If at the beginning of some works, two voices enter together,
one should be played in each hand, the higher voice with the right
hand, and the lower with the left.
If three enter jointly, the most usual way is to play the two
lowest voices with the left hand, and the highest with the right, so
that it remains free to adorn the work with a quiebro or redoble,
provided the voices are the lower ones, alto, tenor and bass; or if
they are the higher ones, the soprano is distant from the next two
voices.
If soprano and alto are close, these two voices can be played
with the right hand, and the tenor with the left--but the first way is
the more ordinary.
If four voices enter together, then two should be played with
each hand (for now), except in the following situations.
39 Further commentary concerning the treatment
in Correa's music may be found on pp. 132-149.
of these ornaments
76
Exception
If
four voices enter, and all four are within an octave, or
perhaps within a tenth,

hand
one;
the left hand can play three, and the right
except in the event that some are tied into the following
measure.
Example:
[Fol. 17]:
Four voices in an octave
in a tenth
'd
~
a a
And
ti
if they enter within a twelfth,then two voices are played
with one hand and two with the other.

And
two
if they enter in the spacing of two octaves or more, then
should be played with one hand and two with the other;
in
the
event
that
soprano
and
alto
closest
should
be
the distance between tenor

is more than an octave,
played
in one hand,
except
and bass or between
in which case the three
and the remaining with the
other, as shown in the three following examples.

All 4 voices
within a 12th
Within a 15th,
with one apart
Within a 15th
~.
~l.'
tl
ld
Two in each hand
Two in each hand
.JJ_
~
Three in one hand
77
Exceptlons
When
writing,
the
tenor
has
an
unornamented
it is obligatory to play a redoble,
cadence
in four-voice
for which reason two
voices
are played with each hand, although all four are within an
octave
(as was previously stated); and &lso when the tenor has an
ornamented cadence, two voices are played in each hand.
Plain [unornamented] cadence
Ornamented cadence
[Fol. 17v.] Another Exception
In
passage-work in one voice
eighth-notes, sixteenth-notes,
times,
and sesquialteras [sextuplets]; and at
although rarely, quarter-notes)
one hand,
(and by passage-work is meant
such a voice is to be left to
and the three other voices to the other hand, although all
four voices begin within the octave or tenth (as was stated and will
78
be s ta. ted be low) ; the reason for this is to free the hand that plays
the passage-work, whenever possible, so that it brings out the
passage-work with more strength, velocity, and clarity.
Seventh Chapter: How to Perform any Work

and with which Hand and Fingers
We have already said with which hand and finger each work is
to begin, when one, two, three, or four voices enter; now it remains
to discuss how the rest of each work proceeds and how the music is to
be understood.
I say that one must proceed according to what has been said
about the beginning, and now I will make myself clearer; if only two
voices appear, whether at the beginning or in the middle of the work,
each hand plays one.
And if there are three:
as was stated, two [are played] with
the left hand, and one with the right; unless, as mentioned, they
cannot be played by the left hand because they are too widely spread;
in this case the right should play them.
And if all four voices have already entered and continue:
then from the beginning, two voices are played with each hand, for
now, except in the cases previously stated under the heading of
"Exceptions".
79
How to Perform Diminutions [Lo Glosado]

If the soprano has diminutions, the three lower voices, which
are alto, tenor, and bass, are to be played with the left hand, and
the soprano alone with the right.
And if the bass has diminutions, this voice is played by the
left hand, the three upper voices, which are tenor, alto and soprano,
being played by the right for the reasons given in the last exception.
If the alto has diminutions and the soprano and the other two
voices, tenor and bass, are also sounding, [each note of] the soprano
is played with the fifth finger of the right hand, and the [remaining]
four fingers must be left unoccupied, and with these then is played
the diminution of the alto, and if there are not enough fingers (which
often happens) the left hand has to supply them, lending the alto the
thumb or second [finger] to help when necessary; and if [fol. 18) the
consonance in the two lower voices is a third, then it is played with
the last fingers, i.e. the fourth and fifth.
And if the tenor has diminutions, and the bass, soprano, and
alto are also sounding; the bass is played with the fifth finger of
the left hand, leaving the remaining four fingers unoccupied, and with
these the diminution of the tenor is played, and if there are not
enough fingers (as I said in the preceding paragraph), the right hand
must supply them, lending the tenor the thumb or second finger for the
same effect, and the right hand will play the consonance of a third,
or any other interval, with the fifth and the other most convenient
finger.
80
Strong and Weak Parts of the Measure
In a passage of eighth-notes the first note is on the downbeat, and the fifth is on the upbeat, and again in the next measure
the ninth note is on the downbeat.
In a passage of sixteenth-notes, the first note is on the
downbeat, and the ninth on the upbeat, and in the next measure the
seventeenth is on the downbeat.
Sesquialtera
In diminutions of the sesquialtera of six notes per measure,

if it is notated with a sign of a minor proportion, that is with a
three above, then the first note of the measure is on the downbeat and
the fourth [note] on the upbeat and the seventh on the new downbeat.
And if it is notated with a sign of major proportion, that is with a
two above, then the first note of the measure is on the downbeat and
the fifth on the upbeat and the seventh falls on the downbeat of the
next measure.
In passages of twelve notes to the measure, the same applies
as in six, only that two measures of the latter become one of the
former:
the downbeat on the first [note] and the upbeat on the
seventh.
The downbeat returns on the thirteenth and this applies if
the number three is above, but if the number is two, then the downbeat
is on the first and the upbeat on the ninth and the downbeat again on
81
the thirteenth.
All this is the same as has been pointed out in the
case of six, the only difference is that here the number of notes is
doubled.
[ Fol. 18v.]
In sesquintal proportion, that is five notes to
the measure, strong accent [is] on the first, and weak on the fourth
and strong again on the sixth [which is the beginning of the next
measure].
And in its doubling to ten notes per measure, strong accent
[is] on the first, weak on the seventh and strong on the eleventh.
Chapter Eight: With Which Fingers of Each Hand

the Positions have to be Given 40
For the comprehension of this chapter it is remarked that for

each hand there are eight positions, which are the following: unison,
second, third, fourth, fifth, sixth, seventh, octave.
Another two are
used, .although rarely, which are ninth and tenth, and these use the
same fi.ngers as the octave.
40 In assessing the usefulness of Correa's discussion of fingering

on pp. 81-103, the modern reader must weigh the following factors:
( 1)
A knowledge of these fingerings is important for their
influence on both articulation and rhythmic alteration (see pp.
149-156, 159-160).
(2) Although the use of these fingerings is
conducive
to a
sense of naturalness when attempting stylistically
appropriate articulations, the keyboard of today may differ

some~what
from those known to Correa; consequently, in some
instances the result may be one of awkwardness. Also, the effect
of the fingering on articulation is apt to be less noticeable on
an instrument with electric or electro-pneumatic action. (3) Our
general lack of the short octave on today' s organs will preclude
some fingerings entirely and will occasionally necessitate the
use of the pedal coupled to the manual to play notes which are
beyond reach.
With these factors in mind, an organist of today
would certainly wish to experiment with these fingerings, but may
well decide to use various combinations of these and modern
fingerings in performance.
82
Unison is when two numerals that are the same appear on two
different lines of tablature; that is, they appear as two:
they are
perceived as one, and are played on one key, and with the same finger,
and there is not one definite finger, but it is determined by what has
been said before about the manner of beginning and continuing a work.
A second in the right hand (unprepared or as a suspension in a
cadence) in the two upper voices, is usually played with the third and
fourth fingers.
A second in the left hand (in the same way) is usually played
with the third41 and second, and with the second and first fingers.
A third in the right hand is played with second and fourth
fingers.
A third in the left hand is also played with the fourth and
second.
A fourth in the right hand is played with the second and
fourth fingers.
A fourth in the left hand is also played with the fourth and
second fingers.
A fifth in the right hand is played with second and fifth
fingers.
A fifth in the left hand is played with fourth and first
fingers.
41 The original has "quarto instead of "tercero"; this is obviously an
error, as there are no other sources of that era which indicate the
use of non-adjacent fingers for a second.
83
A sixth in the right hand is played with second and fifth

fingers, and if the higher note is a black key, with the first and
fourth fingers to avoid twisting the hand.
A sixth in the left hand is played with the fourth and first
fingers, and if the higher note is a black key, with the second and
fifth, for the same reason.
A seventh in the
rf.g~)t
hand is played with the first and fifth
fingers.
A seventh in the :~eft hand is also played with the fifth and
first.
'
Octaves, ninths, and tenths in the right hand are played with
the first and fifth.
[Fol. 19] Octaves, ninths, and tenths in the left hand are
also played with the fifth and first.
These are the proper positions of each hand for these intervals; they must always be used unless there are the following compelling reasons for which other positions may be used.
[1] Executing a quiebro or redoble for ornamentation, beauty,
and gracefulness of the music.
[2] Moving one of the two mentioned fingers to another note by
leap while the other finger of the same hand holds its note;
[3] Doing passage work with the hand in such positions while
one of the fingers has to remain in place;
[4] Avoiding the use of the same finger in playing two
consecutive keys.
84
For all these reasons one may use the following positions.
The positions are:
A second in the right hand may be played with third and second
fingers.
A second in the left hand may also be played with
third and
second.
A third in the right hand may be played with the first and
third fingers.
A third in the left hand may be played with the second and
first fingers.
A fourth in the right hand may be played with the first and
third fingers.
A fourth in the left hand may be played with the second and
first fingers.
A fifth in the right hand may be played with the first and
fourth fingers.
A fifth in the left hand may be played with the
fifth and
second fingers.
A
sixth in the right hand may be played with the first and
fourth fingers.
A
sixth in the left hand may be played with the fifth and
second fingers.
A seventh in the right hand nearly always is played as a
suspension, except in certain cadences, and may be played with the
first and fourth fingers.
85
A seventh in the left hand may also be played with the fourth
and first fingers.
An octave in the right hand may occasionally be played with
the first and fourth fingers.
[ Fol. 19v.]
An octave in the left hand may occasionally be
played with the fourth and first fingers also, and for these occasions
there must be a compelling reason, as previously listed.
There Follows a Third Order of Fingers

Less Used but Also Possible
About the third fingering, I note that it is for keyboardists
that are no longer on the lower level and who are licensed to perform
on any organ of any important parish:
in difficult music, these may
use other fingerings, and I will give only one example of these, and
so as not to be unduly long-winded, I will include everything in one
general rule, leaving its application to your good judgment:
I say,
then, concerning this third order, that there may be other occasions
(as particularly in passage work) in which all or most of the positions mentioned can be covered by the same two fingers; and for
greater clarity they will be indica ted with the symbol [looking 1 ike]
an index finger on a small hand.
86
Example:
A second in the right hand with first and second
fingers, and if there is a unison in the soprano, it is played by the

thumb of the right hand.
' - ,
+r-r~i'!..~r-8'!.?!,
., I ,
1~
'
- - k-
~.
!:
r:::1
1/0
-;~------"--!,._
h
'J
,.
r-
,-
I~
/i\l
nr
1.,.1'
"'""
Example of a third in the right hand, played with first and

second fingers on the first note of a diminution in the soprano.
r!:?~' :rJ-1"~~
6
..;.,...
I!"
....
;J. _...t-~
1- .,t-tu>oo
" ., H
""'
87
[Fol. 20] Example of a fourth [between alto and soprano] in

the ri.gh t hand, with first and second fingers playing the alto and the
first note of a diminution in the soprano respectively.
Example of a fifth in the right hand, with the first and

second fingers playing alto and the first note of a diminution in the
soprano respectively.
!1-
-. s
. ;
J -.
) ,)
I
,. - "
.....
88
Example of a sixth in the right hand played by the first and

second fingers, in the alto and soprano, on the third beat of the
second measure.
rn1 l! n
'
_,.
1
JL.
./
Example of a second in the left hand between tenor and bass,

to be played on the second quarter of the first measure beginning with
the thumb and second finger.
42
r,-~
--
r- r r ,'
I ~, ,1
I
~,.,
_,
42 The dot following. the

obviously an error.
r-
..
.,
#--Jill'
7 in the alto voice of this example is
89
[ Fol. 20v.] Example of a third in the left hand, to be played

with first and second fingers on the second and fifth eighth-notes of
the bass.
ft
7
](
.A,T
'"U
d
,.,
7
.......,...
.....
,.
&
- -~--,.
~
II
...
1
Example of a fourth in the left hand between tenor and bass

on the first number, that is a seven with a line [small e], to be
played with first and second fingers.
43 The lack of the proper slashes on the 6' s in the bass voice is
an oversight by Correa or the printer!
90
Example of
fifth in the left hand, between tenor and bass,
to be played on the fifth and eighth eighth-notes with first and

second fingers, beginning the diminution with the little finger.
Example of a sixth in the left hand with first and second

fingers, to be played on the third beat--the bass having begun the
second eighth-note with the second finger--shifting the fingers and
playing the indicated note or numeral with the second finger.
91
[Fol. 21]
And to make this discourse no longer, I conclude by
saying only that there may be such tight situations, in which it is

necessary to play also the interval of a second (as was stated) with
the first and second finger of the right hand,
the first and third,
first and fourth, and first and fifth, the first being held [on the
same note]; and it can occur that one has to play the same or smaller
intervals, with the same fingers of the left hand.
And similarly cases may occur in which it is necessary to play
the intervals with fifth and fourth fingers, with fifth and third,
with f:ifth and second, with fifth and first of both hands, while the
fifth finger holds the same note.
Continuous
extensive
study
which overcomes these and other
major difficulties must teach us to cope with all these and many other
problems
(with respect to each finger,
to the pairs of fingers, and
to all the intervals).
Chapter Nine: On the Closed and Open Intervals

By Others Called Full and Empty
Four
intervals
with both hands,
(principally)
can be played closed or open,
and they are the following:
fifth, sixth, seventh,
and octave; also two others, the ninth and tenth (although they rarely
occur
unprepared in all three voices, but are sometimes unprepared
in the outer voices) and these are played with the same fingers as
the closed octave.
92
A fifth in the right hand,

and
fifth
fingers,
fourth finger;
least
if it is played with the second
is to be filled in with a third played by the
some fill it in with the third finger, which is the
acceptable.
And if it is played with first and fourth fingers,
it is to be filled in with the second.
Some play the fifth with first
and fifth fingers, and then fill it in by playing a quiebro.

A sixth in the right hand,
if it is played with the second
and fifth, is filled in by two methods, depending on what the interval

demands:
with
either with the third finger or the fourth.
the third finger if the fourth
upper voices,
[interval]
It is filled in
is between the two
and with the fourth finger when it is between the two
lower voices.
Exception
[Fol. 2lv.] A fifth and sixth sometimes are played

and
fifth
execute
fingers,
and
are filled in with the third,
a quiebro with it:
This is done among experts:
with first
in order to
and if the
sixth has the fourth on top, between the upper voices, it is filled in
with the second finger.
The
be
seventh (either unprepared or used as a suspension) can
filled in in three ways:
third
the first is, filling it in with the
[interval] between the upper voices, and then it is done with
the fourth finger {provided that the outer voices are played with the
first
and
fifth);
the
second
manner
is filling it with a fourth
[interval], again between the upper voices, and then it is done with
93
the second or third finger in order to execute a quiebro.
The third
manner is filling it in with a fifth between the upper voices, and

in this case it is filled in only with the second finger.
At the interval of a third from the top voice:
with the fourth finger.

At the fourth:
d
t
with the second or third.
Examples:
94
At the fifth:
If; :_J:
~
J
I
I
'.J'
L
I
II
<r::.)
/'l
---
E:i
...Q.
_...
/
with the second finger.

The
manners:
closed octave in the right hand can be played in four

filled in with a third, or with a fourth, or with a fifth,
or with a sixth between the upper voices:

voices
use the first and fifth fingers).
(provided that the outer
A filled-in third is played
with the fourth finger, a filled-in fourth with the third, a filled-in
fifth with the second,
or with the third
[for]
an optional quiebro
and lastly a filled-in sixth is played with the second finger.

These
same four intervals can be played with the left hand,
in
the following way:
is
filled in with the second finger.
with
A fifth, played with first and fourth fingers,

And if it [the fifth] is played
the second and fifth fingers, it is filled in with the fourth
finger, and some fill it in with the third, which is little used.
some passages played with the left hand,
[ fol.
22]
In
it is customary
to play the fifth with the first and fifth fingers, and then to fill
it in with the third finger, and at times with the second.
The sixth is in all respects like the fifth, although if the
second and fifth are used on the outer voices in no manner can it
95
be
filled in with the third finger
the
(some fill in the fifth) because
sixth of the left hand nearly always has the fourth on the top:
therefore it must be filled in with the fourth finger.

(If
and
it happens that the filled-in sixth has the fourth below,
is played with the second and fifth' fingers, it must be filled in
with
the third,
and if it is played with the first and fourth, it
must also be filled in with the second; and if it is played with the
first and fifth, it must be filled in with the second.) 44
Sometimes
play
to
it
is
necessary
(especially in a diminution)
the sixth of the left hand with first and fifth fingers,
have the fourth between the upper voices
to
and
(that is the voice in
the middle to be four notes distant from the thumb)
and then it is
to be filled in with the fourth finger.

A seventh in the left hand, when played with the first and
fourth fingers, is filled in at the interval of a third from the lower
voice,
with
played with the second finger;
and if the seventh is played
the first and fifth fingers, the third is played with the fourth
finger ..
An
octave
in
the
left
hand
is
filled in with the second
finger : while the middle voice may be a fifth or at a sixth from the
lowest voice; and if it is a third [from the lowest voice],
filled in with the fourth finger.
it is
The ninth is filled in with the
second finger while the middle voice may be placed a fifth or a fourth
from the lowest voice.
44 Parentheses not in the original but in the preceding paragraph
the author has argued a~ainst the 6 chord.
4
96
tenth
is filled in with the second finger while the middle
voice
may be a fifth or a sixth from the lowest voice, and if it
is
third
finger..
(as
can
happen), it must be filled in with the fourth
And this is enough about the positions for now.
Chapter Ten: On the Ascending and Descending Runs

in Both Hands for Those who Already Begin to be Masters
It
all keys,
is absolutely impossible for anyone to play good runs on

if in the runs of very small note values, he does not use
the
technique of crossing the fingers, leaving one and taking another
one
different from the normal one that follows if the run is all on
the white keys; therefore note the following.

[Fol.
22v.]
I say that in the same way as ordinary positions
are used for ordinary intervals and extraordinary fingerings in extraordinary
intervals,
in
fast
passage work ordinary fingerings must
be used in ordinary runs and extraordinary fingerings in extraordinary

runs.
Ordinary
the first and
ascending
second
lines in the right
fingers,
and
hand are played with
descending
with the third and
second.
Ordinary
ascending
lines
the second and first finger,

And note that I
in the left hand are played with
and descending with third and fourth.
call a run ordinary when it is done on white, and
extraordinary when it is done on white and black keys together.
Extraordinary Run 45 of Three Fingers,

Through Ordinary Notes [White Keys]
In order to begin to get used to the manner of crossing over

the
fingers,
you have to play a run with three fingers,
and when
they are used up to repeat them as long as desired; and then to play
another with four fingers, and when those are used up to repeat them
as many times as appropriate, starting, continuing, and ending always
with the same fingers;
fingers
is done properly for use of diminutions on all keys [white
and
black]
and
d:iatonic notes),
dentals)
and although this exercise of crossing the
it is good to begin practicing on the white keys (natural

in order to get used to the black keys (acci-
later with better fluency.
give the example
[for each
hand below]
Right Hand
Begin the ascent with the second finger of the right hand
from Great F, which is the second white key from the left end of
the keyboard,
and
on
and continue to the next key with the third finger,
to the next with the fourth,
and begin again with the second
the following key, which is B-natural: and in this way you will
ascend to the last key, which is a".
45 Extraordinary run, in this context, refers to the use of three

consecutive fingers rather than two, and does not imply the
necessary use of black keys.
98
, ... , .. , . , .. l,.
p:
I ,I J
I
J
j.
[Fol.
the
'1-
23]
right hand,
+=
J Jt r r r r ~
.l 3 If
J lf
$~{ti
Jr r r r j
3'f~l"(:J.
t
3 If
And begin the descent with the fourth finger of

from the last key, which is a", playing the next
with
the third finger, and the next with the second, and begin again
with
the fourth finger on the following key, that is e", and in this
manner you will descend until you arrive at the first in order [of
pitch], but the second key in appearance, which is Great F, where
you had begun to ascend; and I
do not give another example because
you yourselves can again use the ascending fingering above, reversing
the direction for descent.
Left Hand
Begin the ascent with the third finger of this hand, on the
same
Great
previously
mentioned, and you arrive at G with the
second finger and at A with the thumb, and begin again with the third
finger
on B,
and thus you go through all the white (diatonic) keys
with these three fingers until a".
12 :l' IS 6 71 V ~' ~
f:. ; ,.~~t/,'5"?~ 1'~9
11111 t i I I ' I I ' I J t
II
99
And
begin
the descent with the note and finger with which
you finished and use the same fingers as before.
Next would be the
second finger, and you will end up with the finger with which you
began [the ascent], which was the third.
The example would be the
same [as above], [but] in reverse.
Extraordinary Run of Four Fingers,

For Ordinary (White) Keys with the Right Hand
This
run
is
played with
second, third, and fourth
first,
fingers of the right hand, beginning on the above mentioned Great

F, and continuing through the next keys until you have played the
fourth finger and begin again with the first, and continue through
the other keys until e with the fourth [sic] and begin again and
proceed with the same fingers until the end.
--1~2-lj;r+~s ~? ,.~~:r~?-1:~~
aa
2' J 1 J J J r r r r r r ftj.; J J 3Lf

J J Jr r r r r ~ r
>'"f
11
[Fol. 23v.]
The
~'11
3LfJ.l3L.j
l3":-l
Descending Run
descent
is done by beginning where you ended with the
fourth finger, and going backwards until you play the first [finger],
and doing this again and again until you reach Great F.
The Same Ascending Run with the

Same Fingers of the Left Hand
The left hand makes the run by beginning the ascent on the
Great F, with the fourth finger, third, second, and first, and then
100
by repeating as many times as necessary.
.......... , ... , ....... ,.
te81~a71QR4~~~~~
'tI
j
3
Descending Run
descent
The
is made by the left hand, beginning where you
ended with the first finger,
and going backwards until you play the
fourth, and repeating the same until reaching Great F.

In order to show how much more quickly, fluently and clearly
the
following runs in both hands can be executed with the four first
fingers,
same
or with any other grouping of these (always repeating the
pattern),
I have given the following examples in which one goes
through all F-sharps, C-sharps, and G-sharps of the semienharmonic

gender as is indicated by the three naturals [sharps] placed at the
46
.
b eg i nn1ng.
I :.............
L~i 945~;7,.~~~!!4'5-6'9
'i ..,,
~---------------------.!
t'l#
,.
1
r)
t1
_Ll
~ y. ~ ; y\ ). ;
\)..
-r
If
~).,
'
_. r
'\ ' ~ ,3
.0
46
It should be noted that these two examples give fingerings which

directly contradict German and English practices, in which the
thumb and third finger were considered strong and were used at
rhythmically strong points. Correa's fingering does however agree
with Italian practice of the early seventeenth century, in which
the second and fourth fingers of the right hand were considered
strong.
101
47
\d
\
-,
I
[Fol.
24]
Other runs in both hands can also be played with
second, third, fourth and fifth fingers observing the same procedures.
These are used when the last note of the diminution falls on the fifth
finger,
play
which has to be held while the other four available fingers
a diminution in the other voice.
And when the diminution (the
last note of which falls on the fifth finger)

to
the
first
finger,
then leaps an octave
it is better to end it on the fifth finger
because
the leap of an octave is accomplished with the same fingers
as
(simultaneous)
the
octave, which are the first and fifth.
And
do not give an example in order not to lengthen the discussion;
let
this explanation suffice and let the curious look for [more of]
these in their studies.

Last
come the mixed runs which can mainly be of two types,
of
two and three or three and four fingers.
to
play diminutions,
with
two
Two and three are used
the most suitable three fingers are alternated
because three and two fingers are sufficient to complete
any run.
47 No dots indicating the correct octave are present in the alto and
tenor voices of the second measure of Correa's tablature, but it
is evident from the voice-leading that it should be played as shown
in the transcription;
102
". .<
lo'
,._
...
. . . ). '-""'
'T ~
.3 ,..__..,
:;1.
,_i---
I~
0
'
"4
~ ;.
3mmfl\!'r-"\
,-,--,
., } _, 3
1-'i
-;.
["9-
If four and three fingers are used, the most suitable four
fingers are alternated with three until the run is completed.
[Fol. 24v.] Examples of Four and Three Fingers
999
999
ld
The matter of the shifting of fingers pertains already to the

masters,
for whom it is enough to open this road, so that they can
103
bring it to perfection with their ingenuity and supply that which is

missing in this treatise.
themselves
should
pay
In the interim those who wish to avail
of this book and to be perfect interpreters of tablature,

attention
to
the
following
annotations and strive to
follow them to the letter; then they will attain what they wish.
Chapter Ten [sic] of the Observations

Concerning Perfect Playing of Tablature
There
tablature,
eously,
are
many
people who,
concerning the symbols of the
know those which are vertically aligned sound simul tan-
that
the
first
[figures]
after
each
line
of
division
[bar-l:i.ne],
give the accented part of the measure and the ones in
the
the
mi.ddle
lighter part,
that the commas signify lengthening
of the preceding note, and the sharps and flats [signify] black keys,
diatonically.
If they believe that with all this they already know
how to play perfectly from tablature they are mistaken, because what
they have said is of little importance and very easy;
it,
because this is only the first
pupils,
the
is,
and it is not the first
I can prove
[step] which is taught to the
[step] that perfects the work, but
last, as the philosopher says "Finis rei dat esse rei";
that
the end of the thing gives the essence of the thing; and so I
tell you that what makes one a perfect player of tablature is the
followi.ng:
First,
he
should be a skillful player of an organ
and from this should
co~e
piece;
the knowledge of how to give the legitimate
104
value to all the diminutions, binary, ternary, quintuple, sextuple,

septuple, etc; [also] dotted notes, rests, syncopations, etc.
Second, he should scrupulously observe that one does not lift
one note until another or a rest follows in the same voice part, which
depends on the following observation.
Third, he should know how to accomodate the fingers and hands
to the necessary positions, [fol. 25] the ordinary or extraordinary
already stated; in order not to lift the preceding [note], until the
next note follows in the samevoice-part, as was stated above.
Fourth, he should not confuse one voice with another, lifting
the contralto [note] when he should only release the soprano, or
another voice; or lifting the tenor, when he should only release the
alto, or another voice; lifting the bass when he should only lift
another voice; but he should know and watch each voice without
confusing it with another, so that the note in one voice part should
not be given to another voice, thus (for a start) if he plays he
should call out, beginning on the highest voice, which number [note in
the tablature] is lifted out and to which it is passed on: and he
should do the same with the voice that follows next below, and then
thus proceed to the bass, and if the number is held he should say so,
which occurs when there is a comma before the figure or numeral that
follows, and he should keep the finger still without moving it nor
leaving the key of such a number.
Fifth, he should not add nor take away voices, filling in the
octave, sixth or fifth that should not be filled in, but playing them
105
open he should fill in those [which are to be] filled-.in, because [to
do] anything else is to corrupt the music, and to deprive the works of
elegance and eminence; and these short-comings and mistakes of rhythm
are very common among players who study with the nuns in their
convents.
These, without understanding the intent of their vows,
become idle talkers adding to and taking away from the music at their
whim because they do not want to work, for it is difficult for them to
play the works of the great masters, the way they are composed, and
they (most of them) do not know the art of placing the fingers, and
they employ the common and ordinary [fingerings] while they should
employ the extraordinary, which leads to defective playing and to
lifting the finger before the [proper] time.
Sixth, he should play very dexterously and in good rhythm,
knowing when to play strong and weak accents, being accustomed (in
each case) to tap the measure with the toe of the right foot, with the
heel on the ground for support; he should assign the correct value and
rhythmi.c interval in each imitation; and to do that he has to be a
very skillful musician, as I stated in the first point.
Seventh, in a diminution he should not play two keys next to
each other with one finger; but if he runs out of fingers, he should
know to shift them, another [finger] taking the same place, according
to what I said earlier, in the preceding points; and in a quick
diminution he should not play a black key with the thumb, even though
106
that would [normally] fit in the pattern; but he would play another
finger in its place, preventing this inconvenience.
Eighth, he should read and understand the prefacing remarks at
the beginning of [fol. 25v.] each tiento, inasmuch as in some there
are points which concern the art of playing tablature; since these are
placed there, they are not put here.
Exception
Notwithstanding what I said in the first and sixth points, I

observe that he who can already play reasonably well could very easily
begin to play tablature, and as he already has technical skill, he
will become skillful in playing from tablature, beginning with the
easiest works of this book, and leaving the difficult ones until he is
more competent.
Certain numbers (particularly those with one or two lines
[attached]) do not indicate these lines well, either because of a
defective matrix or because of lack of ink; observe the shape of those
that have lines, and the shape of those that do not have them, and by
this they might easily be understood, because the very low [note] is
different from its namesake in higher [octaves].
this defect:
One should also know
if one sees that (having given one voice a leap dif-
ficult to play), [the same voice] makes another troublesome and absurd
leap, this implies an error in the printing, because one leap is
permitted but not two consecutive ones.
And this second warning
107
should also be given:
avoid [consecutive] leaps in any range, which,
by the way, occur more in the outer than in the middle voices.
Method of Tuning the Clavichord
Some persons asked me to put in this book a brief and proven

method of tuning the clavichord; and in my opinion there is no better
[way] than tuning in octaves and beginning on the treble [keys].
In
octaves, because although this tuning takes longer the whole instrument will not be out of tune as happens in tuning by fifths; beginning
in the treble, because raising them much risks breaking them [the
strings] and because [when] one [is] tuned, three or four of its
octaves can be tuned, so one can proceed from them (as will be seen
later), which does not occur in the basses [because of the short
octave].
You first would tune the highest a", that is three with a
small comma (3'), tuning carefully both strings, and then tune to its
octave:, [fol. 26] which is very high a'(3.):
tune g"(2 1 ).
when these are tuned,
Tune its octave below, which is g' (2.).
[is] tuned, and you have tuned f' ( 1), tune to it f"( 1').
[is] tuned, tune e"(7.) and e'(7).
and d " ( 6' )
[When] this
[When] this
[When] this [is] tuned tune d'(6),
[ When ] this [ i s ] tuned , you tune c " ( 5 ) and c ' ( 5 )
[When] this [is] tuned, tune b( 4) and a 1 together you have tuned the
clavichord, white keys as well as black, [counting] from a" to the
108
stated b a fourteenth below.
You then must tune the [adjacent]~ to
a", wh:ich is already tuned.
[When] that [key is] tuned, leave the
[keys] already tuned for g(2). You go on down, and you tune f (1) and
f' ( 1 1
);
this tuned, go now to e( 7), then you tune the rest of the
white and black keys of the grave and sub-grave [octaves] ( e to Great
F down to C) to their higher octaves, which are all already tuned; and
with this, all the tunings having their proper size, the clavichord
will be well-tuned; though this is done carefully some note may remain
out-of-tune; understand that it is the fault of the temperament or
tuning pins, because in tuning the octaves there can be no mistake, as
there is in the rest of the intervals:
this defect should be remedied
by tuning the pins toward the treble if the note is flat, and toward
the bass if it is sharp.
And doing this, and observing all the
precepts stated earlier and those that follow, be certain that you
will make much progress in this Facultad.
May all of this be to the
honor and glory of God to the further development of the Divine Cult,
and to our spiritual gain.
Amen.
II
Correa's Treatment of the Modes
As was
true in Italy,
sixteenth century,
France, and North Germany in the
the keyboard composers of Spain used
titles
reflecting the terminology of modality--i.e. Tiento de segundo tono,

etc.
However, the careful study of Correa's treatment of the modes
sheds a great deal of light on the transitory nature of modal thought

in his day.
As Jacobs has explained:
"The century spanning the years 1550-1650 might be

characterized as an interregnum of tonal chaos,
during which the old modal system disintegrated
and the modern tonal system was established.
Correa, reflecting the modal confusion in labelling the works in the Facultad was very much a
man of the times. "1
I
Correa cites in the preface to the Facultad Organics many

composers as his authorities and influences:
Morales, Antonio and
Hernando de Cabezon, Peraza (although it is not known positively

I
whether he was referring to Geronimo or Francisco Peraza), Diego de

/
Castillo, Manuel Rodriguez Pradillo, Salinas, Josquin des Prez,
Barroducense, Francisco de Montanos, and Nicolas Gombert, whose modal

practices differ in some respects
from those of Correa.
A more
careful search through the works of additional composers and theorists

of the sixteenth and early seventeenth centuries is useful in that it
may give additional clues to Correa's thoughts on modality.
Charles Jacobs: Francisco Correa de Arauxo, Amsterdam: Nartinus

ho f f , 19 7 3 , p 16 .
Ni j
109
110
Among the above authors Francisco Salinas seems to have had

the greatest impact upon Correa, for although Correa follows the
numbering system proposed by Glareanus which differs somewhat from
that of Salinas, the octave species mentioned in the titles of most of
the compositions appear to have their roots in Salinas' writings.
In
Book IV of De Musica Salinas lists seven possible octave species, one

based on each of the seven notes from Great G through small f, with
two possible points of division for each of the species except those
beginning on B and F.2
Although Correa reckons the octave species as
twelve in number beginning with the letter-name C, and gives them by

solmization rather than by staff-notation,3 in practical usage this
number is reduced to seven by Correa's habits of mutation.
Addi-
tionally, Correa shows the influence of Salinas by his listing of only

one possible octave species on B and only one on F.
That the work of Correa forms a continuum of theoretical
thought with that of Salinas is confirmed by a comparison of the
opinion of both men concerning the treatment of the perfect fourth.
Salinas states that the fourth is found in the upper two voices at the
end of songs and that therefore it should not be disqualified as a
consonance.
He goes on to state that while residing in Naples, he was
charmed by the sound of the interval of a fourth as used by the Greeks

in their ecclesiastical songs, in which the fourth was not limited to
the uppermost interval of four or more voice parts.4
2
3
4
Francisco Salinas:
De Musica Libri VII,
Gastius,1577, Bk. IV, p. 191.
fol. 3; cf. p. 30
Salinas: De Musica , Bk. II, p. 55-56.
This is in
Salmanticae:
Mathias
111
agreement with Correa' s own s ta temen ts concerning the consonant use of

the fourth, where he refers to the opening of the "Resurrexit" of the
.
Missa L'homme arme of Josquin des Prez, where an open fourth is found
between altus and bassus.S
In examining Correa's treatment of the modes, we will look at
three aspects:
1.
Modal organization
2.
The use of the Genera
3.
Correa's unique treatment of the seventh mode.
Not only keyboard works but also vocal and vihuela compositions showed increasing tendencies toward modal organization as the
sixteenth century progressed.
This is seen with clarity in collect-
ions from about the middle of the century to its end, particularly in
collections of madrigals, psalms, and other non-liturgical sets.
It
is also imperative that one note the pattern of modal organization in

the Spanish instrumental works of the sixteenth century. Livermore
writes: "It was the vihuela music which thrust Spain into the forefront of European keyboard composition . "6
We turn therefore to the
sixteenth-century Spanish vihuelists:

I
In general, one can see in the collections of Milan, Valder/
rabano, Mudarra, Fuenllana, and Narvaez, that little effort is made to

label
modally
any
work
except
those
latter genre, which in the vihuela
5
6
entitled
"Fantasfa"; this
literature is a contrapuntal
f o 1 . 9v ; c f p 52
Ann Livermore: A Short History of Spanish Music, New York:

House, 1972, p. 61-.- -
Vienna
112
imitative work closely resembling the keyboard tiento, is consistently

so
labelled.
In these collections,
some sort of modal order,
there is an effort to maintain
though the strictness with which this is
carried out varies significantly from one collection to another. For

instance,
in
the case of Milfn,
of the first mode,

modes;
mode,
the collection begins with pieces
then the second,
then of mixed first and second
this is followed by works in the third mode, then the fourth

then mixed third and fourth modes. At this point Mila'n reverts
once again to mixed modes I and II, followed by additional mixed modes
III
and IV, after which the movements occur in random modal order
until
no.
51, which begins a series of four tientos in the order of
mixed modes, no.

II,
no.
51 exhibiting characteristics of mixed modes I and
52 those of Modes III and IV. no.
53 those of modes V and
VI, and no. 54 those of modes VII and VIII.
Los seys libros del Delphin de musica de cifra para taner

vihuela by Luys de NarvAez does not present its works in the orderly
manner of Mil~n's collection, but instead emphasizes works which are
in the modes preferred by the composer, particularly the first and
fifth.
He does however collect in one group five pieces (nos. 22-26)
which are in the first mode.

The collection of Mudarra exhibits complete random order until
Fantasia XVI, which is in the first mode and which begins a series of
twenty-three pieces arranged in modally ascending order with one to
four works representing each mode.
113
The collection of Enriquez de Valderrabano on the other hand

shows an apparently random order after the initial piece, which
appears to be in Mode I. But despite the apparent randomness of its
I
modal order, Valderrabano does group together large numbers of

fantas{as of identical mode, such as Fantas{as XI through XV of the
fifth mode and Fantaslas XVIII through XXIII in the first mode.
Miguel de Fuenllana takes a somewhat different approach to the
ordering of the modes.
At the beginning of his collection stand lute
intabulations of works by Josquin, Guerrero, and Morales; from fol. v

on, Fuenllana after each of their intabulations presents a Fantasia of
his own in the same mode.
Aside from this coupling of intabulation
and fantasfa the modal order is random until close to the end of the
work, where the composer provides a group of tientos in Modes I-VIII,
one tiento per mode.
I
Correa organized the musical contents of the Facultad Organica

along lines used by the sixteenth-century vihuelists, in which all
modes are represented by at least one work each at the beginning of
the collection; after this initial group, the composer was more free
to use whatever modal order was appealing to him, and through much of
the remainder of the book he chose to organize the contents in a way

which was pleasing from an architectural viewpoint.
In addition,
Correa's treatment of the modes is informed by the current radical

experiments with terms of modality and gender, in which "enharmonic"
has come to be used to refer to the most remote accidental available.
Finally, his experiments with new approaches to modality lead to the
114
obfuscation of distinctions between the second and seventh modes and

to
definition
of
modality
more
htavily
internal cadences and less on finalis
reliant on ambitus and
than has previously been the
case.
When one looks at Correa's scheme of modal order,
ference
his pre-
for certain modes and aversion to others is readily apparent.
The thi.rd and eleventh modes are not used again after their appearance
in
tht!
times,
seventh
initial
twelve tientos,
the second n.tode six

mode
eleven
times
while the first mode appears nine
tim~s,
(with
the eighth seven times,

disregard
mixture of seventh and second modes).

balance.d and architecturally
of
the tiento
and the
with a
Also apparent is a thoughtfully
eff~ctive
grouping of piece& beyond the
initial dozen tientos, which offer one tiento for each of the twelve
modes.
I-XII contain Modes 1-12

XIII
XIV
XV
XVI
XVII
XVIII
Primero tono
Primero tono
XXX
Primero tono
XXXI
XXXII
XXXIII
Septime tone
XXXIV
XXXV
Primero tono
Primero to no
XXXVI
D~cimo to no
XXXVII
Neveno to no
Quarto tono
XIX
XX
Quinto tono
XXI
XXII
XXIII
Sexte tono
XXXVIII Quarto tono
XYJ.:IX
Quarto tone
XXIV
XL
Nove no tono
XLI
XLII
Dezeno to no
Doze no to no
XXV
XXVI
XXVII
XXVIII
XXIX
S~ptimo tono
115
XLIII
XLIV
Sex to to no
Sex to to no
XLV
XLVI
S ept~mo
I
to no
slptimo to no
XLVII
XLVIII
Octavo tono
Octavo to no
XLIX
Duodecil!lo tono
Septimo tono
LI
D~zimo [sic] to no
LII
Primerc to no
LIII
St!gundo to no
LIV
S~ptimo to no
LV
Segundo to no
After
form
a
the
a pattern of
LVI
Quarto to no
LVII
Octavo to no
LVIII
LIX
LX
Segundo tono
LXI
Primero to no
LXII
Primero tono
LXIII
Se:xto tono
LXIV
Octavo tone
LXV
Primero to no
LXVI
sJptimo to no
LXVII
LXVIII
LXIX
Octavo tone
first
twelve,
(2+5)
(1+3) + 6 +
perfectly symmetrical plan.

th~
the following twenty-t!ight

(1+3)
tientos
(2+5) or a+b+c+b+a,
It is interesting that both sets of
two
tientos are in
the
central point in this scheme is in the seventh mode, which is
the
mode most frequently used by Correa.
to
establish
first mode,
while the set of six which forms
It would be futile to try
metaphysical-numerological importantance in this,
\
~
la Schweitzer, as there is no evidence indicating the preoccupation

of the 17th-century Spanish mind with such matters
(in contrast to
Baroque Germany); yet it is evident that Correa considered the seventh

mode
It
to be of great significance in the overall scheme of things.

is
also
likely
didactic
and
included
frequent
because
that
practical,
in
such
work which was intended to be both

as
repr~sentation
the
Facultad,
Correa
would have
of a particular mode at least partly
he considered it usable for a variety of occasions.
That
116
this music was not intended for widespread use as alternatim music
is
indicated by the extensive length of most of the tientos; yet this
would
not preclude their use for music preceding the Mass and for
Sortie-music.
The
final
grouping
of
pieces,
nos.
XLI through LXIX,
is
arranged as follows:
Eight tientos grouped by pairs (two per mode)
~ine
separate
with no
clear-cut pattern of
recurrence
of
the mode
Four in the second mode
Five in separate modes
Three in the eighth mode.
However,
the last three, which are not tientos, might be discounted
as
they
are
simple
melodies
and
are
the
same
the
part
of
hymn-tune
such
intended for alternatim performance of
usage
would
predetermine
the
mode
of
the
setting and would leave no room for choice of mode on
disregarded,
practice
obviously
chant;
fauxbourdon
fauxbourdon realizations of pre-existent chant
the
as
composer.
it
previously
would
is
mode of LXIX also might well be
simply a set of variations
set
suggest
The
in
that
fauxbourdon,
the
same
(glosas)
on the
and normal compositional
mode
be
retained
for
such
variation.
'The preponderance of Protos
the
Protos pair of modes were actually the most usable and that the
inclusion of examples of Septimo

was
[Mode I, II] types suggests that
simply
to
give
variety
of
completely different modal type.
-~
ending on the Protos finalis
ambitus
rather
than
to
employ
117
The second aspect of Correa's modal treatment to be addressed

is the unique usage of terms concerning genera.
To summarize, Correa
states that he uses the terms diatonic, chromatic, enharmonic, and

their modifications as follows:7 ,8
Diatonic gender:
No altered notes
Soft chromatic gender:
Use of B-flat and E-flat
Hard chromatic gender:
Use of F-sharp and C-sharp
Soft enharmonic gender:
Use of A-flat and D-flat (not used by
Correa) in addition to B-flat and E-flat

Hard enharmonic gender: Use of G-sharp in addition to F-sharp
and C-sharp
In this usage he differs radically from that of the ancient Greek
authors and those of the middle ages, in which the genera were
considered to contain the following intervallic relationships:
Diatonic:
Various combinations of half-tones and whole-tones
within a tetrachord.
Chromatic:
I~
.e
Four notes at the descending intervals of tone-
and-a-half, half-tone,
half-tone.~~
"
~" u
fol. 13-14; cf. p. 64-69.

The origins of these terms are as follows:
The word "chroma tic" sterns from the Greek word "chroma" which
means "color"; originally this impl led a pat tern of half-step,
half-step, minor third; the presence of half-steps later evolved into
the concept of chromatic alteration of notes. "Diatonic" comes from
"di."+" ton" and means literally "having to do with two tones"; originally the name indicated the presence of two whole steps with a
half-step between. The term "enharmonic" implied the use of an
interval smaller than the half-step. The designations ''hard" and
"soft" came from the medieval and Renaissance use of the ''hard" or
square "b" (J.) to indicate B-natural, and the "soft" or round "b" (b)
to indicate B-fla t.
118
Enharmonic:
Four notes at the descending intervals of double-
whole-tone, quarter-tone, quarter-tone.
Instead, Correa appeared to have been influenced by the

increasingly novel experiments concerning the genera which were taking
place in the fifty years immediately preceding the publication of the
I
Facultad Organica.
In one of the more extreme examples, the Neapoli-
tan mathematician and musician Fabio Colonna was hired by his fellow
Neapolitan Scipione Stella to build an instrument similar to the
arcicembalo built by Nicola Vincentino.
The resulting instrument,
known as the Sambuca Lincea, was clearly described by Colonna in 1618

in La sambuca lincea
Colonna linceo.9
~dell'
instrumento musico perfetto di Fabio
In this instrument he constructed octaves of
thirty-one degrees, and in his effort to accommodate these to the

five-note staff which was by then standard in Italy, he used halfsteps of various sizes and assigned them to the chromatic and enharmonic genera, using p , II, X as signs of chromaticism. No less a
composer than Ascanio Mayone wrote a series of exercises demonstrating
the various genera.
When one remembers that Naples was a Spanish
possession at that time, it appears even more likely that such

experiments would have reached Spain from Naples.
Although such
radical approaches are far from the conservative spirit of Correa's
For a complete description in the English language, see Lynn Wood

Hartin: "The Colonna-Stella Sambuca Lincea, an Enharmonic Keyboard
Instrument, Journal of the American Musical Instrument Society, vol.
X, 1984, pp. 5-21.
119
polyphony, it is likely that the new usage of these terms, so unlike

that of the ancients or as promulgated by Salinas or Cerone during the
preceding century, would have fascinated Correa and that he would have
endeavored to apply them to the keyboard which he had available.
It is also quite apparent from Correa's own statement that
a-flat and d-flat were not availablelO, and that each "black note"
could be used for only one type of accidental.
Although we have no
certainty as to the exact system of temperament employed in the

Sevillian region during the time of Correa, it seems logical, when one
considers other seventeenth-century European tuning systems, that some
type of mean-tone tuning was in use and that the g-sharp was the most
out-of-tune and the least freely usable of all the accidentals.l1 This
is borne out by Correa's use of this pitch, since it almost invariably
occurs as part of a passage in which it resolves upward to an!
In
light of the Neapolitan practice we have just seen, it may be inferred

that Correa would have reserved the term "enharmonic" for the note
most radically distant in character from the diatonic notes of the
keyboard.
The presence of notes such as G-sharp which were radically
different from other black notes in their relationship to the diatonic
scale allows for the possibility of many shades of color to any given
mode.
This explains Correa's decision to end Tiento IX with an open
fifth:
10 fol. 14; cf. p. 66.
11 For an in-depth study of various tuning systems, see J. Murray
Barbour: Tuning and Temperament: A Historical Survey, New York: Da
Capo Press, 1972.-Reprint of 195ledition.
120
It is likely that, due to the tuning system in use at the

time, the
#-a-c#
complex of sounds was too unsettled to be used
as a final chord. Correa, who normally included the third of the

chord, therefore omitted the.! This tiento, with its prescribed g If
throughout, then served as an example of the enharmonic mode as
understood by Correa as containing the most out-of-tune altered note
available to him.
Unique to Correa is the treatment of the seventh mode.
No
clear precedent is set in the vocal, vihuela, or keyboard works of the

sixteenth century, although certain unusual characteristics can
occasionally be seen.
In one instance, the Fuga I in the vihuela
collection of Valderrbano, the overall characteristics appear to be

those of Node I, but with a finalis a fourth above the expected point.
This is clearly seen in Pujol's transcriptionl2, in which the opening
notes, ambitus, and points of division in the ambitus all point to an
untransposed mode-l classification, but with a finalis of G, rather
than D. This appears to be a reverse procedure from Correa's use of
Mode VII with a finalis of D.
It is also interesting that mode VII is treated as somewhat of
an anomaly by both Cipriano de Rore and Tylman Susato.
In the Premier
12 Enriquez de Valderr~bano: Libro de musica de vihuela, intitulado

Silva de Sirenas, Valladolid:T54l'; tr. Emilio Pujol, Barcelona:
In~tituto de Espanol de Musicologia, 1965, p. 1-2.
121
livre des chansons a
parties published by Susato in 1544 at Antwerp,
a collection which is for the most part arranged in modal order,

Susato encountered a major problem of classification when the ambitus
of all voices seemed to represent the seventh mode but the finalis was
D.
In one instance such a work is assigned to an in termed ia te
position between a group of chansons in Mode III and those in Mode IV.
In another instance the pertinent chanson lies between one group of
chansons in Mode VI and another in Mode VIII; with no other piece
clearly in Mode VII and with the remainder of the cycle so carefully
ordered, it seems plausible that Susato was at least conjectur;ng that
the combination of ambitus, key signature, and finalis mentioned above
could represent Mode VII.
Correa's treatment of Mode VII is unique in that it involves
the mixing of Mode VII with Mode II13.
Traditionally the term "mixed
mode" (or its equivalent in any language) carried the connotation of

the mixing of an authentic mode with its corresponding plagal, such as
the combination of both protos modes, or both deuteros modes, etc.
This would allow a greater number of possibilities for resting points
in internal cadences.
With Correa, for the first time in keyboard
literature, we have clear evidence of the mixing of two distinctly

different modal categories, a mixing which grew, however, as a logical
result of the already accepted mixing of authentic and plagal pairs of
modes, as demonstrated below.
13 See Correa's comment in the title of Tiento XXV, Fol. 65; cf. Appendix
A, p. 208.
122
The ambitus of Modes II, VII, and VIII are as follows:

Mode II:
=&- .. ...-
tftto
Mode VII:
'
Mode VIII:
0
( j
'
Modes II and VII are often mixed because they have the same
point of division, namely D; but Mode II is structured A-D-A with
finalis D while Mode VII has G-D-G with finalis G.
Ambitus of soprano and bass in tientos classified as VII Tono
but really in mixed mode with finalis of D in the bass:
XXV:
d' - a"
D- f
D finalis ( f/1 in soprano)
XXVI:
d' - a"
D- e
D finalis
XXVII:
d' - a"
c - e
D finalis
XXVIII:
ell' - a"
D- f
D finalis
XXIX:
d' - a"
c- f
D finalis (f/1 soprano)
XXX:
a' - a"
C - c'
D finalis (a' soprano)
XXXI:
g' - -a"
C - c'
D finalis
f'- a"
c'
D finalis (soprano a')
a' - a"
D finalis (soprano a')
XXXII:
cXXXIII:
f'- c'
123
It is puzzling indeed, in light of Correa's unusual treatment

of the seventh mode, to find that in the vocal works of his countrymen
no such abnormalities exist.
The treatment by these composers of
works which claim to be in the seventh mode or which by virtue of the

ordering of pieces should fall into traditionally accepted characteristics of the mode shows nothing contrary to accepted practice.
That this is most obvious in the works of the three most famous
Spanish composers of late-Renaissance sacred polyphony (Morales, Guerrero, and Victoria) serves to underscore the conservative treatment
generally given the modes in Spanish vocal polyphony at this time.
Turning to instrumental music, we once again look at the modal
treatment of music for plucked stringed instruments of the sixteenth
century.
In pursuing this music, we find enlightening information
concerning the determinants of the modes in the earliest extant

I
collection of vihuela music, El Maestro by Luis Milan.
On folio V,
Mil'n gives a clear directive (here translated by Charles Jacobs)

concerning the determination of mode in his compositions:
. the treble, where the tone is to be ascertained,
must have ten terminal notes, counting that it must
rise nine notes above its final cadence and descend
one below its final cadence, that is, ten. This is
understood in [regard to] the four master [i.e.
authentic] tones, ... the other four disciple [plagal]
tones, . has the said ten-note terminus half above,
so that you count six notes above, its final cadence
and half below, so that you count five notes below,
the final cadence.14
14 Luis de MilAn: El Maestro, edited, translated, and transcribed by

Charles Jacobs, University Park: The Pennsylvania State University
Press, 1971, p. 25.
124
We can discern from this statement that: (1) at least where vihuela
music is concerned, the top voice-part is of primary consideration in
determining modality; (2) the ambitus of a given mode regularly
includes a total of ten diatonic degrees, going beyond the octave span
frequently given yet today as the textbook allotment of pitches to
each mode.
Furthermore, Milan's emphasis on the importance of
internal cadences in confirming a precise modality is important.

I
In Milan's
own compositions, nothing particularly unusual in
the treatment of the modes presents itself.
It is sometimes difficult
to determine from the original tablature the specific pitch intended

for a finalis, since Spanish lute tablature indicates finger positions
rather than actual pitches, and vihuela tunings were rather variable
during the era under considerationl5; nevertheless, intervallic
structures and pitch relationships within a specified mode are
consistent with traditional understanding of individual modal charac teris tics.
I
The compositions in Los seys libros de Delphis by Narvaez

follo~
traditional representation of the eight-mode system, with the
15 Willi Apel: The Notation of Polyphonic Music, 900- 1600, 5th ed.,
Cambridge Massach1.isetts: The Hedieval Academy of America, 1953, p.
56.
125
exception of Villancico III (no. 46 in the collection)l6, which is to

be c 1 a s s if i e d as Aeo 1 ian
( I t is s i g n i f i can t , pe r haps , tha t this
occurrence, more than a decade before the codification by Glareanus of

a twelve-mode system, was in a genre which was secular in origin,
while sacred vocal polyphony in Spain remained chiefly in the eightmode tradition for several decades.
I
The musical compositions in Mudarra's Tres libros de Musica

contain no unusual modal tendencies.
I
In the Libro de M6sica de Vihuela... of Enriquez de ValdeI
rrabano compositions actually possessing modal lables are worked out

according to tradition. Many of the l!lnlabeled works fit rather clearly
into
one
of the usual modal categories;:, the one notable exception
is the very first piece of the book, a brief Fuga which, by the
division of the ambitus in the various voices and by the half-stepwhole-step relations hip among the pitches present in the
to tal
ambitus, gives a clear indication of Mode I; yet its finalis is a

perfect fourth higher than what is expected in accordance with the
characteristics of its ambitus (i.e. G rather than Din the Pujol
transcription).17
In the vihuela compositions of Miguel de Fuenllana, the few
16 The Villancico was a musical and poetic genre which originated late in
the 15th century. At the time under consideration it consisted of
several coplas (stanzas) connected by an estribillo (refrain) and
generally had a secular text. As the 16th century progressed, its
musical settings became increasingly polyphonic; many of the polyphonic vocal villancicos were arranged as solo instrumental settings
/
by the lute and vihuela composers of the time, such as Narvaez.
17 Valderr~bano: Libro, p. 2.
126
works actually labeled
according to modality exhibit the traditional
characteristics of each mode, except for one example of Mode III close
to the end of the book, in which a tiento begins.
In the keyboard works of Correa's predecessors, also, few
abnormal! ties of modal behavior are seen.
~~rfa
In the works of Sancta

I
(1535), Bermudo (1555), and Antonio de Cabezon (1578), the
appearance of the modes is quite in agreement with what is traditionally expected, as is the single extant organ piece from later in
the century by Francisco Peraza. Unfortunately,
the organ works of
Diego del Castillo, organist of the Cathedral of Seville from 1581 to

1583, were apparently lost after the publication of Correa's work
(since no trace of them can be found any longer).
as
Diego
may
have
influenced
This is important
Correa in his early years of musical
training, since Correa mentions him in the Facultad.
Diego's brother
Bernardo Clavijo del Castillo did not exhibit any new modal tendencies
in his work.
In Correa's own day, the works of Nanuel Rodrfguez Coelho,
though
more innovative
than those of the composers of the previous
century, nonetheless followed traditional concepts of modality.

I
Only in the tien tos of the Facul tad Organica do we see a much
more daring approach to the modality of the various pieces, partieularly of those in the seventh mode.
and are given a solmization of
spending to a d' to d" ambitus.
Nine of them have a finalis of D
~-rni-fa-sol-~-mi~fa~sol,
corre-
The clue to his derivation of this
127
categorization lies in certain statements made in the first of these

occurrences
(see Appendix A, p. 206) and a comparison with statements
made by Cochlaeus much earlier (see below, p. 129-130).

It is apparent from these statements that Correa's modal
classification of these pieces depends not only on the finalis, but
also on the division of the ambitus.
It is also governed to some
degree by the internal cadences used: both Tiento XXV and Tiento XXVI
include cadential progressions ending on G or C, cadence points more
frequently used in seventh than in second mode.
Tiento XXV
ll
t}
m. 108-110
I
:F EfF'-~r#u#r
Tiento XXVI
'tJ"
m. 81-84
~.==F=~
~0
rr
I
'0
.l.
1-1
Again, such divisions and inner cadences can be found in each
of the tientos with the puzzling designation of septimo tono, finalis

D,
and predominantly natural f:

In Tiento XXVII
m. 75-76
128
Tien to XXVIII
m. 98-100
Tiento XXIX
m. 81-83
Tiento XXX
m. 115-116
) "-g
J__..!!!_j J
uu ~ i.d ~
-----T
Tiento XXXI
_rl.
l I 1 J.l.J J . . . .-..-
.J
-:___..- -r
m. 95-97
In Tiento XXXII, evidence is less obvious, apparently based

solely upon the high ambitus g'-g" in the soprano.
m. 6-14
Tien to XXXI I
J
~
The
: IF :
opening
statement
obviously of the second mode.
of
the
soprano
p r 1,. r:
in Tiento XXXIII is
129
Tiento XXXIII
What,
m. 1-6
therefore, is the rea son for the labeling
obvious commixture of second and seventh mode?
of the
A clue may be found in
a careful look at Tien to Y.!.!, de septimo tono, in which the f/1 is used
in the key signature, effectively transposing the ambitus from g'-g"
to d' -d", as can be seen from the initial s ta ter.t~n t of the subject.
This transpostion would normally demand a finalis of D.
However,
Correa uses A, not D, as the bass note of the final chord; only one
cadence in the entire tiento resolves to D, and this is a very
fleeting internal cadence in
M.
110-111:
-~
It becomes clear that ambitus more than finalis is the determinant for
this particular mode in the usage of Correa.
That the possibility of
such an unusual approach exists has been given by Cochlaeus in Tetrachordum Musices:
What is mixed Tone?
One which contains the
tetrachords of an authentic and plagal Tone, for
an authentic and plagal Tone have a common fifth,
but fourths which are separated and which are both
130
included in a mixed Tone What is an irregular

Tone?
One which ends on its cofinalis;
for
example, the first Tone regularly ends on d sol
~' and irregularly on~ la mi ~.18
However,
it remained for Correa, with his ambitus-based
labeling far from the normal restrictions implied by the finalis, to

make abundant usage of this particular commixture of second and
seventh modes with irregular finalis, thus bringing Spanish keyboard
music nearer to the gradual demise of the modal system.
18 Johannes Cochlaeus: Tetrachordum Musices (1511), Introduction,

Translation and Transcription by Cle~~ Miller, Rome: American
Institute of Musicology, 1970, p. 48.
CHAPTER III
PROBLEMS OF PERFORMANCE PRACTICE
There is perhaps no greater challenge to the performing

organist of today than to realize correctly the music of earlier
times.
Robert Donington states:

So neglected was most baroque music by previous
generations that we have inherited no original
tradition of how it used to be performed. We have, of
co u r s e , our own good mus i c ian s hip ; and t h a t i s
something which has not essentially changed on the way
down.
But there are many missing parts of the
interpretation which can only be pieced together again
by a scholarly investigation of the surviving evidence.!
An additional hindrance to the correct interpretation of the
music of Correa is that one is dealing with a region, the 17th-century

musical conventions of which are less well-known to us than are those
of Italy, Germany, England, or France, and that most of the Iberian
documents bearing on the music are from several decades earlier or
I
later than the Facul tad Organica; in many instances, even the role of
foreign influences cannot be clearly ascertained and one is sometimes
faced wtih interpretive choices based on contemporary documentation
from neighboring stylistic schools which may or may not be valid for
the musical material at hand.
1
Much important and enlightening
Robert Donington: A Performer's Guide to Baroque Music, New York:

Charles Scribner's Sons, 197 3, p .1-3-.-
131
132
information, however, can be drawn from Correa's Preface; and worthwhile though limited insight from other documents may allow one to
reach stylistically acceptable conclusions regarding the performance
of this music.
In this light, four problematic areas will be addres-
sed: ornamentation, articulation, rhythmic alteration, and registration.
Ornamentation
Concerning ornamentation, we find clear suggestions in

chapter 5 of Correa's preface2 concerning four specific types of
ornaments:
1.
The quiebro senzillo, employing the principal note, the
note below, and a return to the principal note:
2.
The quiebro reiterado, also referred to as the quiebro
doblado, using four notes:
the note, above, the principal note, the
note below, and the principaJ note:
fol. !Sv-16; cf.
pp. 71-73.
133
3.
The redoble senzillo, employing the note below (the
"prefix"), then the principal note and the note a hove, which then
alternate repeatedly, closing with a quiebro senzillo:
4.
The redoble reiterado, which begins with two notes, the
"prefix" below the principal note, ascends to an alternation between

principal note and note above, and closes with the quiebro senzillo:
Correa mentions that in addition to the place where "R" is

indica ted in the music, a redo ble is used on the sharps in all
unembellished cadences--in other words, on the major third in the
penultimate chord of a cadence--and in all half-step progressions
which, in solmization, would be mi-fa in a cadence3; these instruct/
ions affect the entire musical portion of the Facultad Organica, as

virtually all of the internal cadences demand the use of these
embellishments.
From Correa's terminology it may be assumed that he
was writing from a modal, not tonal, point of view.
The fact that
modal theorists of the sixteenth century considered the cadence a

two-voiced phenomenon using contrary motion must be kept in mind in
the
determination
fol. 16; cf.
of appropriate locations for improvised cadential
pg.72.
134
red.:ble~.4
Such
viewpoint demands that a redoble be addeci to the
alto voice in a passage such as the following:5
r r
Tiento LII
m. 139-142
Correa later admonishes that a redoble should not be used

when it would involve the (repeated) alternation of notes one wholetone apart.6
This instruction is corroborated both by the placement
of the "R" symbol and by fifteen of the sixteen written-out realizations of the redoble in the music; it in turn clarifies the intentions
for the "R" at numerous places where the tablature is ambiguous as to
which voice should receive the ornamentation, for although Correa also
states that the "R" will appear above the intended voice7, in actual
practice it is sometimes simply placed above the highest sounding
voice, leaving correct application to the performer's discretion, and
in these cases the "R" is correctly applied to the voice having the
mi-fa relationship.
In addition to an indication
by
the simple
"R'"
symbol and to
the instructions for cadential decoration, Correa gives seventeen

examples of actual written-out redobles; fourteen of these include the
symbol "R", while three do not.
4
6
7
These are as follows:
See confirmation that this view was still held in the early 17th
Century. Adriano Banchieri: L'Organo Suonarino, Venice: Vicenti,
1605, pp.l00-103; Pietro Cerone: El Melopeo y el Maestro, Naples:
Gargano, 1613, pp. 829-831.
---Tientc LII; vol. II, p. 97 in Kastner edition.
fol. 16; cf. p. 73.
ibid.
135
Tiento III, measure 169

Tiento IV, measure 28
Tiento X, measure 121
Tiento XIII, measure 16
Tiento XIII, measure 73
Tiento XXI, measure 112
Tiento XXVI, measure 119
Tien to XXVII, measure 48
Tiento XXIX, measure 42
Tiento LI, measure 124
Tiento LVIII, measure 56
Tiento LIX, measure 15
Tiento LIX, measure 19-20
Tien to LIX, measure 90
Tiento LXII, measure 158
These written-out examples are crucial in answering the two
most pressing questions concerning the redobles in this music:
"Which
note (principal or auxiliary) should be placed in a rhythmically

accented position?", and the related question "What is the correct
rhythmic placement of the prefix at the beginning of the redoble?"
One can see in the written-out examples the preponderance of
ins.tances with the principal note placed on the beat; 1 t is also clear
that the note-below or two-notes-below prefix is intended to fall
136
ahead of the beat in a rhythmically weak position, since this occurs

in all but two instances, in one of which, Tiento LI, measure 124,
there is no prefix at all.
study of
the
One may gain further insight from careful
three examples which seem
to be exceptions
to
the
principal-note rule and from careful observation of the modifying

factors which have resulted in the accented upper note:
In Tiento LVIII, measure 56,
it appears that Correa is endeavoring to maintain the importance of

the _!"
suspension for as long as
possible by keeping a" on
the
accented part of the beat.

In Tiento LIX, measure 90, the redoble is complicated by the
downward and upward flourish during the second quarter of the measure
and the beginning of the' third:
It becomes clear when looking at this
passage in modern notation that the "R"' symbol which was given by
Correa on the second quarter of the measure Actually represented two
separate redoble figures, one on f" on the preceding two counts, with
its principal note falling at the beginning of
the measure,
the
strongest possible rhythmic position, and the second falling on e" in

the last two quarters of the measure, with the auxiliary f" falling in
the rhythmically strong position,
giving added
emphasis
dissonance set up by the accented f earlier in themeasure.

might
be
inferred
from
the
g"
which
appears
frequently
to
the
It also
and
in
137
rhythmically
strong
positions in m. 88-89 that Correa
gether with the a",as high
points
in the line.
diminutions in m. 88-90 can then be seen
to be
saw this, to-
The treatment of the

a complement to
this
line!
0----------------------
~~~d
::
J J=; JJ;JlJl h JJJ J ;J JJ~ J~
In Tiento LXII, measure 158, both the e which would normally

be the principal note in the figure and the apparent upper auxiliary f
are dissonant with notes sounding above them.
Apparently having f on the beat was less repulsive to the

ears of ~orrea than would have been an accented e, which would have
resulted in a more noticeable tritone.
Also,
the quiebro senzillo
toward the end of the redoble and the lack of an intervening e when
moving to the closing suffix admits the possibility that Correa
actually considered f to be the prtncipal note in this case, with the
redoble alternating with the lower auxiliary rather than the upper.
Thus, the exception to the treatment of the redoble would not consist
in the use of an accented auxiliary note, but in the use of the lower,
rather than the upper, auxiliary as the note of alternation,
the
138
principal note still remaining in the accented position.

skip to the d-e ending then makes more
pronounc~d
The downward
and definite the
final appearance of the finalis.

Although there are no extant Iberian sources of the early
17th century which deal with ornamentation, we do know that the
Italians had recognized the possibility of the accented upper note in
their groppo or gruppo since around the turn of the century.B
It
might seem entirely speculative to assume Italian influence upon

Correa, but it is historical fact that both Naples and Milan were
under Spanish rule during major portions of the era, and that Seville,
I
Correa's home at the time of the publication of the Facultad Organica,

was the major international commercial crossroads for all of Spain due
to its officially recognized monopoly of trade with the newly colonized West Indies.9
Besides, it is apparent from Correa's own
comments in the Preface, particularly from his references to a number

of leading theorists and composers of his own and of preceding
generations, that his musical knowledge was far broader than his
apparent eeographical isolation uould lead one to believe.10 Thus it
would
seem quite possible, in light of both Correa's own practice
in two other previously cited instances and the documented presence

for at least a quarter-century of the accented upper note in Italy,
Giulio Caccini: Le nuove mu.siche, Florence: Marescotti, 1601, unnumbered fourth andtfifth folios of the preface.
9 Henry Kamen: Spain 1469-1714: A Society of Conflict, London: Longman,
1983, p. 171.
10 fol. 9v., 12v; cf. pp. 51-54, 61-63.
139
that this redoble indeed uses e as the principal note, with the upper
auxiliary note accented.
prefix,
for
This is given further credence by the c-d
yielding a redoble reiterad_9 normal in all respects except
placement
of accent.
However, this possibility is negated by
the lack of an e immediately before the closing suffix d-e.
There-
fore, although this redoble must be viewed as a highly irregular example
from
either viewpoint,
it
seems most plausible that Correa
regarded f, not e, as the principal note and chose the lower, rather
than the upper auxiliary, to alternate with it.
The remaining written-out redobles, all of which use the
accented principal note, have in each case certain rhythmic peculiarities, problems of placement of accidentals, or abnormalities of prefix
which would make it desirable for the composer to write out the
ornament in detail rather than to risk ambiguity.
In Tiento III, m. 169, the prefix begins on the beat, moves
to the principal note and note above, then repeats the lower-neighbor
prefix:
In 1ientu IV, measures 14 and 28; Tiento XXVII, measures 48

and 62; and Tiento XXIX, measure 42, it is clear that Correa had in
mind a specific rhythmic pattern with definite note-values for the
realization of the ornament.
140
Tiento IV
m. 14
Tiento IV
m. 28
Tiento XXVII
m. 48
Tiento XXXVII
m. 62
In Tiento XIII, measure 16, a problem concerning placement

of accidentals exists involving the use of c and c-sharp; this has
important rarnificatioqs for the realization of the redoble prefix. The
tiple beeins measure 16 with a c", but with the prefix to the redoble
in the second half of the measure the c is sharped:
Tiento XIII
m. 16
141
To
ture)
mark only a c-sharp (5* in the Spanish keyboard tabla-
with an "R" above it would leave ambigious the placement of
the sharp as well as the rhythmic structure of the redoble as a whole.

It was necessary, therefore, for Correa to write out this particular
ornament in order to ensure correct interpretation of both accidental
and rhythm.
It also sets a clear precedent for Tiento LV, which opens
with similar ornamentation.

t..
R
--r.---
t)
In measure 73 of Tiento XIII, the redoble is written out

once again; on this occasion there is no problem of the redoble to be
played with a rhythmic structure parallel to that of measure 16.
In Tiento XXI, measure 112, the redoble in the bass alternates B-flat with Tenor c, one whole-tone higher, clearly in violation
of the statement made by Correa in the Preface concerning the use of
redobles in half-step relationship only.11 For this reason the entire
ornament had to be realized, as the notation system employed did not
have the ability to clarify by symbols alone such a questionable use
of the redo ble.
Tiento XXVI is the first of the tientos de medio registro de
tiple with a solo line which ends on the finalis of the mode.
Although it is possible that Correa wrote out the ornament in measure
11 fol. 16; cf.
p. 73.
142
119 to specify rhythmic structure, it is much more likely that he has

done so simply as a model for tientos with similar endings; this
possibility is given additional weight when one compares the notation
of this ornament with the virtually identical endings of the
t~o
following tientos, both of which are in the seventh mode with a

finalis of d, as in Tiento XXVI:
Tiento XXVII:
Tiento XXVI:
, , c:;;;::
.....
~ ~ ~
"
120
rn
r--
f:\
- r r ~
~r
fJ
I)
Tiento XXVIII:
........._rrr
I
.,
One sees Correa's purpose immediately:
f"':\
- r #ff ~
u:
u:
.._......~
to give a model in
Tiento XXVI for the use of the redoble reiterado at the end of tientos
de rnedio registro de tiple; he then gives the organist practice in
applying this ornamentation, first with the written-out prefix (to
ensure a redoble rei terado rather than a redoble
~enzillo)
but no "R"
indication (or is it possible that Correa simply forgot the "R" over
the principal note?) in Tiento XXVII; in Tiento XXVIII, even the
prefix is omitted, the organist being expected by this time to supply
the correct prefix also.
143
In Tiento LIX, measure 15, is the following written-out

ornamental figure:
A similar figure occurs in measures 19-20, at the beginning

of measure 26, and in measures 39-40.
In these instances, Correa must
have in tended the performer to expand the number of notes per beat at
will, for to play these exactly as \lritten results in a stultefied,
unmusical effect.
Again we have documentation, not from Correa but
from Frescobaldi12, that composers most likely expected such writtenout ornaments to be freely interpreted.
It is significant that in two
of the six appearances of the "R" in this tiento, at least one group
of the alternating notes appears before the sign:
It seems quite
likely that what Correa intended at this point was not a note-for-note
reading nor an abrupt change from exact notation, but rather a gradual
accelerando.
It is significant that these five written-out redobles, with
their apparent intention of free realization, as well as the more
irregular redoble figuration of measure 90, were all included in a
single tiento, particularly when one notes that none of these ornamental figures are duplicated elsewhere in the Facultad Org/nica.
12 Girolamo Frescobaldi: Il primo libro di Toccate d'intavolatura di

cembalo e organo, 3rd printing, Rome:Borboni, 1616, "Al Lettore"
sections 4 and 6.
144
Together with the extreme rhythmic complications of this tiento-proportions of five, seven, and nine notes per unit of beat--and the
unusually florid nature of much of the tiple, the uniqueness of its
embellishment technique can be seen as a part of a didactic work of
great musical sophistication, intended only for a very advanced
organist.
This view is supported by its location
cl~se
to the end of
the Facultad Org,nica, when presumably an organist would have learned

many of the preceding tien tos, and by its inclusion
in the most
advanced grade of Correa's own index.l3 It is clear, then, from the

treatment of other written-out redobles within the Facultad OrgJnica,
that those in Tiento LIX must be regarded as atypical of normal
practice in the performance of Correa's works.
~lhat
then is normal?
Normal usage demands that the princi-
pal note fall on the beat; it also appears to be the rule that the
lower-note prefix falls ahead of the beat, and this is borne out by
the placing of the prefix formula before the beat when the formula is
written out in conjunction with the appearance of the symbol "R".
However, .it also seems
clear that occasional exceptions to the
principal-note rule might be made.
Guidelines for such exceptions may
be deduced from the exceptional instances in the Facultad, which have

the following conditions in common:
1.
If the redoble is in a voice-part other than the bass
and if the pitch-class a tritone (or its compound) below the principal
13 fol. III;
cf.p.I4.
145
note
is
present,
an
exception cannot be made to the principal-note
rule; therefore, the redoble should be played as
in Example B
rather
than as in Example A.
['l
Not
Ex. A
,.....,
-tt.J
but
Ex.
.l 'L
-U-
. ., " ..... ....

-r
::!::
""-"'1
r--t--r-1
::::;;j
..AA.
"
B
~
.I
2.
/\NV
The placing of the upper note directly on the first
rhythmic strong point of the redoble should not conflict with any
written-out prefix, causing a break in the line such as the following:
Not
3.
The placement of the upper note on the beat should not
distort .the contour of either the skeletal melodic line or the

conjunct line of a written-out prefix:
[)_
Jl
L
Not
Ex. A
-,
""" :
...
.....
-~
V'
0
_L
,,
':-'\
...l
but
Ex.
:J
>1-:J . . . .
'-'
..
. .
...
_,
/\NV
()
I
7
/
.....--.
146
4.
Except for the prohibitions 1 - 3, one might use an
accented upper note in order to heighten the effect of the 4 3

suspension at a cadence as in Tiento LVIII, measure 56.
It is important to note that, unlike his Italian contemporary Frescobaldi, Correa never indicates a redoble, either through an
"R" or through written-out note values, when passage-work or diminutions
are in progress in a different voice:
the greater flamboy-
ance of spirit in the writing of Frescobaldi, particularly in the

toccatas, would allow for an effusiveness in the ornamentation which
the comparatively austere counterpoint of the Iberian tiento would not
permit.
It would therefore have to be considered stylistically
inappropriate as well as aurally cluttering to add a redoble of any

type when another voice-part contains rapid passage-work.
Regarding
the quiebro,
examples upon which to draw.
we
have far
fewer written-out
Only in measures 29 and 41 of Tiento
XXIX do we have the Q indication coupled with a written-out realization, and the first of these, with its three-note ascending prefix
and repeated alternation of notes, would seem to resemble a redoble;
but the placement of alternate notes in accented positions effectively
negates such resemblance.
147
R.
Tiento XXIX
m. 41-42
that Correa considered the quiebro invertible, though undoubtedly his

description of the inverted quiebro in the Preface would have to be
considered the norm.
He also uses the reiterated ending in the
quiebro at measure 29:
This sounds like a redoble, but Correa himself refers to

this passage as "quiebro" in the title, and also calls attention to
the irregular number of notes, and mentions that organists may use
many more notes in such a situation
than a choir, thus invoking the
liberty of performance which is the heart of all ornamentation.

Measures 29 and 41 are analogous in construction; what do these two
measures have in common which would allow such an irregular realization of the quiebro?
In both instances the alto line descends to a
point that would be considered quite low, even in a medio registro __ de

tiple, in which the alto part must remain on c' or below at all times;
the irregular quiebro then occurs at the beginning of the line's
ascent.
This is in accordance with what was writ ten by Sa nc ta Na r {a
concerning ornamenting the note at which a line reverses direction:

Quando se subieren seminimas, y luego se tornaren a
baxar, siempre en el punto mas alto se ha de hazer el
quiebro que se haze para baxar, aunque paresce, que
por yr subiendo se avia de hazer el quiebro que se
haze para subir ... quando se baxare a laminimas (sic),
148
y luego se tornare a subir tam bien a seminimas,

siempre en el pun to mas baxo, se ha de hazer el
quiebro que se haze para subir, aunque haresce que por
yr baxando se avia de hazer el quiebro que se haze
para baxar.l4
[When semiminims ascend and then turn around to
descend, a quiebro using the lower auxiliary must
always be performed on the highest note, although it
seems as if in ascending one should perform the
quiebro using the upper auxiliary when descending in
semiminims and then turning to ascend also in semiminims, a quiebro using the upper auxiliary must
always be performed, although it seems as if in
descending one should perform the quiebro using the
lower auxiliary.]
The important distinction between the inverted quiebro and
the redoble is the lack of a closing suffix in the case of the
quiebro.
This is in accordance with the distinction made by Sancta
Haria between the quiebro and the redoble:
that the quiebro should
use either the upper or lower auxiliary, while the redoble uses bothl5.
There are other instances where either the normal or the
inverted quiebro, depending on the direction of a line, might well be
added in the music of Correa, particularly in the tientos de medio
registro, where the accompanying voices, when left unornamented, can
seem quite barren if a highly embellished solo line has dropped out.
As an example, in Tiento XXVIII, measure 44, the alto voice descends
quite low (small e) and the quiebro in some form might be used to
decorate this note, particularly since the note values are large.
The
measure would then be played as follows:

14 Fray Tomas de Sancta Marla: Libro llamado Arte de taner fantasia,
Valladolid: FernJndez de cbrdova, 1565, fol. 51-~1v.
15 ibid., fol. 47.
149
This is in line with Correa's wish for semibreves and minims

to be ornamented when they occur within a passage of smaller values.l6
On the basis of both Correa's own example and of good
musical taste, the use of the quiebro simultaneously with diminutions
in other voices must be deemed inadmissible, as is a similar use of
the redoble, since this produces a cluttered effect that is antithe tical to the spirit of the refined contrapuntal style of the tien to
in the early seventeenth century.
To summarize briefly:
it may be seen that the Facultad
Organica may be successfully ornamented according to Correa's own

instructions and the implications of the realized ornamentation in the
musical text, as well as by the judicious application of alternate
approaches based on his written-out examples.
Fingering and Articulation
Clear communication of the most subtle of details has long

been regarded fundamental to all artistic expression, both visual and
aural.
Within any single registrational color and level of intensity,
the delineation of musical detail on the organ must be accomplished by

the careful adjustment of the written note-value so as to give varying
16 fol. 16v.; cf.
p. 74.
150
degrees of legato and detachment and to imply greater or lesser

importance of a given note.
According to Sandra Soderlund:
"The only way to achieve expressive nuances on the organ

is by manipulating the durations of the notes themselves
and of the spaces be tween them"l7
It is therefore imperative for a correct and fully comprehensible interpretation of the music of a given composer that we have
a clear understanding of his desires, or at least of his possible
intentions, regarding the manner and degree of connection between
notes.
From the earliest extant pedagogical rna terials to the time
of Correa (and even beyond) it is apparent that organ playing prevented a consistent legato style.
Hans Buchner included a completely
fingered setting of the La tin hymn "Quem terra pon tus" in his Fundamentum of c. 1525 which yields passages fingered as below,l8
"
"
-:.
LL'
tJ
r Jh.l J
m. 9-11
r.
ri
::
LJ
3 2
l:_2\
s z
-~
I
2
4
J. ~~
I
-Z
5
implying an obvious non-legato technique in the bass part.
Writing
later in the sixteenth century, Sancta Marfa prescribes the use of the
principal, or third, finger of the right hand for consecutive long
note values:
l7 Sandra Soderlund: Organ Technique: An Historical Approach, Chapel
Hill: Hinshaw Music, Inc., 1980, p.l.
_
18 Hans Buchner: Fundamentum, ed. Georg Schmidt, Leipzig: Peters,
1969, p. 44.
151
Quando se tafieran semibreves con la mano derecha,

todos se han deherir con el dedo de en medic, excepto
quando o tra boz lo impidiere. Quando se taneran con
la mano izquierda se pueden herir el uno con el dedo
segundo, y el otro con el dedo tercero, y desta manera
procediendo, o todos con el dedo segundo, o con el
dedo tercero 19
""
[When semibreves are played with the right hand, they

all must be sounded by the middle finger, unless
another voice prevents it. When they are played with
the left hand they can be played one with the second
finger and the next with the third, proceeding in this
manner; or else all with the second or all with the
third.]
In 1611 Banchieri, in his L'Organo Suonarino, gave fingerings, some
of which
are
identical with those which Correa would give as his
"ordinary fingerings"
20
in 1626:
In addition, Banchieri gives on the same folio fingered examples of

suspensions and resolutions, again precluding a good legato:21
Thus it is seen that in the century immediately preceding Correa, not

only on the Iberian peninsula, but in Germany and Italy also, the
customary approach to organ technique was one which did not demand an
absolutely smooth connection between consecutive notes, but actually
encouraged some separation, particularly between notes of long value.
19 Sancta Marfa: Libro , fol. 39v.
20 fol. 22v.; cf. p.96-103.
21 Adriano Banchieri: L'Organo Suonarino, Venice: 2nd ed., Amadino,
1611, twenty-first verse, unnumbered folio.
152
In addition to the above implications in keyboard treatises

concerning articulation of the notes, the idea of subtly contrasting
articulations within groups of notes, based on their relative rhythmic
importance, is borne out by doc umen tat ion in flute treatises
from
.
22
both the sixteenth and the early seveteenth centuries.
Correa gives
three
distinct possibilities
for scalar
passages 23, possibilities which would imply groupings by sets of two,

three or four notes, as shown below:
Extraordinary Run Extraordinary Run
of Three Fingers of Four Fingers
Ordinary
Fingerings
R.H.asc.
3434
234234
12341234
L.H.asc.
2121
321321
43214321
R.H.des.
3232
432432
43214321
L.H.des.
3434
123123
12341234
There
are
also
three sets of fingerings for the various
intervals:
First Set
----Intervals
Right Hand
Left Hand
2nd
21
3rd
42
24
4th
5th
6th
7th
Octave]
9th
lOth
42
41
41, 52
51
24
25
25, 41
15
51
15
34
22 Girolamo Dalla Casa: Il ~ modo di diminuir, Venice; Gardano,

1584, pp. 1-2.
23 fol. 22v.-24; cf. p. 96~103.
153
Second Set
2nd
3rd
4th
5th
6th
7th
Octave
23
13
13
14
14
14
14
32
42
13
52
42
41
41
The third set
(which Correa refers to as "third order")
involves
playing all intervals of a sixth or smaller with first and second

fingers.
In
Correa
various
comparison
of the preceding century,
the
fingerings give a greater number of possibilities for
the
intervals
latitude
and
with
of
those
third,
fourth,
etc.,
thus
allowing
more
a greater possibility for connection between notes,
as demonstrated below:
. .3
1\-
"-
t I
!i'Lf
5"
1,;) J!JJd~ll
l
'+
yet
'+3
it is clear in the text that at least the third order of inter-
vallic
fingerings is intended only for advanced organists and for
exceptionally
difficult
passages;
24
appropriate places for its use
in Correa's music are consistently indicated by the appearance of

a small hand with a pointing index finger.
What
is
perhaps
more striking about Correa's fingerings
as compared with those of the foregoing century is the increased

flexibility concerning the playing of individual long-note values.
24
fol. 19v. ; cf. p. 85
154
Unlike
Sane ta Maria who mandated, as quoted above, that each of a
series
of long tones should be played with a strong finger, which
would render a passage of long notes as below.
Correa makes no references to the playing of consecutive long notes,

only to intervals, chords, and to runs or linear groups of smallvalued notes.25 Concerning individual notes, he states clearly that
there is not just one definite way, but rather that the reader should
refer to a previous statement concerning the manner of beginning and
continuing a passage; here Correa simply enumerates the fingers that
should be used for the entrances of the various voices. 26 While it
appears from his preference for starting a passage with the third
finger of the right hand and the second of the left that he considers
these fingers to be the strongest, and while this corresponds to the
opinion of Sane ta Marfa, there is no definite indication that Correa
intends for these alone to be used in playing semibreves and minims,
as did Sancta Marfa.
In light of the extensive comments which Correa
makes about other aspects of fingering, one would expect more thorough
guidance concerning the playing of consecutive long notes; the lack of
such rules indicates two possibilities;
either Correa expects the
organist (1) to choose for long notes consecutive fingers, with

choices based on his guidelines for playing runs of various numbers of
notes; or (2) to follow the practice which was of such common usage as
to need no comment, namely using the third finger in the right hand
;~ fol. 18v.-24; cf.
pp. 81-103.
fol . 15; cf. pp. 70-71.
155
and the second or third in the left, codified by Sancta Mar{a sixty
years earlier.
Evidence for the latter can be drawn from Correa's
discussion of the fingering of intervals.
He lists three possible
fingerings for each interval, but the third of these may be discounted
in our present discussion of applications to long values, since it is
given specifically for rapid passage-work, 27 and is consistently
indicated by the appearance of a small hand in the tablature.
The possible implications for articulation can be most
clearly seen from the given fingerings for the third and the sixth,
consonant intervals which frequently occur in succession.
Correa
specifies the use of either the second and fourth or the first and
third fingers for the interval of a third, and the second and fifth or
first and fourth fingers for the interval of a sixth. 28 When these
fingerings are employed for consecutive appearances of one of these
intervals, the resultant fingering patterns will be as follows:
4
1
-e-
l..
tt 3 f
s1
:t.
't
The result would of necessity be a slight break between

every pair of two consecutive thirds or sixths, as the only possibility for connection would be an unstated application of finger
substitution, and there is no documentation of such for another ninety
years, and then in France, not Spain. 29
27 fol. 18v.-19v.; cf.
28 fol. 18-19v.; cf.
29 Francois Couperin:
pp. 19-20.
pp. 80-84.
p. 81-83.
L'art de toucher _le clavecin, Paris: Berey, 1717,
156
Thus it can be concluded, based on Correa's own fingerings

and supported by Spanish and Italian evidence from the preceding sixty
years, that rapid scalar passages were probably grouped according to
the number of consecutive notes with consideration of their rhythmic
organization, while values of the minim or larger were generally
played with whatever finger was most readily available, with the notes
slightly detached from one another or grouped in legato groupings of
not more than two consecutive long notes.
Tien to XIV, lis ted first by Correa under "Tientos of the
First or Easiest Grade," is given on the following pages in modern
notation.30 It is fingered by the present author according to the
above concepts, and with the probable resultant articulations and
slurrings indicated by vertical slashes and broken slurs.
The finger-
ings are coded as follows:

Sl
S2
S3
11
12
13
=
=
=
=
=
=
"Ordinary Fingerings"
"Extraordinary Run of Three Fingers"
"Extraordinary Run of Four Fingers"
The first set of fingerings for intervals
The second set of fingerings for intervals
The third set ("third order") of fingerings for intervals
These are summarized on pp. 152-153 above.

The
chords
("open
symbol
and
C indicates
closed
usage of Correa's fingerings for
intervals")
as given on fol.
21-22 (cf.
91-96).
30 As Transcri b ed by Santiago Kastner; Madrid:

1980, vol. I, pp. 89-92.
I Musica 1 Espano
""" 1 a,
Union
R.H. - - -
L.H.---
.0
.~
XIV
SBOUND~1 TIBN~~
PRIMBRO TONO l)
sz:... -sl- -
,_ ~.,.,uh
52- -Sl--
!: : ,,i
- -s~-
J 'J w
J! ~-~~~I
.J ~
m9 ~ ..
* __
_
I ~ ~ Fa 1'ci
Vf
- - -n
_~,
li-
.3
P 1 Uifi!l~.f!Jr
,,.,_,,.,.
2t
<S.I.
lJ1
........,
-. r w- ,~ ..-;R
.r -s2-
if-
"!J
due to the lack of a short octave.
-.-Il-81--.
A
.,
-I
.,._rtilf
r-.-.
-~
_n
IIIJ
tJ -. '[
I l - - -.
~-
't
rl r;:- ~r
''1:1- .,..___pr
11
r!. .
II)..
..
. ..
t-
;lt
'1
'J
I:,::: :'r.lli~a,::nn.r'rll:rr~;w
~ ; - -r :
ll'
't
I ,_l I '1. I :a. -~ i-1 J l.

82-81-52 .
"'
I :J.
J'f
,re:a
'1.
"'
l.Jl
-,=-:--
!i
- - --c-- - -
S"
l 't 9
,...,...._.
fi .llf'i
7-f
-. Jil
,u .
T
- 81 ---8211 -Il~
't
"-
~~
......
~rl..
--82-
L~-
nltr;:fu.,.
'f'~ -r
I .J
B.
It
83
Il
C----I3---
00
159
Rhythmic Alteration
The discussion of rhythmic alteration as an option for the
performer first appeared in the treatise Fontegara of 1535 written by
the Italian Ganassi; in this he lists a wide variety of possible
embellishments several of which involve no added notes, but simply an
alteration of the rhythm of those already printed. 31 The only extant
sixteenth-century source to give a clear indication of the type of
rhythmic alteration practiced in the Iberian peninsula is the Libro
llamado Arte de taher Fantas{a by Sancta Marfa, who stated that
consecutive corcheas could be altered to sound in any of the three
following ways: 32
Although there is no documentation of such rhythmic conventions in Spain during the time of Correa, two factors, amplified
below, make it plausible that they were still in use in keyboard
performance:
(1) Similarity of fingerings given by Correa and Sancta
Maria; and ( 2) Contemporary practices in Italy as evidenced by the
preface to Il primo libro di Toccate by Girolamo Frescobaldi.

The paired fingerings given by Correa for each hand are,
except for the descending left hand, identical with possibilities
given by Sancta Marfa:33
31 Sylvestro Ganassi: Opera Intitulata Fontegara, Venice:
ganassi del fontego:-T535, unnumbered folio (23v.).
32
/
Sancta Mar~a:
Libro , fol. 46v.
33 ibid., fol. 40-40v.
Sylvestro di
160
R.H. ascending,
34 34 34 34
L.H. ascending,
21 21 21 21
R.H. descending,
32 32 32 32
In addition, the four-finger pattern given by Correa for the

descending left hand is also identical with an option given by Sancta
Marfa: 34
1234 1234
Although neither Correa nor Sancta Marfa mentions these fingerings in
direct relationship to rhythmic alteration, it becomes apparent when
one experiments with them that there is a possible correlation be tween
specific fingerings and types of alteration.
tend
to
produce
spontaneously
the
first
The two-finger patterns

two
types
of inequality
mentioned by Sancta Mar{a, while they render the third type rather
awkward;
the
four-finger
pattern,
however,
with
its
use
of four
consecutive fingers followed by a relatively large shift of the hand

after each group of four notes, is conducive to the third type of
inequality.
In considering the advice of Frescobaldi (written in 1616
J
and thus antedating the Facultad Organica by ten years) and its
importance to the music of Correa, it is important to remember that
indirect influence from Spain by way of Naples (at that time a Spanish
possession) has been demonstrated by Willi Apel.35 It is likely that
rhythmic conventions first espoused by Sancta Naria, a Spaniard, were
further developed and probably reached Frescobaldi, who codified them
anew, via Cerone and eventually Mayone or Trabaci.
In this form the
34 ibid., fol. 40.

35 Willi Apel: "Neapolitan Links be tween Cabez6n and Frescobaldi",
Nusical Quarterly, XXIV, 4, (Oct., 1938), pp. 419-437.
161
rhythmic conventions would still be in use

contemporaries,
including Correa.
by Frescobaldi' s Spanish
It is also likely that the lack
of any mention by Correa of these particular conventions is in fact

an
indication that such practices were either unknown (unlikely in
the musico-historical context of the time), or so generally familiar

as
to be considered commonplace.
remarks
in
concerning
his
preface
the
the
correct
following
Frescobaldi,
in addition to other
interpretation of his music,

directions
concerning
gives
rhythmic
alteration:
Trovandosi alcun passo di crome e di semicrome insieme

a tutte due le mani, partar si dee non troppo veloce;
e quella che fara le semicrome dovra farle alquanto
puntate, cioe non la prima, rna la seconda sia col
punto; e cosi tutte l'una no e l'altra si.36
[If there occurs a passage of eighth-notes and
six teen th-no te s to be played together by both hands,
they should not be played too rapidly, and that [hand]
which has the sixteenth-notes should take them
somewhat dotted; however, not the first [of a pair],
but the second ( J:=/. ) ; and thus (throughout the
passage) one is not dotted and the next is.
This
type of alteration mentioned in point 7 of Fres-
cobaldi's preface is clearly related to Sancta Marfa's second alteration, while that mentioned in point 8 by Frescobaldi,
uhich he
admonishes to hold the final note of a passage before beginning a

(new) passage of small note values,37 relates to Sancta Mar{as third
type, which is particularly effective at internal cadences in which
36 Girolamo Frescobaldi: Il primo libro , point 7 of "Al Let tore".
37 ibid. , point 8.
162
the following cadential formula is used:
,,,,,
Either
of the first two types of alteration mentioned by
Sancta Maria can easily be applied to various passages such as the

following by Correa:
In the cases of cadential formulae the third alteration (see

page 157) serves to heighten the tension generated by the penultimate
chord, as shown below:
played
In this, the effect is strikingly similar to that mentioned

by Frescobaldi concerning trills and cadences:
163
4.
Nell' ultima nota, cos! di trill! come di
passaggi di salto o di grado, si dee fermare ancorche
detta nota sia croma o biscroma, o dissimile alia
seguente; perche tal posamento schivera 11 confonder
d'un passaggio con l'altro.38
[The final note, either of a trill or of a passage
of leaps or scale-steps, should be sustained, even if
that note be an eighth or sixteenth, or different from
the note which follows;
because such a delay will
avoid confusing one passage with another.]
5. Le cadenze benche sieno scritte veloce conviene
sostenerle assai; e nello accostarsi 11 concluder de
passaggi o cadenze si andera sostenendo 11 tempo piu
adag 1 o. II separare e concluder de pass! sa'ra quando
troverassi la consonanza insieme d'ambedue le man!
scritti di minime.39
[The cadences, although written quickly (in small
note-values) must be played very sustained; at the
approach to the end of passages or cadences one should
take a slower tempo. The conclusion or
demarcation
of passages will occur when consonances in both hands,
written in half-notes appear (in a cadence).]
It is important to remember that modern dotted notation may
be inadequate to express with accuracy the rhythmic nuances intended,
and that a correct interpretation may actually lie somewhere between
the rhythm as notated by Correa in the tablature and that suggested by
Sancta Marfa in his examples.
38 ibid., point 4.
391bid., point 5.
164
A second type of rhythmic alteration, known as ayrezillo de

proporciJn me nor, is espoused by Correa.
among
the
writers
of
keyboard
treatises
While it is unique to him

of
the
sixteenth
and
seventeenth centuries, its roots appear to have been established much

earlier
this
in the rhythmic intricacies of black mensural notation; in
style
tribrachic
of
notation,
patterns
certain rhythmic
alterations
applied
to
in sesquialtera are documented by theorists of
various backgrounds in the sixteenth and seventeenth centuries. The

possibility
of such alteration is implied in the following passage
by Hermann Finck, dating from 1556:
quando tres notae ad unum tactum inciderint, ex

quibus prima dimidio tactu, reliquae duae etiam
d imid io tac tu mensuran tur, hoc pac to J Jl . 40
[When three notes occur on one tactus, the first
receives half the tactus, and the remaining two the
other half, in this manner:
J f1 )
This procedure is again demonstrated in a passage by Quitschreiber
which dates from 1607, during the lifetime of Correa:
3 Diese Zahl bey dreyen schwartzen Noten bedeut das
die Erste oder Dritte mag fur weis gesungen werden:
und machen solcher Noten drey zusammen einen gantzen
Schlag.41
[This number 3 accompanying three black notes would
indicate that the first or third may be sung as if it
were white: and three such notes together make up a
complete tactus].
40 Hermann Finck: Practica Musica, Wittenberg: Rhau, 1556, Liber

secundus, first unnumbered folio, versus.
41 Georg Quitschreiber: Musikblichlein fur die Jugend, Jena: Johan
Weiden, 1607, unnumbered folio [26v.]
165
In suggesting the application of such alteration to keyboard

music, Correa states:
..1
El segundo modo, que es quando se tanen con desigualidad de tiempo (teni~ndose mas en la primera,
quarta, setima, dezena, etc. y menos en las de en
medic, que es como haziendo una seminima y dos
corcheas, es, no es masamenos [sic]) es te tal modo
segundo, siempre se a punt ado con un tres encima,
denotador del ayre de proporci~n menor ..
(The second manner, which occurs when they are played
unequally (pausing more on the first, fourth, seventh,
and tenth, etc. and less on those in-between, which is
as if playing one quarter-note and two eighth-notes,
more or less), always has been notated with a three
above, to denote the air (style) of minor proportion .. )42
It is clear from the above that Correa desires that passages
appearing as
follo~s
in modern notation
(Tiento XXIV
m. 61-63)
should be played approximately thus:
4 2 f o 1. 6v. ; c f
p 42
166
n
..
.....
~
/
.J
{f,
\:
'-'
'
,..-,
I
_,_I
()
-,.. -v
~
/
/
_I
...1
...1
'------------
,....
----
'>-\
'-"
'
._
..
..J
..
I
I
-:I -1
..........
X
_r.:..;;
_/
The problema tic aspect of Correa's wording is the phrase "que es como
haziendo una seminima y dos corcheas, es, no es, masamenos (sic!)"
["which is as if playing one quarter-note and two eighth-notes, more
does
J))
to J ..1 , or
3
the Spanish express ion "rna sameno s" or "mas o me nos" ("more or
or less"]:
does Correa in tend a literal alteration of
less") indicate that he intended only an approximation of the latter

rhythm?
The presence of certain passages exhibiting written-out
dactylic patterns might suggest that they were notated literally in

the tablature when the composer intended its use;
however,
this
pattern does not occur with particular frequency,
especially in
comparison with the tribrachic pattern, and when it is seen,a single

dactylic pattern is often positioned so as to provide a transition
from smaller note values to the tribrachic pattern:
14 times the
tribrachic pattern is preceded, and 18 times followed, by one statement of the dactylic pattern.
The use of a dactylic figure immediate-
ly preceding or after a series of tribrachic patterns with the superscript "3" apparently is an indication that Correa intended the latter
figure either to be completely altered to a dactylic figure, or to a
pattern resembling it so closely that an actual dactylic rhythm could
167
be used successfully as a transition to the passages in question.
dactylic interpretation seems especially likely when one remembers the

inconvenience of notating dactylic rhythm in Spanish keyboard tablature, since a passage such as
would require repeated indications of J) , as follows:
Not only is the latter manner of notation far more time-consuming for
the composer, but it gives a much more cluttered appearance on the
page, a condition which the composer would have especially wished to
avoid in a work created at least partially for didactic purposes.
Three thorny passages occur in the musical portion of the
~
Facultad Organica:
in Tiento V, m. 71-76; Tiento X, m. 41-44; and
Tiento XXVI; m. 110-112.
In these passages the dactylic pattern is
clearly notated in the literal manner, raising questions of a possible

distinction in interpretation between this notation and that of three
equal values accompanied by the numeral "3".
It is most likely,
however, that Correa, rather than intending a difference in performance, simply thought it necessary from a pedagogical standpoint to
include at least occasional extended passages of literal dactylic
notation.
We are also faced with the question of the applicability of
the tribrachic-to-dactylic alteration in the music of other Iberian
168
composers of the sixteenth and seventeenth centuries; although Correa

I
cites Cabezon as a proponent of this approach, he does not indicate

whether he is referring to Antonio or Hernando, though it is most
likely that he refers to the latter, since Antonio had been deceased
for about a decade prior to the birth of Correa. It thus would be
quite difficult to establish such alteration as appropriate to the
music of Antonio, or for that matter, of any other composer of the
day.
Although the numeral "3" accompanied by three notes of equal
value occurs frequently in works by many of these composers, presuming

that all of these instances indicate dactylic alteration could lead to
faulty conclusions regarding correct performance and result in
distortions of the composer's intention.
The conclusion lucidly
reached by Michael Collins that such alterations frequently furnish

correct solutions for certain problems of sesquialtera in the mensural
notation of Renaissance vocal music,43 and the clear documentation of
such practice in treatises of the century immediately preceding
Correa leaves
little doubt that the application of such rhythmic
conventions in the performance of keyboard music was a natural

outgrowth of a phenomenon which had already become common procedure in
the performance of mensural music.
This had been documented for
normal vocal-choral practice for decades; Correa was the first to

stipulate such alteration for keyboard which was probably observed
through much of the sixteenth century.
That it was not mentioned in a
43 Michael Collins: "The Performance of Coloration, Sesquialtera, and

Hemiola (1450-1750)"f Ph.D.diss., Stanford University, 1963.
169
keyboard treatise until 1626 is not surprising, since theoretical

writings codify practices which have already been in existence for
decades.
This being the case, how then might the performer of today
determine the appropriate realization of tribachic patterns as they
occur in Iberian music of this period?
An important clue may lie in
the presence or absence of actual dactylic notation as a transition

element. Such possibilities exist as early as in the work of Antonio de
I
Cabezon.
In the following example, taken from the "Diferencias sobre
el villancico de 'Quien te me enojb, Isabel?'" 44 the usage of the "3"

with equal values in m. 218-220 is again both preceded and followed by
brief dactylic notation:
m. 216-221
However,
a similar passage in m.
eighth-notes
figure
231-233 is preceded by a series of
but followed by a dactylic pattern, while the tribrachic
in m. 245-246 is preceded by the dactylic pattern and followed
by consecutive eighth-notes:
44 The Collected Works of Antonio de Cabez6n, ed. by Charles Jacob, vol.

I, Brooklyn, The Institute of Medieval Music, Ltd., 1967, p. 67-68.
170
m. 244-247
Nonetheless, in these passages, there still exists the possibility

that Antonio intended, or at least permitted, alteration from tribrachic to dactylic rhythm.
However, many passages in tribrachic
notation, such as the following excerpt from verset VI of the "Magnificat Versos in Tono V" 45 , have no basis for the use of dactylic
patterns, since the tactus before and after the tribrachic figures has
no dactylic subdivision; this "rhythmic insulation" might actually
indicate an intention on the part of Cabezon that the tribrachic
section be played as triplets.
I: t ~ ~ I~ .. ; ~ .I; ~ -~
~
~.
m. 4-9
- , " -~
,-
c I
"
1 ).)
.;
CI ~
~
!J_ 1_(1
~-~I
Jl
I~
I
I
I
l
the works of Hernando de Cabezon, the intabulation "Ye
I
In
pres en grey"46 contains a passage which clearly lends itself w

dactylic alteration:
m. 13
45 1 b id., vol. III, p.25.

46 Corpus of Early Keyboard Music, v. 14, ed. l-'illi Apel, Rome: American
Institute of Musicology, 1971, p.ll-12.
171
and in the "Tien to de Quarto tono" by Aguilera de Heredia47, the

presence of a pattern of
J.1
immediately following a tribrachic
passage makes a dactylic alteration of the latter quite appropriate:
m. 214-216
An entirely different situation obtains among the Spanish

composers following Correa, for an examination of the extant works
from seventeenth-century Spain, makes it apparent that the opportunities for such alteration diminish greatly.
A "Medio Registro de dos
tiples" by Juan Perandreu48 contains two such examples:
m. 34-36
m. 49-51
In the "Tres Pange Linguas a
Tres" by Jose Jimenes49 some
of
the passages marked by a "3" are not within contexts which would encourage alteration; however, in movement III, the following passage
is likely to be altered because there is a dactylic rhythm preceding;
besides,
the
fermata
would
produce
an awkward split in the first
tribrach:
47 ibid. p.81.
48 Antolog!B de Organistas Espaholes del Siglo XVII, Torno I, ed. Higinio
Angles, Barcelona: Diputacion Provincial de Barcelona, 1965, p.
49 44-45. . .
Corpus of Early Keyboard Music, vol. 31. New York, American Institute of Musicology, 1975, p. 14.
172
~ 1":\~-
.....
m. 11-13
';'
.,..... J
~ 1 _11'
?-
71
"f I
.~
In a "~ledio Registro de Primero tono de Bajo" by the same composer 50 ,

the passages marked by a "3" generally could be altered, as the first
appearance of these passages in m. 98 is preceded by several measures
of)
.1 , making
_t,
,....._
alteration appropriate:
fJE[=- --~15 --=-
---.;
II
I~
I~
(m. 94-99)
,...
~~- ~~
r Ft r ... I
7\.
-:-7:
--
J
I
'i
lj
..-.-......
I
II
If
J'
..........
l
...........
Appearance of the "3" marking became gradually less frequent

during the course of the century.
In the entire corpus of Pablo
Bruna's works, fewer than a dozen such passages occur; one of these
is given for an example 51 , in which it is obvious that if the dactylic
alteration in question
~ere
to be applied, an inadMissible awkwardness
would result:
m. 48--50
Similar problems occur in most of such passages in Bruna's works,

while in those of Cabanilles, the most prolific Iberian composer at
50 ibid., p. 62.
51 Pablo Bruna: "Tien to de rna no derecha y al medic a dos tiples. Primero
tono", Antolog{a de Organistas Espanoles del Sigle XVII, Torno II,
ed. Higinio AnglEfs-:-Barcelona, Diputacion Provinciai<ie"Barcelona,
1966, p.48-49.
173
the end of the century, alteration is contraindicated altogether due

to (1) conflicting rhythmic complexities within the passages written
in triple subdivision; (2) the lack of convincing internal evidence in
the form of transitions containing written-out dactylic patterns; (3)
the lack of any supporting source material from this later era with
changing aesthetic concepts.
It should also be noted that the extent of the applicability
of dactylic alteration to tri bra chic pat terns may have as much to do
with the locale of the composer as with the date of his birth--the
earlier composers under consideration, from Antonio de Cabez6n to
Correa de Arauxo, were consistently Castilian or Andalusian, whereas
Cabanilles, born in Valencia, was clearly Catalonian in approach, 52 and
Bruna was from the city of Daroca53 in Catalonia's neighboring state of
Arag6n, hundreds of miles from the centers of Castilian and Andalusian
musical activity and much closer both geographically and culturally to
Catalonia.
Even though Aragon had been politically united with
Castile since 1479, 54 she had previously been under Catalonian rule,
leaving an indelible Catalonian print on much Aragonese life, as can
be seen in the Catalonian titles to many of Bruna's works.
To summarize:
it appears that dactylic alteration of
passages in triple subdivision is generally appropriate in the works

of Spanish composers from the era of Antonio de Ca bez&n through that
52 Willi Apel: The History of Keyboard Music to 1750, trans. & rev. Hans
Tischler, Bloomington: Indiana University--Pres8, 1972, p. 771.
53 The New Grove Dictionary of Music and Musicians, (1980), s.v. "Bruna,
Pablo," by Almonte Howelr:- - - -
54 Henry Kamen: Spain . , p. 3.
174
of Correa, while such usage seems to have diminished during the

seventeenth century, being seldom if ever used by the end of that
century, particularly in Catalonia and Arag6n.
Registration
The organ of the Iberian peninsula is yet today the most
poorly documented and the least well-known of all pre-Romantic organs.
Williams has stated:
Of all European organs the Iberian is still the least

today; despite much work done since 1945 it is
still poorly documented, and nobody knows exactly when
some of its most individual characteristics appeared .. Even more than is usually the case in the history
of instruments, most familiar ideas on the Spanish
organ are based upon the eighteenth-century version,
while the earlier instrument remains particularly
remote to most organ-historians.55
kno~~
In spite of this paucity of information, certain assumptions

may be made which are more or less reliable:
1.
The Castilian organ of Correa's day was generally a
one-manual instrument with stops divided between
c'
and
elf',
allowing solo and accompaniment to be performed on the same keyboard

but with different registrations.5 6
55 Peter Williams: The European Organ, 1450-1850, Bloomington: Indiana

University Press, 1966, p. 235.
56 James Wyly:
"The Pre-Romantic Spanish Organ: Its Structure, Literature and Use in Performance", unpublished D.M.A. dissertation, University of Missouri at Kansas City, 1964, pp. 50-51.
175
2.
Pedals in these organs were small buttons ( "tacones") to
be played with the toe; their primitive nature would have precluded
the performance of rapid pedal passages such as one can find in the
writing of North German composers a little later.57
3.
The presence of horizontal trumpets cannot be documented
earlier than 1659, thirty-three years after the publication of the

I
Facultad Organica, and it is most unlikely that, given the unique

splendor of their voicing, they would have existed for many years
without such documentation;
therefore horizon tal reeds must be
excluded from Correa's works for a stylistically acceptable performance .58

In order to arrive at an accurate idea of Correa's own
concept of organ registration, one must make a careful inspection not
only of existing organs which would likely have been known to him, but
also of organs which were under construction in contemporary Castile.
Certain commonalities may be discovered in these schemes:
Open ranks
(Flautados, ranks abiertos) existed at 8-foot, 4-foot, and 2-foot

pitch and in the lleno, while stopped ranks occurred only at 8-foot
and 4-foot pitches.
The Trompetas of that time and place existed only
at 8-foot pitch and stood vertically.
A fairly accurate idea of

I
Castilian organ construction in the era of the Facultad Organica may

be derived from the following two contracts of 1625, here given as
transmitted by Wyly:S9
57 ibid., p. 24
.58 James Wyly: "His tori cal Notes on Spanish Facade Trumpets", The Organ
J
--- ---Yearbook, VIII (1977), p. 42.
59 Wyly: 11 The P1.:-e-Romantic Spanish Organ .. ", p. 50-53
176
Valladolid
San Lorenzo, 1625, Manuel Marin
Compass: CC to c3
61
60
12 palmas
1. Flautado grande abierto
[Principal]
2. A stop in unison with flautado from en
[Either a Principal celeste or a stopped rank]
3. Octava tapada62[Stopped rank one octave above Principal]
4. Octava abierta [Open rank one octave above Principal]
5. Quincena abierta [Fifteenth]
6. Lleno [Mixture]
7. Cascabelillo [Cymbal, or high-pitched mixture]
12 palmas
8. Trompetas [Trumpets]
(8')
(8')
(4')
(4')
(2')
(2')
t-J
(8')
Medina del Rioseco

Colegiata, 1525, Sebastian de Miranda
Compass: CC (short octave) to a2
12 pal mas ( 8')
12 palmas ( 8')
1. Flautado [Principal]
2. Flautado tapado [Stopped rank in unison with
the Principal]
3. Octava de conos abiertos [Spitz-principal]
4. Flautas tapadas [Stopped rank in unison with
the Spitz-principal]
5. Quincenas abiertas [Fifteenth]
6. Lleno [Mixture]
7. Cimbala [Cymbal, or high-pitched mixture]
8. Corneta from en I [Cornet]
9. Trompeta (Trumpet)
It
of
organist
Francisco
6 palmas (4')
6 palmas ( 4')
(2')
II I-V rks.
III rks.
IV rks.
12 palmas
is also known that Correa auditioned for the position

at
the
Peraza;
Cathedral
he
would
of
Toledo
certainly,
in
1618
63
therefore,
and lost to
have
been
acquainted with the organs of that cathedral as they then existed.

The following information on these organs, again as translated and
summarized by Wyly,
64
is apropos:
abierto = open.
Literally "hand breadths".
tapada = covered or stopped.
Dionisio Preciado: "Francisco de Peraza II, Vencedor de Francisco
Correa de Arauxo. Neuva luz sabre la dinastia Peraza", Tesoro
sacro musico LIII (1970), p. 10. In a contest for the position
Peraza won over Correa.
64 Wyly: "The Pre-Romantic Spanish Organ ... ", pp. 18-19.
60
61
62
63
177
Toledo
Cathedral, 1549, Juan Gaytan
Compass: ccc-a2
The contract called for two chests:
Blockwerk of Flautado 8'
Stopped rank 8'
Octave (4')
Mistura VIII-XXVIII rks.
Main Chest:
Flautado 8'
Mistura
(This second chest, however, apparently did not materialize.)
Second chest:
Pedal:
Another
Thirteen pull-downs to Flautado 16'

organ
in
the choir (the 6rgano mediano) was rebuilt
in 1592 by Juan Brebos,65 but

to
the
existing
this
documentation.
was
not
Original
too successful according

disposition
is
unknown,
but the following changes were contracted:

1.
2.
3.
4.
5.
6.
7.
Retloval of present trumpets and replacement by a set "like

those in the royal palace"
Revoicing of old trumpets to make a half-rank of Chirireias
(bass) and Voce umanas (treble)
Addition of a Quinta sona 4'
Addition of a chiflete (sifflote)
Addition of an Enasarte 2 2/3'
Addition of a "strengthening stop" of three ranks in the
upper half of the compass (most likely a corneta)
Division of the entire organ into half-stops (divided
at c '-ell')
Another organ of apparently similar style built in the fiftyyear

I
period
.
0 rgan1ca
immediately
preceding
the
completion
of
the Facultad
which was undoubtedly familiar to Correa is the following:
65 ibid., pp. 45-56.
178
Sevilla
Cathedral, 1579, Maestro Jorge66
Un Flautado principal de diez y ocho palmos
Unas Flautas tapadas.67 Unissonas del proprio Flautado ( 12')
( 8')
Unas Octavas deste Flautado
(4')
Otras Quinzenas de Espigueta
( 2')
Otras Quinzenas destapadas68
Otras Quinzenas en lleno,
y otras sobre Quinzenas (Mixture)
Unas Trompetas y unas Xavegas
En la Cadera69 Tiene
unas Flautas tapadas de catorze palmos,
llamadas Quintaden, porque siendo un Canon haze el
sonido como de dos Canons, uno
quinta de otro (=Quintadena).
otras Flautas Octavas, (Flute)
otras Quinzenas (Principal)
otras sobre Quinzenas (probably a high mixture)
unas Dozenas (Twelfth)
y otras Sobredozenas (other fifth-sounding ranks),
con unas Trompetas Bastardas (short resonators)
... Ruysenores .. Ata~bor
.. dos Temglantes
.. siete Fuelles ...
In
addition
and
stop-lists,
few
clear
the
preambles
to
( 2')
(2 2/3')
the evidence implied by the above contracts
within
directives
(4')
the
lt:riting
concerning
the
of Correa himself one finds a

registration
of
these works;
(actually a part of the original titles) of several

I
of the works in the Facultad Organica name definite stops or stopcombinations for their respective pieces and for similar movements.
These are Eumrr.arized below; please refer to Appendix A for complete
translations.
66 Josl E. Ayarra Jarne:

Historia de los grandes organos de coro
No Publisher, 1974, p. 38.
de la catedral de Sevilla, Madrid:
67 Cov;red (stopped)--.
68 Uncovered (open).
69 Ruckpositiv.
179
In Tiento XXXV, Correa recommends that in a tiento for divided

registers for bass the 8'
flautado or bourdon be taken off, allow-
ing the 4' octave or flute to be the basis of the registration.70

Tiento XLVII,
In
he implies the use of the flautado in the three lower
voices in a tiento de medio registro de tiple.71
In
Tiento
LIV
he
two tiples,
the
states
that in a tiento for divided registers for
tiples
should be played on a plenum and the accompaniment should be
played
on a flautado,
two
while in a
tiento for divided registers for
basses these may be played on either a plenum or on the trumpet
stop. 72
In Tiento LV Correa indicates
the use of the Flautado for
the accompanying voices of the right hand.73

that
In Tiento LX he mentions
this tiento, which uses thirty-second notes,
playing on regals
reeds)
than
normal-sized
on
is more suited to
(tiny portable organs of that era which used only

large
organs
(this
term
probably
refers
to
the
organs available in the churches of the time), because
the larger instruments would not respond quickly enough to the rapid
movement
of thirty-second notes;
stylistic
acceptability
of
this passage opens the door to the
playing
tiento
such
as
this
on
regal-type reed with short resonators when such a stop is available.74

Finally,
in
composition LXIX, which is a set of variations rather
than a tiento, Correa states that the organist may use in the soprano
voice the combination which seems best to him. 75
70
71
72
73
74
75
fol.
f o1 .
f o1
fol.
fol.
fol.
90v.
11 9v
13 9v
143.
163.
203.
180
Unfortunately,
even in Correa's own directions a few terms
demand further elucidation:

extant
although a "lleno" can be seen from the
stop-lists to be the Castilian equivalent of our present-day
"mixture"
(that
is,
compilation
of
open
pipes of narrow scale
sounding certain harmonics of the fundamental note), we have no clear

documentation of the meaning of the term "mixtura" in Castilian organs
of
the time.
Even though the sources reflect Catalan, not Castilian,
organ-building
geography
of
from the standpoint of both chronology and
the most helpful documents are the contracts for the organs
the Church of San Juan de las Abadesas in Barcelona, dated 1613,
and
of
practice,
that for
which
use
remembered
more
the organ in the Cathedral of Lerida, dated 1624, both

the
Though it should be
Catalan cognate "mistura".
that Catalonian organs tended to be somewhat larger and
elaborate
than those of Castile,
the latter contained all of
the same basic ingredients for the tonal palette, even if not in the
same quantities.
The
following
indications
are
possibilities
given in the
San Juan contract for the formation of a "mistura"--note that they

include
many
combinations using mutations and commonly referred to
by the Spaniards as nasardos: 76

1.
Flautado 8' and 2 2/3.
2.
3.
4.
Stopped or chimneyed rank 8' and open 2 2/3.
5.
Stopped or chimneyed rank 8' and Cymbal.

I
76 As quoted in Francisco Baldello:

"El Organa
Barcelona", Anuario Musical, I (1946), p. 236.
Organeros
en
181
In addition, Wyly has
extracted the following possibilities
on the basis of the Lerida contract:77
1.
Stopped rank 16', open 2 2/3 and Cymbal.
2.
Flautado 8',
stopped rank 2 2/3, open 2', Tolosano (this
combination was not possible,

did
not
include
however,
on Castilian organs as these
mixtures having third-sounding ranks,
such as the
Tolosano).
3.
Stopped ranks 8' and 4' and Cymbal.
It is notable that both set of possibilities feature the combining

of
open
and
stopped
ranks and the omission of pitches within the
vertical structure, giving many of the sounds a certain piquancy.

From a consideration of Correa's own directives
the few docu-
mented
facts concerning Castilian organs of the era under consider-
ation,
and corresponding Catalonian practices,
the following general
conclusions may be drawn:

1.
In the case of a tiento de medio registro de
tiple, it was customary to play the solo line (s)
on a lleno combination (Tiento LIV) or a mistura,
and the accompaniment on a flautado (principal).
Since a specific pitch is not mentioned for the
accompanying flautado, it is possible that a pitch
equivalent to our present day 4', rather than 8'
was intended, particularly when the accompanying voices are of a consistently low-pitched, thicktextured nature.
2.
Correa seems to have allowed a good deal more
flexibility of registration in tientos de medio
registro de bax6n, since he mentions the use of
( 1) either trumpet or lleno for the solo voices,
accompanied by an octava or flauta (flute) either
of which would be at 4' pitch (Tiento XXXV); or
(3) the use of realejo (portable regal).
77 James Wyly:
"Registration of the Organ Works of Francisco Correa
de Arauxo", Art of the Organ, I, 4, p.9.
182
Correa unfortunately left no specific instructions as to the

registration of tientos registro entero, and there is no other Iberian
documentation from the era in question concerning the use of the
individual register in this genre.
It appears likely, in view of the
documented intercourse between Italy and Castile, particularly in

Seville, 78 that the registrational practice in the tiento registro
entero would have been similar to that of its
counterpart, the ricercar.
Italian
approximate
We have no more documentation of specific
registrational practices for this genre than for the tien to; but in
the writings of Diruta we do have guidelines of a general nature for
the registration of pieces according to the mode of the individual
work 79 :
del primo tuono principal con l'ottava, &
anco con il flauto, overo con la quintadecima. Il
secondo il principal solo con il tremolo . Il
Terzo tuono principale e flauto in ottava . Il
Quarto tuono Il registro principale con il
tremolo . Il Quarto [sic!] il registro dell'
ottava, quintadecima, e flauto. Il Sesto tuono. conil principale, ottava, e flauto. Il Settimo
tuono con il registro dell'ottava, quintadecima,
e vigesimaseconda. L'Ottavo tuono con il flauto
solo, flauto e ottava, flauto e quintadecima. Il
Nono tuono il principale quintadecima e vigesimaseconda. 11 Decimo tuono . il principale con
l'ottava ouer con il flauto.
L'Undecimo
tuono . flauto solo, flauto e quintadecima, ouero
flauto, quintadecima, vigesimaseconda. Duodecimo
tuono flauto, ottava, e quintadecima, & anco
flauto solo.
[ (for) the first mode the principal with the
octave and also with the flute (4' in early
seventeeth Italian organs) or with the fifteenth.
78 Kamen: Spain , p. 102.
79 Girolamo Diruta: Seconda Parte del Transilvano Dialogo, Venice:
Vincente, 1609, Libro Quarto, unnumbered folio (llv.).
183
The second mode .. uses the principal with the

tremolo The third the principal and octave
flute (2') The fourth mode the principal
register with the tremolo . The fifth mode the
register of the octave, fifteenth, and flute. The
sixth mode the principal, octave, and flute.
The seventh mode the registers of the octave,
fifteenth, and twenty-second. The eighth mode
with the flute alone, the flute with the octave,
or the flute with the fifteenth.
The ninth
mode the principal, fifteenth, and twentysecond. The tenth mode the principal with the
octave, or with the flute. The eleventh mode ..
flute alone.
flute and fifteenth, or flute,
fifteenth and twenty-second; and the octave with
fifteenth and twenty-second.
The twelfth mode
flute, octave,
and fifteenth, and also flute
alone.]
While these suggestions are enlightening, and can be useful
as a starting point for determining an appropriate registration based
on the modality of a given work, there exist some important differences between Italian and Iberian organs of that time, and these
differences can have telling effects on registration:
1.
While the Italian organ known to Diruta had no compound
stops, but rather placed each narrow-scaled rank, no matter how

high-pitched, on a separate stop-knob, the Iberian organ made use of
the compound lleno drawn on one knob like its North-European counterpart, the mixture.
This difference in approach to construction would
eliminate the possibility of drawing separately certain high-pitched

ranks such as the twenty-second.
184
2.
We know from the writings of Antegna ti 80 that one could
expect to find the Fiffaro (Principal celeste) as a regular component

on an Italian organ, and that when available this was used in place of
the tremolo mentioned by Diruta; by contrast, although one Iberian
contract from the six teen th century,
that for the organ in the
Cathedral of Evora in Portugal, opens the way to speculation concerning the possible presence of an undulating principal sound,81 such
instances were certainly rare on the peninsula.
Therefore, this
effect is best eliminated when Italian suggestions are applied to the

music of Correa.
3.
From the context of Diruta's comments about registra-
tion, it is apparent that his opinions are based on his concept of the
affect of each mode; since we have no clear statement as to the
Spanish system of modal affects prevalent in Correa's day, it is
impossible always to know if the affective connotation of a given mode
in Correa's music, and thus its
appropriate registration, correspond
to those of Diruta.
An important question naturally arises concerning changes of
registration in the course of a composition.
While the basic compos!-
tional style of a tiento de medio registro precludes a change of sound

in the middle of a composition, the tiento de registro entero could
allow such a change,
given certain conditions:
80 Costanzo Antegnati: L'Arte Organica, Brescia: Tebaldino, 1608, fol.

6v.
8l Wyly: "The Pre-Romantic Spanish Organ ", pp. 322-323.
185
1.
a
For a change of registration to occur,
cessation of motion in both hands,
corollary
there must be
followed by new material.
to this rule is that a point of imitation must never be
interrupted by a change of registration.

2.
internal
A change
changes
in meter,
of
registration
must coincide with subtle
in character within the tiento,
or in the predominant note-value,
such as a change
or in the material used
as the source for imitation.

As
shown by Wyly any change must occur at a point where
there is a complete cessation of sound on at least one side of the

c-c# division; this would allow the organist to add or substract stops
on one side of the division with one hand, while continuing to play
on the other half of the keyboard. 82
It
logically follows
that this
other end of the keyboard must have a similar opportunity for change
of
registration
within
few
measures
in
order
to
maintain
the
registro entero fabric of the composition.

An
example
for
the
application
of
these
rules
is
the
following passage from Tiento XI, m. 108-120, given in modern notation

below.
The change in character in m. 117 is obvious because of the
abrupt
change from the predominance of the half-note to that of the
smaller
note values.
A cadence and cessation of motion occurs at
the beginning of the measure in all voices except the soprano, and
those three voices all lie below the c'-c# division;
sitated by the leap from e'
the organist
82 James Wyly:
the break neces-
to g" in the soprano voice would allow
(or perhaps an assistant) to add a lleno to enhance the
"Registration ", pp. 20-21.
186
clarity
of the ensuing rapid passage-work; the alto entrance stays
totally
above the division long enough to allow implementation for
the lower half of the keyboard, since the eighth-rest at the beginning
of m.
119 would allow the lleno (pulled on a single stop-knob) to
be added to the left-hand side of the keyboard:
110
Many of the tientos de registro entero contain no opportunities

measure
below:
for
such
numbers
changes
of registration.
Those which do, with the
of the appropriate points in the music, are listed
Tiento VII,
m. 92 (R. H.)
m. 96 (L. H.)
Tiento XI,
m. 117 (R. H.)
m. 119 (L. H.)
Tiento XVI,
m. 60 (L. H.)
m. 61 (R.H.)
m. 90 (both hands, after cadence)
Tiento XXIII, m. 197 (both hands, at end of measure)
187
In
organ,
it
applying
is
any
necessary
of
the
first
of
above
registrations to a modern
all to recall the placement and
voicing of a Castilian organ at the time of the Facultad Orgfnica.

Exact
voicing
instruments
practices
are
clouded
by
the
paucity
of
original
of the era under consideration; but it would appear, from
the
influence of the Brebos family in sixteenth-century Castile and
the
political
Castilian
were
of
unity
organs
of
of Castile with the Spanish Netherlands,

the
that
sixteenth and early seventeenth centuries
probably voiced and scaled quite similarly to the Dutch organs
the day.
That this may have been the case is supported by the
propensity
of
building:
the
imposing
and
voicing,
with
the
Spaniards
Spanish
vast
than
churches
those
of
multiple
the
Netherlands,
elegant flutes,
church
and
the
Dutch
but light in volume, would be ideal for a limited area of

such as near the .!:., or the congregation, but would
be
inadequate to fill the nave with sound,
for multiple instruments.

organ of the day,
its
Dutch
two
as
in
even if built
by a Spaniard,
However,
contemporaries.
the
thus creating the need
It is very likely, therefore, that a single
Correa's day was somewhat more limited:
pedal;
one
and reeds rich in harmonic
building,
than
in
gently singing narrow-scaled
the
like
organs
and cathedrals tended to be more
its low wind pressures,
principals and mixtures,

content
for
the
sounded a good deal

Castilian
organ of
there was one manual rather
Dutch installations;
there was no independent
and wide-scaled ranks were not yet available in the abundant
variety of pitches and colors
(8', 4', 2', open and stopped) present
in the organs of the Low Countries.
188 '
Translating what is known of the registrational practices

and of the sound of the Castilian organ into effective and_ stylistically
suitable
registration
on a North-American organ built in the
twentieth century is greatly complicated by the fact that the tonal

aesthetic and resulting practices of pipe-scaling and voicing differ
vastly from those of seventeenth-century Spain.
In addition, American
organ-building of the twentieth century is itself greatly diversified

with
extant stylistic approaches as divergent as
(1)
the so-called
American Classic instrument of Ernest Skinner and G. Donald Harrison;

(2)
the
nee-Baroque
instruments
of
Walter
Holtkamp
and
Hermann
Schlicker; (3) the clear-cut Northwest-European instrument by Flentrop

and
Beckerath,
which
greatly
influenced
American
builders;
(4)
instruments such as those by Helmut Wolff or Gilbert Adams built and

voiced in the French Classic style; and
Charles
(5) various instruments by
and Virginia Fisk, which have included individual organs in
a variety of peculiarly distinct historic styles, and which now have

become increasingly more frequent in America.
In
in
the
general,
registration
the
of
following
Correa's
guidelines
works
on
should be observed
present
North-American
instruments:
1.
Tientos de medio registro can easily be adapted to be
played on two manuals rather than one to compensate for the lack of
half-stops
on most of our American instruments.
This simply involves
the playing of the solo tiple or bax~n on a manual separate from the
remaining three voices.
2.
descended
from
Castilian
those
of
reeds
the
of
Correa's
Netherlands
epoch
since
appear
the
only
to
have
clearly
189
documented
foreign
therefore
have
influences came from Brabant; these reeds would
been
somewhat
thinner
French counterparts; in addition,
and
more "buzzy" _than their
reeds were not yet numerous enough
to constitute a totally different chorus,
such as was happening in
France
The few extant Castilian
with
its
specifications
developing
contain
grand
reeds
only
jeu.
at
8'
pitch,
and
these
were
generally in the form of one trumpet and one or two reeds with shorter
resonators,
so that the diversified pitches and colors found among
reeds
of the French Classic organ (and among those of the Spanish
organ
two
of
to three decades later) are inappropriate for the music
Correa.
desired,
Generally speaking,
in all cases where a reed-stop is
it should be an 8' Trumpet which is not too overwhelming,
not a 4' reed, or perhaps Trumpet and Krummhorn together.

3.
ally
Flute-toned stops were quite limited in number, gener-
appearing
nasardos,
only
at
8'
pitch
except
within
the
corneta
and
and were apparently always stopped or chimneyed; therefore,
these stops should be used only at 8' pitch except within the cornet
or a mutation combination, and large open flutes should be avoided.
4.
Perhaps the most serious conflict between historical
authenticity and organ-building style occurs when the works of Correa

are played on an organ of Romantic or of American Classic design.
most
the
pals
The
elusive problem in the registration of Spanish organ music of

seventeenth century is the actual quality of sound of the princior
pipework
flautados;
from
the
although many extant Spanish organs incorporate

sixteenth
and
seventeenth
centuries,
detailed
190
documentation of such inclusions is very poor, or in some cases,

non-existent.
Only a detailed study of Castilian pipework positively
known to have originated from the time of Correa or before will yield
a clear picture of the tonal character of these organs at that time,
and such a study is, unfortunately, beyond the scope of this dissertation.
What is possible to determine is that the relatively low
cut-ups, obvious in virtually all early Iberian organs, and their

narrow scaling 8 3 would have given a somewhat more delicate sound than
one is likely to hear from the principal chorus of the main division
of an A@erican organ of today; in addition, the blowing-methods of the
day were not likely to produce quite so high a wind pressure as is
often now the case; Vente calculates the wind pressure to have been at
approximately 60-76 mm. for organs of the size indicated in the
specifications given earlier in this section.84 One must also remember
that though later years of Iberian organ building added a great deal
of brilliance through the use of reeds, particularly those installed
horizontally, the principal choruses or llenos never totally lost
their gentle, unobtrusive, softly persuasive nature.
Thus, it is
prudent in the registration of these tientos, particularly those of a

more subdued character, that the organist carefully note the quality
of the principal choruses with which he is dealing:
the excessively
large scalings of many of the American principal choruses, partie-
83 Maarten A. Vente: "Some Aspects of Iberian Organ-Building", (International Society o~ Organ-Builders-Information), IV, Oct. 1970, p.
84 299.
ibid.' p.288.
191
ularly at the 8' level, may lead to quite invalid musical results if
the Iberian registrational practices are followed
by their letter
rather than by their spirit; however, on some American organs the

smaller scale and different halving-ratios of a secondary chorus may
give a transparence and elegance of sound which not only may come much
closer to the tonal color Correa had in mind but will also greatly
enhance the lucidity of the counterpoint.8 5 One would hope that a
major study of sixteenth- and seventeenth-century
Andalusian and
Castilian organs, equal in depth to that already published concerning

their French counterparts 86 , might soon shed light upon this critical
topic.
85 Nax Nayse and Franklin ~11 tchell of the Reuter Organ Company have made
available to me complete sets of scalings and halving-ratios for the
Principal choruses of the Van Deren Memorial Organ at Oklahoma Baptist
University, a rather eclectic instrument of three manuals and 57 ranks
based on American Classic organ-buildins concepts. The specifications
and tonal approach are similar to a majority of electro-pneumatic
instruments of comparable size by American organ-builders. The remark
concerning the use of the secondary chorus is based on extensive
experimentation with the registration of Correa's tientos on this
instrument and subsequent consultation of the scaling charts. This
registrational approach has also proven successful on other organs of
similar design.
86 Fenner Douglass:
_The Language of the Classical French Organ,
New Haven: Yale University Press, 1969.
SUMMARY AND CONCLUSION
After a review of the work of Correa there is still much which

remains mysteriously veiled.
The most recent researches into the
Sevillian musical scene in the first quarter of the seventeenth

century have failed to reveal new insights into any formal musical
training Correa may have had.
Indeed, even the musical practices of
the Church of San Salvador remain elusive, due to its ultimate

conversion to a museum, its dissolution as a parish, and the consequent loss of its records.
Despite these obvious impediments, certain insights have been
gained through the translation of the Preface of the Facultad Org~ni~'
through analysis of Correa's approach to modality, ornamentation,
fingering, and rhythmic alteration,
and through research into the
related topics of articulation and registration as they apply to

Correa's music.
1.
These insights are as follows:
The concept of a theoretical and pedagogical treatise

adjoined to a series of musical works designed for study
I
and performance stands squarely in the tradition of Tomas

de Sane ta Nar {a and Juan Bermudo; in this Correa follows
the keyboard tradition of the sixteenth century.
2.
Though Correa's work stood in the Spanish tradition of

keyboard treatises, he went far beyond his predecessors in
describing many of the practical aspects of performing the
music.
In this, his title of Musica theories 1 prac-
192
193
tica is most appropriate.
Correa addresses not only
the subject of the basic structure of the _modes and

genera, of suggested fingering patterns, and of dealing
with
quiebros and redobles
addressed by Spanish
attention to
(matters only generally
theorists),
but he also calls
the usage of the chromatic unison and
diminished and augmented octavel, the punto intenso contra

remisso2, (playing of a chromatically altered note simultaneously with its diatonic form), the alteration of
tribrachic to dactylic rhythm (for which he is the only
known Iberian source), and the structure and registrational possibilities of the tiento de medio registro.
3.
By the increased use of diminutions and embellishments

which are completely written-out,
Correa
shows
the
propensity for the notation of every detail which increased constantly for the next three centuries.
In this
he moves inexorably toward the Baroque style with its

profusion of written-out embellishments.
4.
The tiento de medio registro, a form already in use by the

time of Correa, comes to full flower in his hands.
He
writes a far larger quantity of this genre---37 examples

in all---than any other composer of the era.
In addition,
he leaves a legacy of creative skill in his handling of

the genre, as he explores thematic development, vertical
1
2
fol. Iv; cf. p. 25 .

fol. llv; cf. p. 60.
194
sonority, and written-out embellishment with much more

daring than did his predecessors, yet without the profuse
overabundance of notes and awkward results which occasionally surface later in the works of Bruna or even Cabanilles.
5.
While he stood within
the tradition of
the Spanish
vihuelists in the modal ordering of his works, Correa

contributed materially to the breakdown of traditional
modal thought and the gradual movement toward tonality in
Spanish keyboard composition.
The two most obvious
examples are the commixture of second-mode finalis with

seventh-mode ambitus yielding a result clearly not fitting
into either category, and the application of the terms of
diatonic, chromatic, and enharmonic genera to the use of
various key signatures and to chromatic alterations of
various notes, procedures which sometimes result in sounds
more closely related to the tonal approach of the later
17th century than to the modal frame in which Correa
purportedly worked.
In addition to the strongly pro-
gressive nature of these characteristics, a more elusive

bent toward tonality shows through in a number of the
works, not only in the fifth and sixth modes, where it is
to be expected in 1626, but also in the unmixed seventh
mode (see Tiento L, fol. 127 v.-129; vol. II, pp. 81-85 in
the Kastner transcription), and in his clear usage of the
n 1nth, tenth, eleventh, and twelfth modes--eleven of the
195
sixty-nine musical works in the Facultad make use of these

modes; while this is certainly not a disproportionately
large number, it is the first such extensive usage of
these modes labeled as such in keyboard music.
6.
Correa's approach also exhibits, in his use of the redoble

with the accented principal note, a relationship to the
Italian practice of the time, while the before-the-beat
prefix displayed in much of the written-out ornamentation
appears to be a personal trademark.
Vermillion has written:

We speak of Spain, the Spanish people, and their
history in the belief that we are dealing with
well-defined, definitive concepts. But Spain was
plural to the Romans, and its multiple aspects
have always submitted with difficulty to formulae .3
As
it
is
with
Spain in general, so it is with Correa in
particular. One foot is in the Renaissance with its modal terminology,

yet
Correa defies
the traditional definitions of the seventh mode
and the usual practices concerning the mixing of modes.

ornament
terminology
realizations
Both
3
4
quiebros
the
preceding century,
but
infuses
his
and redobles with new elegance and life.
his music and his proposed fingerings lend themselves to the
rhythmic
on
of
of
He uses the
this
alterations
aspect
of
4
proposed by Sancta Marfa , yet Correa expands
performance
practice,
giving
us
our
only
Elbert Lee Vermillion~ "Polyphonic Music in Spain to 1500". M.M.

Thesis, University of Rochester, 1954, p.ll.
c f p 16 0-16 2
196
codification by a keyboard composer of the alteration of tribrachic

rhythm
tientos
to dactylic.
are
in
long
Although the opening subjects of most of his

values and of a serious, even weighty nature
similar to that of the sacred vocal polyphony of Morales or Victoria,

the passage-work after the opening exposition displays a freedom of
spirit and inventiveness of mind more akin to the flamboyant nature
of
his
Italian
contemporary
Frescobaldi
or
to
the
aggressive
virtuosity of the North-Germans Heinrich Scheidemann and Franz Tunder

later in the century.
In each era within the history of Western music, a composer has
served as a bridge leading into a new age.
In the latter half
nineteenth century Richard Wagner was such a man.
of
the
In the early part of
that century Ludwig van Beethoven had brought the transition from Classicism to the first flowering of the Romantic spirit.
In
latter
the
from
half of the fifteenth century Guillaume Dufay served as a bridge
the Burgundian school to the earliest elements of Renaissance writing.

At the turn of the seventeenth century Carlo Gesualdo, although writing
in the style of the Italian madrigal of the late Renaissance,
success-
fully incorporated the bold and daring harmonic practices of the
early
Baroque.
At the end of the first quarter of the seventeenth century
the Iberian peninsula, the bridge into the early elements
of
style was clearly the composer Francisco Correa de Arauxo.
on
Baroque
BIBLIOGRAPHY
Additional Translation and Study
of the Facultad Orgfnica
I
Holland, Jon Burnett: Francisco Correa DeArauxo's "Facultad Organica":

~ Translation and Study of its Theoretical and Pedagogical Aspects,
Ann Arbor, University Microfilms International, 1987.
This work was not yet available to me at the completion of
this dissertation,
my own
as the writing of it was concurrent with that of
dissertation,
and I was unaware of its completion until after
the submission of the final copy of the present work. However, its
almost simultaneous publication with the present thesis makes available.
to
Correa's
the reader two different approaches to the translation of

preface and a broader scope of commentary.
Books
Antegnati, Costanzo: L'Arte Organica, Brescia:
Tebaldino, 1608.
Apel, Willi:
The History of Keyboard Music to 1750, translated and
revised by Hans Tischler, Bloomington: Indiana University Press,
1972.
The Notation of Polyphonic Music, 900-1600, 5th edition,
Cambridge, Massachusetts: The Medieval Academy of America, 1953.
Ayarre Jarne, Jose E. : His to ria de los grandes 6rganos de coro de
la tatedral de Sevilla, Madrid: No publisher, 1974.
Banchieri, Adriano: L'Organo Suonarino, Venice:
Vicenti, 1605.
L'Organo Suonarino, 2nd edition, Venice:
Amadino, 1611.
Barbour, J. Murray:
Tuning and Temperament: A Historical Survey,
New York: Da Capo Press, 1972. Reprint of 1951 edition.
Buchner,
1969.
Hans:
Fundamentum,
ed. Georg Schmidt, Leipzig: Peters,

197
198
Cabez6n, Antonio de:

The Collected Works of Antonio de Cabezcln,
Charles Jacobs, ed., vol. I, Brooklyn:
The Institute of Medieval
Music, Ltd., 1967.
Caccini, Giulio:
Le nuove musiche, Florence: Marescotti, 1601.
Cerone, Pietro:
El Melopeo I el Maestro, Naples: Gargano, 1613.
Cochlaeus, Johannes:
Tetrachordum Musices (1511), Introduction,
Translation and Transcription by Clement A. Miller, Rome: American
Institute of Musicology, 1970.
Collins, Michael:
"The Performance of Coloration, Sesquialtera,
and Hemiola (1450-1750)", Ph.D. dissertation, Stanford University,
1963.
Correa de Arauxo, Francisco: Libro de tientos y_ discursos de musica
practica, J.. theorica de organo intitulado Facultad Org&nica-:- Alcala
de Henares: Arnao, 1626. Minkoff Reprint, 1981.
Libro de tientos y_ discursos de musica practica, y_
theorica de organo intitulado Facultad Org~nica, transcribed by
Santiago Kastner in Monumentos de music a Espanola, vol. VI ( 1948)
and vol. XII (1952).
Libro de tientos I discursos de musica practica, y
theorica de organo inti tulado Facul tad Org~Iti"ca, transcription and
study by Santiago Kastner, Madrid: Uni6n Musical Espati'ola, .1974.
Couper in,
1717.
Francois:
L' art de toucher le clavecin, Paris:
Dalla Cas a, Girolamo:

1584.
Diruta, Girolamo:
Vincent.e., 1609.
Il vero modo di diminuir, Venice:
Berey,
Gardano,
Seconda Parte del Transilvano Dialogo, Venice:
Donington, Robert:
A Performer's Guide to Baroque Music, New York:
Charles Scribner'~ Sons, 1973.
Douglass, Fenner:
The Language of the Classical French Organ, New
Haven: Yale University Press, 1969.
Finck, Hermann:
Practica Musica, Wittenberg: Rhau, 1556.
Frescobaldi, Girolamo:
11 primo libro di Toccate d' intavolatura
di cembalo e organo, 3rd printing, Rome: Borboni, 1616.
Ganassi, Sylvestre:
Opera lntitulata Fontegara, Venice:
di ganassi del fontego, 1535.
Sylvestre
199
Howell, Almonte: "Bruna, Pablo" in The New Grove Dictionary of Music

and Musicians, (1980).
Jacobs, Charles:
Nijhoff, 1973.
Kamen, Henry:
Longman, 1983.
Livermore, Ann:
House, 1972.
Francisco Correa de Arauxo,
Spain
1469-1714:
Amsterdam: Martinus
A Society of Conflict, London:
A Short History of Spanish Music, New York:
Vienna
Milan, Luis de: El Maestro, edited, translated, and transcribed by

Charles Jacobs, University Park:
The Pennsylvania State University
Press, 1971.
Quitschreiber,
Weiden, 1607.
Georg:
Salinas, Francisco:
Gastius, 1577.
Musikbiichlein
De
Musica
fiir die Jugend,
Libri
Soderlund, Sandra: Organ Technique:

Hill: Hinshaw Music, Inc., 1980.
VII,
Jena:
Salmanticae:
Johan
Mathias
An Historical Approach, Chapel
Tom~s de Sancta Maria, Fray: Libro llamado Arte de ta6er fantasfa,

Valladolid: Fernandez de Cordova, 1565.
I
Valderrabano, Enriquez de: Libra de music a de vihuela, intitulado

Silva de Sirenas, Valladolid, 1547; translated by Emilio Pujol, Barcelona:-Instituto Espan'ol de Musicolog{a, 1965.
Vermillion, Elbert Lee:
"Polyphonlc Music in Spain to 1500", M.M.
Thesis, University of Rochester, 1954.
Williams, Peter: The European Organ, 1450-1850, Bloomington: Indiana
Universi~y Press, 1966.
Wyly, James:
"The Pre-Romantic Spanish Organ: Its Structure, Literature
and Use in Performance", unpublished D.M.A. dissertation,
University of Missouri at Kansas City, 1964.
Anthologies
Anglls, Higinio, ed.: Antolog{a de Organistas Espaholes del Siglo

1
XVII, Torno I, Barcelona: Diputacion Provincial de Barcelona, 1965.
200
Tome II, 1966.

Apel, Willi, ed.: Corpus of Early Keyboard Music, vol. 14, Rome:
American Institute of Musicology, 1971.
vol. 31, New York:
American Institute of Musicology, 1975.
Articles
Apel, Willi:
"Neapolitan Links between Cabezbn and Frescobaldi",
Musical Quarterly XXIV, 4 (October, 1938).
Baldello, Francisco:
Musical I (1946).
"El Organa y Organeros en Barcelona", Anuario
Martin, Lynn Wood: "The Colonna-Stella Sambuca Lincea, an Enharmonic

Keyboard Instrument", Journal of the American Musical Instrument
Society X (1984).
Preciado, Dionisio:
"Francisco de Peraza II, Vencedor de Francisco
Correa de Arauxo. Nueva luz sobre la dinast{a Peraza", Tesoro sacro
m~sico LIII (1970).
Vente, Maarten A.: "Some Aspects of Iberian Organ-Building". International Society of Organ-Builders-Information IV (October 1~70).
Wyly, James:
"Historical Notes on Spanish Fa_;ade Trumpets", The
Organ Yearbook VIII (1977).
"Registration of the Organ Works of Francisco
de Arauxo", Art of the Organ I (n.d.).
Correa
APPENDIX A
Translations of complete titles
of the musical compositions of the
I
Facultad Organica
In
pages,
order
to facilitate the reader's understanding of these
the following definitions are repeated from p. 63-68 of the
text:
Diatonic gender:
The use of unaltered C-D-E-F-G-A-B.
Chromatic gender:
This is of two
ology:
the
types
in
Correa's termin-
soft chromatic gender, which uses
B-flat and E-flat; and the hard chromatic gender,

which uses F-sharp and C-sharp.
Enharmonic gender:
This is also of two types:
harmonic
gender,
and
which
for
these
to
notes
him;
and
which uses
the
soft en-
A-flat and D-flat
Correa does not compose because
do
not
exist on the organs known
the hard enharmonic gender, which
uses G-sharp.
Although these genders are defined in their pure form by Correa, his
compositions actually include much mixing of the genders, a practical
necessity to which he alludes in the title of No. LXIV below.
201
202
Because Correa sometimes refers to various symbols used in his

notational style, a brief review of Spanish keyboard tablature is
given here.
Each voice of the counterpoint is given a horizontal line upon
which are placed numbers; these correspond to letter-names as follows:
l=F; 2=G; 3=A; 4=B; S=C; 6=D; 7=E.
Octaves are indicated by dots or
slashes attached or adjacent to the number:

~
through~
= Great
through Great E
l. through 1. = Great F through Small e

1 through 7 (unadorned) = Small f through e
through 7'= f' through e"
1, through 3, = f" through a"
Meter signature appears before the beginning of the pseudo-staff (set

of lines representing all the voices).
The use of a key-signature
B-flat is indicated by a rounded capital B immediately following the

meter signature.
The use of one or more sharps in the key signature
is indicated by the appearance of the natural-sign(~) immediately

following the meter signature.
Rhythmic values are indicated by the
appearance of the smallest unit at the first instance of its use; this
symbol is placed above the pseudo-staff (the group of four or five
lines representing the voices of the polyphony).
Small hands appear-
ing occasionally below the pseudo-staff indicate passages in which

Correa recommends that one hand assume three or four voices rather
than the normal two so that the other hand may give its full attention
to the execution of a diminution.
For further enlightenment, the
203
reader may refer to the following excerpt from Tiento XXII, which
appears
as
follows
l
..
l
l
CJ
..
in Kastner's transcription, then as written in
--
..._...
'
_J J
.. - -
F f'- .,.r
-.J. ..l
I
r r rr
.....---. t
l'
__d
II
'
tJ'
f"
J
~-
'
rr
I
r-.J ~-
~-
f f----
204
I.
Tiento in the first mode, from [the syllables] ~ to sol
on D-la-sol-re in the diatonic gender, for which reason [i.e.
that "mi" falls on B] every [tablature symbol] "4" has to be played
as B-natural, being written without a natural sign, but only with
the tim~ signature; which procedure I have followed in all these
exercises, agreeing with all the masters of polyphonic and monophonic
music, reserving the use of the natural-sign for altered notes outside
the modes. And I remark that (where you might find a "2" above
[patterns of] six or twelve notes to tlfe measure) you have to play
these
figures t:qual, without ayrezillo de sesquialtera or minor
proportion [rhythmic inequality], and where you might find (a "3")
you have to play these figures with the stated ayrezillo of minor
proportion, lingering more on the first and l~ss on the second and
third, and in this way the remainder [of the passage].
The octave
species of this first mode is from [the finalis] D-la-sol-re with
the solmization re-mi-fa-sol-re-mi-fa-sol.l
II. Tiento and ex~rcise in the second mode [transposed], from
re to sol on G-sol-re-ut of the soft semichromatic gender, in which
every "4" has to be played as a B-flat, except those which
have sharps, and have to be played as B-natural.
This piece has a
time signatur~ and one flat, and it forms its octave speci~s ascending
from the finalis of G-sol-re-ut with the solmization: re-mi-fa-sol-remi-fa-sol.2
III.
Tiento and exercise in tlu:: third mode from re to la on
A-la-mi-re (mixed with the tenth mode) in the diatonic gender, for
which reason every "4" has to be played as B-natural, just as iu the
first tiento in the first mode in D-la-sol-re. It forms its octave
species rising from the finalis of A-la-mi-re, intoning re-mi-fa-remi-fa-sol-la. And note that the diatonic third mode with a finalis of
A-la-mi-re ends irregularly, because its regular ending is on E-lami.3
IV.
Tiento in the fourth mode, from la to mi [actually from
mi to la] on E-la-mi in the diatonic gencer;--accordingly, every "4"
has to be played as B-natural, as was declared in the first exercise
in the first mode.
It forms its octave species ascending from its
finalis on E-la-mi with the solmization mi-fa-sol-re-mi-fa-sol-la.
2
3
Hexachordal mutation (on la=A); correspondingly all subsequent examples.

Apparently Correa does not clearly distinguish between authentic
and plagal concerning the given solmization patterns.
Correa makes it appear as if this piece is in the Phrygian mode
on E with an irregular finalis on A. He admits that it is mixed
with the tenth mode [Hypoaeolian] and that is the way we hear it
(actually as a melodic minor), since ther~ is no Phrygian cadence
or any Phrygian melodic line in the whole piece.
205
V.
Ti~nto in the fifth mode with fa (and fa at th~ fifth
[C] [from fa (F) to fa (f)]), on F-fa-ut in the diatonic gender,
played with B-natural, following the opinion of those who affirm that
thert are twelve modes, according to which the fifth and sixth modes
are of the diatonic gender; in their execution every "4" has to be
played as B-natural. These modes form their octave species ascending
from the finalis F with the solmization fa-sol-re-mi-fa-re-mi-fa.
Sharps are placed on some of the stated notes in case there can be
doubt as to whether it should form a dissonance or a consonance.
VI.
Tiento in the sixth mode in the diatonic gender which
is played with B-natural, following the opinion concerning the twelve
tones, as was stated in the preceding [tiento]. It ends on F-fa-ut,
on which the solmization is fa [both] in ascending and descending.
It forms its octave species ascending from the stated note: fa-solre-mi-fa-re-mi-fa.
VII.
Tiento in the seventh mode (of the hard semichromatic
gender) frolli re to sol on A-la-mi-re with accidt:ntals [really transposed Hypodoria11]. All F's are sharp, which is indicated with a ~
after the time signature with a "1" beneath.4 It
forms its octave
species asctnding from the mentioned note [A] with the solmization
re-mi-fa-sol-re-mi-fa-sol. And note that it ends irregularly on A-lami-re, because its regular ending [in the seventh mode] is on E-la-mi,
from re to la.5
VIII.
Tiento in the eighth mode from ut to sol on G-solre-ut of the diatonic gender.
Every 11 4 11 indicates B-natural, as has
been stated for this [diatonic] gender. It forms its octave species
ascending from the finalis: ut-re-mi-fa-re-mi-fa-sol.
IX.
Tiento in the ninth mode from re to la, on F-sharp (of
the hard semi-enharmonic gt::nder).
It is printed with three naturalsigns, the first two of which constitute the full chromatic [gender],
aud the third half the hard enharmonic gender: accordingly the "1 "s,
"5"s, and "2"s have to be played or~ the black keys Ftl, Cll, and Gt!.
It forms its octave species ascending from the finalis with the
solmizution re-mi-fa-re-mi-fa-sol-la.6
X.
Tiento in the ninth mode from re to la on A-la-mi-re (of
the diatonic gender).
It is played without accidentals in the
key signature, with every "4" on B-natural, as was stated in all of
the previous [tientos] of this gender.
It fon:ts its octave species
ascending
from the finalis with the solmization re-mi-fa-r~-mi
fa-sol-la.
4
5
6
Here the ~ means #.

In our parlance this would be transposed Aeolian instead of
lydio.n.
Transposed Aeolian.
~~ixo
206
XI.
Tiento in the eleventh mode, from ut to fa on F-natural,
in the soft semichromatic gender. It has a flat after the meter signature, which denotes that all the "4"s have to be played on the black
keys, as B-flats, except for any which have a sharp, which are played
on the white keys.
This mode forms its octave species from the
finalis, ascending with the solmization ut-re-mi-fa-sol-re-mi-fa.
XII.
Tiento in the twelfth mode, from ut to fa on F-fa-ut
of the soft semichromatic gender, according to which all the "4 "s
have to be played as B-flats.
It is printed with a flat, which
denotes that to which I referred.
It forms its octave species
ascending
from
the
finalis
with the solmization ut-re-mi-fasol-re-mi-fa.
Another order of tientos de registro entero
eight common modes, easier than the preceding.
follows,
in
the
XIII.
Tiento in the first mode on D-la-sol-re, in the
diatonic gender, which in its ambitus is mixed with the second mode
on D-la-sol-re.
Generally every "4" is played as B-natural, (as was
stated at the beginning) except those which have a flat sign, which
have to be played as B-flats. It forms its octave species ascending
from its finalis of D-la-sol-re with the solmization re-mi-fa-sol-remi-fH-sol.
XIV.
Second tiento in the first mode, diatonic, with
primarily eighth-notes, and easy for beginners.
It ends on
D-la-sol-re with the solmization re-mi-fa-sol-re-mi-fa-sol.
This
tiento has to be played quickly, yet, of course, clearly, and for
this reason I am making tiempo de por medio [ ~]; because two measures
can well be made one, and this iE precisely what is indicated by this
time signature.
XV.
Tiento in the fourth mode, from la to mi on E-la-mi of
the diatonic gender which means that there are no accidentals in the
key signature and all "4 "s are to be played as B-natural. It forms
its octave species ascending from its finalis on E-la-mi with the
solmization mi-fa-sol-re-mi-fa-sol-la.
XVI.
Second tiento in the fourth mode on E, in the form of
a cauzona, same as the preceding [tiento] in gender and octave
species, in which the conducting of the measure, and the giving of
the air [style] is in the following form: In the [sections in] tiempo
imperfecto [C], it has to be performed broadly and without rhythmic
alteration.
In the [section in] perfecto partido [~] with 3 [~ 3]
the performer has to accent the first semibreve, leave the second
unaccented, give a lift to the third, and make the minims equal (as
I explained in the first tiento); and in the minor proportion he
should play them as a dactylic pattern in the tempo indicated, i.e.
more or less slowly, according to the number of notes.
207
XVII. Third tiento in the fourth mode,

mi, diatonic, with chiefly eighth-not~s.
It
as was stated earl-ier, in the second [ tiento]
forms its octave species as the two previous
it among these exercises, not to ~xplain the
but to make clear the quality of the gender.
from la to mi on E-lahas to be played fast,

in the first mode. It
[ tientos], and I place
acbitus or the mode,
XVIII.
Fourth tiento in the fourth mode, from la to mi on
E-la-mi, diatonic as the preceding.
It is adapted to moderately
skilled keyboardists because it is not very "involved" (complicated).
Nevertheless I print it with the [tempo] imperfecto [C), because it
has some (although few) sixteenth-note passages.
XIX.
Fifth tiento in the fourth mode, from la to mi on E-lami, diatonic as [were] the preceding [ tientos], and easy for beginners.
This I wished to place [here] (although it is one of my early
works) so that new composers would be encouraged to study [it],
seeing
what I did then and what I do now, and so that the old
[composers] do not become arrogant, if they see anything worthy of
correction,
considering the difference that exists between the
earliest and most recent [of my works] and especially between the
most recent and future works if God grants me life.
It forms its
octave
species
ascending
from
E-la-mi
with
the
solmization
mi-fa-sol-re-mi-fa-sol-la.
XX.
Tiento in the fifth mode, from ut to fa on C-fa-ut, in
the diatonic gender, using primarily eighth-notes, and likewise easy
for beginners.
It proceeds rapidly as the tiempo partido [] demonstrates, and has been explained previously.
It forms its octave
species
ascending
from
the
finalis
with
the
solmization
ut-re-mi-fa-sol-re-mi-fa. 7
XXI. Tiento in the sixth mode, from ut to fa on F-fa-ut in
soft semichromatic gender, using primarily eighth-notes, and easy
keyboardists of moderate skill.
I notate tiempo de por media
[ ] , because it has to be played fast until the [section of] nine
minims per measure, which has to go as was stated in the second
exercise [ tiento] in the fourth mode [dealing with the different
weight of the beats]. The octa~e species is ut-re-mi-fa-sol-re-mi-fa.
the
for
XXII. Second tiento in the sixth mode, from ut to fa on F-faut, in the soft semichromatic gender, using primarily sixteenth-notes,
and easy for keyboardists of moderate skill.
Note that in this and
in many o~ these exercises, I use some groupings which are not found
in polyphony (such as five quarter-notes, five eighth-notes, and
others of this type). These [irregular groupings] I have seen observed
(without exception) in the exercises in tablature by the most eminent
masters of the organ in our Spain; thus we have here beyond [the
common groupings of] eight or nine, [irregular] groupings.
These
7 Actually eleventh mode (Ionian).
208
can be adapted to polyphonic writing by adding another appropriate

note to such unusual groups [e.g. making five into six or seven into
eight].
XXIII. Third tiento in the sixth modt on F-fa-ut, from ut to
fa, on the first port ion of tht Ba talla de ~~or ales in which the
rhythm has to bt performed as has b~en stated in the second tiento
in the fourth mode on E, [a tiento] in the form of a canzona. The
gender and octave species are the same as the nearest preceding
[ tientos]. [These are the soft semichromatic gender and the octave
species of ut-re-mi-fa-sol-re-mi-fa].
XXIV.
Here follm,Ts a short and easy tiento in the diatonic
sevtnth Llude on A, mixed t-rith tht ninth mode, using chiefly eighthnot~s;
I have included it for beginners, that there might also be a
morsel for the littl~ ones, ju5t as thert: is for the big ones. It
h<.Js to be play~d mor~ or less fast, accordir1g to the capacity of
the one playing it, and the ea~e or difficulty that the work demands;
this rule is to be followed generally throughout this book.
This
tiento forms its octave spt:cies c..scending frmr. the finulis with the
sollliiz&tion re-mi-fd-re-mi-fa-sul-la.B
}~V.
Tiento for divided register for soprano in the seventh
mode.
Here is another new series of tientos fur divided register,
a celebrattd irtVention, an<l well-knoWl~ in the Kingdom of Castille,
althougb not knot-T. in other ~kingdon.s].
This s~ries consists of
four sections:
two sencilL.1s [siuplt] for one soprano pertaining
to tht right hand and ont bass pertaining to the left hand; two
doblados [double] for tt-o sopranos in the right hand a;1d two basses
in the left hand.9
Tiento for divided register for soprano on D-~;ol-re in tho::

seve:1th mode or tht second, (which at first sight cannot appear on
this note, normally speaking, [because trans posed] ; because the
seventh
[n;ode] divides arithmetically, while the second divides
harmonically,
(ref erring here to polyphonic music).
It is to bt
played in a broad te~:1po, but uot too much so.
XXVI.
Second t ien to for divided register for soprano in
the seventh mode from re to sol Oll D-sol-re, ending irregularly on
this 110te [because transposed] or likewist:: in the second mode (as
w.:::.s stattd in the prect=ding) [tiento], the diapente of which is
situattd .E. t:Xtrtmob [on top], A-D-A, while in the seventh mode,
sirr:ilar to the second but not to the first mode, the diatessaron is
on top [D-A-D]. And these are the two divisions, Arithmetic and
Harmonic, touched upon in the preceding [tiento]. The octave species
of
this tiento is formed ascending from D-la-sol-re with the
8
Actually ninth mode (Aeolian).

Tht: two "simple" sections run from Tiento XXV through Tiento LI;
the two "double" sections run from Tiento LII
through Tiento
LVII.
209
solmization re-mi-fa-sol-re-mi-fa-sol,
diatonic gender.
which
was
declared
for
the
XXVII. Tiento for divided register for soprano in the seventh

mode from re to sol on D-la-sol-re in the diatonic gender, ending
irregularly on this finalis.
I find a [tiento for] divided registf::r in the first mode on this note can be composed [only] with
great difficulty if we follow the laws of composition, because although in it we use the harmonic division applicable to the first
mode in plainchant, we find the diapente for the upper part, from
very high d [d"] to extremely high a [a"], which belongs to the second
mode; and so I am of the opinion that a [tiento] for divided register
in th~ first mode should be composed on G-sol-re-ut, and not on D-lasol-re, especially in tientos in which there is nothing to forbid it.
XXVIII.
Fourth tiento for divided register in the soprano in
the seventh mode on D from re to sol, ending irregularly, in the diatonic gender, and using chiefly eighth-notes; to be played fast, as
the tiempo partido placed at the beginning shows. It is for players
who do not have much dexterity of the hands, and for organs with
very stiff action.
Th~ ternary meter, called major proportion, has
to be performed broadly and with equal notes wherever there is a
numeral "2" above; and wherever a numeral "3" appears over three
equal notes these have to be played as indicated at the beginning
[i.e. as a dactylic pattern]. This forms its octave species ascending
from the finalis D with the solmization re-mi-fa-sol-re-mi-fa-sol.lO
XXIX.
Fifth tiento for divided register for soprano in the
seventh mode from re to sol on D-la-sol-re, in the diatonic gender
like those
[immediately] preceding.
Note that in quiebros and
redobles there is no determined
number of notes; and in measures
29 and 41 of this tiento appears a quiebro, the opening notes of which
are worth five sixteenth-notes, as much for this reason [that there
is no determined number of notes] as [to emphasize] that which I hav~
already stated, that masters of the organ have many more [groupings] of notes than those of the choir; all [of which is] to avoid
pointless repetition and to better use and accommodate the fingers.
XXX.
First tiento for divided register for bass in the
seventh mode, from re to sol on D-la-sol-re in the diatonic gender;
or likewise in the second mode, as was explained in the foregoing
[tientos] for [divided register in the] soprano.
Instrumentalists
of the first and second levels should leave this tiento for those
of the third and fourth, because it is very difficult and they will
become fatigued
and [then] they will do nothing but go on to other
easier [tientos]. And those who see that the other works exceed their
capacity should abide the same admonition, to leave them to the more
advanced and [wait] until they have more skill and more years of
study.
The octave species ascends from D-la-sol-re with the
solmization re-mi-fa-sol-re-mi-fa-sol.
10 Actually Dorian.
210
XXXI.
Second tiento
for divided register for bass in the
seventh mode, from re to sol on D-sol-re of the diatonic gender, not
so difficult as the preceding, although not so easy that it would
be for everyone.
In som~ of my works (and in particular in measure
79 of this study) will be found a prepared or unprepar~d dissonance
caus~d by a clash of rt note with its alteration [e.g. c versus c f.E] ,
but deliberately and with reason.
I have seen this in [the works
of] m&ny v~ry important composers, and although in many of these there
is no note with a natural sign; this do~s not mean, however, that
rt:ason does not demand it, and that it is necessary to have it. The
new composers should leave this license for thtir old age when this
alld many other peculiarities are condoned for many reasons.
DL\II. Third tiento for bass in the seventh mode on D-la-solre in the diatonic gender, usin6 primarily eighth-notes; or liktwise
in the second mod~, as the seventh [mode] does not exist for this
f inc. lis, because the diapt:mte is in the upper part (A-D-A]. And so
when [ tientos for] divided register in this mode have to be composed,
they should be on G-s~l-r~-ut [as opposed to D-la-sol-re] (as ~as
s ti.l ted in those for soprano) and when they have to be in the second
mode they should be on D-la-sol-re, and everything will fall into
its proper place.
The tempo proceeds as is indicated by the tierr.po
partido.
XXXIII.
Fourth tiento for bass [bax6n] in the seventh mode
on D-la-sol-re in the diatonic gender, usi11g priiLarily eighth-notes
as [in] the preceding [tiento].
I am well aware that some experts
in teachint; must notice hov.~ I write the exercises with eighth-notes
in the tiempo partido rJ [usually] appropriate to the broader p<:ice
[vs. 0].
I have previously satisfied them [on] folio 42 (if they
have uuderstood correctly), and I satisfy theit agaiu: that concerni1ig
those
[titntos] with sixteer~th-notes, the imperfection cannot be
removed nor can the slower tempo [because of the difficulty in playir.g
such small note values].
Therefore two measures cannot be reduct:::d
to one as in this [tiento] of eight [to the measure].
XXXIV.
Fifth tiento for divided register for boss, in the

re to sol on G-sol-re-ut in the soft seiUichroz:.c.: tic
gender, using primarily eighth-notes, which will be taken somewhat
rapidly as the t iempo partido [ ~] indicatts.
In measure 96 of this
ti~nto,
there appears a little-used proportion call~d sesquiseptima,
or septupla, or seven notes to the measure, which have to be executed
equally, without lingering more on one [note] than on anotht::r, as
is also made clear by the [numeral] "2" placed under the seven
first
mode,
from
XXXV.
Sixth tiento for divided register for bass, in the
first mode, from re to sol on G-sol-re-ut in the soft semichromatic
gender, with primarily eighth-notes, suited to students of the second
211
level, being easy and of my first ( tientos to be composd). On large
organs with a pitch of fourteen palms and lo~er (slightly lower than
eight-foot pitch), take off the lower flautado or bourdon and retain
the octave or flute, so that these respond better (more clearly and
quickly),
[and) likewise so that from D-sol-re sograve [great D]
to G-sol-re-ut aguidissimo [g"J the [entire) eighteen notes in the
ambitus of this first mode may be accurately perceived.ll
XXXVI.
Tiento for divided register for soprano in the tenth
mode or in the high first mod~; that :is, it ends irregularly on the
la of 0-la-sol-re [D instead of G), in the soft semichromatic gender.
In som~ parts of these exercises (and in particular in this one, in
measure 80), when there is a dot t~d eighth-note necessarily folloY.'ed
by a sixt~enth, the rhythmic sign [in the tablature) for the latter
is left off so as not to overload this work with signs. This tiento,
although using primarily sixteenth-notes, is easy for students of
the second. !~vel, and it is of rny fir~t (compositions].
XXXV I I
Tie n t u f or d i v i d e d r e g i s t e r f or bass in the n in t h
mode, from re to la on A-la-mi-re in the diatonic geuder, using
eighth-notes. The rhythmic-notation symbols borro""~d from polyphonic
writing placed on top of the lines and numbers [in the tablature)
correspond to the lines which have the most numbers (pitch numbers],
and mean that all of these have the sa~e value as indicated by the
[rhythmic] figure above, until such [symbols] that indicate another
[rhythmic value], or another, different time signature; and so on
for all the ensuing figures; and this is a general rule.
XXXVIII.
Tiento for divided r~gister for soprano in the
fourth mode, from mi to la on E-la-mi in the diatonic gender. This
mode legitimately has nineteen notes if figured from E-la-mi sograve
[ g r e a t E ] to H- fa-be- mi sob r e a g u d o ( b' J , a c cord i r. g t o wlt i c h t he f o u r t h
[mode) "'hich the chapel-mast~rs us~ is mur~ [nearly) the tenth than
the fourth.
And, omitting the bourdon (the lo""est range) for our
purpos~s,
the nineteen notes of the atLbituG ere figur~d from E-la-mi
_grave [small e) to H-fa-be-mi agudissimo (b"), which or~ans of four
octaves have, and on these this mod~! ,,;ill be complete in [ tiento!;
for ] divided regis t e r s ; and 1 n o the r o gran s 1 t """ i 11 be 1 n com p 1 e t ~
because of the lack of this notE:.
XXXIX.
Second tiento for divided register for soprauo in
the fourth mode, from la to mi on E-la-mi in the diatonic gender,
and under the same conditious as the pr~ceding [ ti~nto].
In th~
mentioned
[tiento), in the thirty-ninth and fifty-sixth measures
before the end, two r~dobles will be found in the soprano; the first
seems to produce two [consecutive J octaves, and the second virtually
does the same with the tenor; this is permit ted [here J because in
the redoble one must give attention only to the main not~ recurring
[D] of the cadencing melodic line and not to the auxiliary notes in
11 The apparent discrepancy between Correa's statement concerning
"fourteen palms" and the specifications on p. 174 in which ''tHelve
palms" is the standard, is evidence of the great variety of pitch
standards used by the builders of Spanish organs of the day.
Thr->re
must be a mistake in the octave labeling because Correa's terminolology leads to 25 notes.
212
the redoble.
Note that in an embellishment these and other liberties
are permitted, as there will not be two real [consecutive] perfect
[intervals] of the same kind.
The same case [exists] in measures
28 and 29 of this tiento.
XL.
Tiento for divided register for bass in the ninth mode,
from la to re on A-la-mi-re, in the diatonic gender, using primarily
eighth-notes.
This tiento is somewhat more difficult because in the
greater part of it two voices have diminutions simultaneously, and
for this reason it has __ to have a tempo neither as broad as with
-~ixteenth-notes,
nor as .rapid as with eighth..notes, but in-betw.een
[these two extremes], and thus I write it in tiempo perfecto de por
media [ $]12 which in my works has this significance [the moderate
tempo described above].
The octave species is re-mi-fa-re-mifa-sol-la.
XLI.
Tiento for divided register for soprano in the twelfth
mode, from ut to fa on C-sol-fa-ut in the diatonic gender, or in the
sixth mode, since this finalis does not fit in the fifth mode [in
tientos]
for divided register because -of the harmonic division
attributed to this mode.
([The twelfth mode] can exist [however]
on F-fa-ut and G-sol-re-ut with an accidental [B-flat when built on
F, F-sharp when built on G])
In measures 57-59 of this exercise
(after the arsis) there appears in the diminutions of the soprano
voice a leap. of a seventh, practiced among great experts' on certain
appropriate occasions as they .see fit, one of which is the present.
T.he octave species is ut-re-mi-fa-sol-re- mi-fa.
XLII.
Second tiento for divided register for soprano in
the twelfth mode, from ut to fa on C-sol-fa-ut in the diatonic
gender. In measure 20 of this exercise appears another leap of a
seventh [sic] 13 in a diminution (as was previously stated) and in
measures 64 and 65 another of a sixth, and in measure 68 another of
a twelfth, all ascending; these and many others are permitted on the
organ, as they are also on the chirimia14 and
the
cornet.
The
occasions [for these leaps] are two (among others): in imitation of
a passage of diminutions, and in a broad or very broad passage,
according to the indications one might wish to give.
Since these
cannot be done by simple symbols, certain made-up symbols must be
used, and these should be consistently applied [since the tablature
does not very clearly distinguish the octave differences in pitch].15
12 Probably an error. Correa seems to mean tiempo imperfecto.

13 Correa here obviously has misread his own tablature: the modern
notation e '-f", given in tablature notation as 7-1~, is actually
the interval of a ninth, while 1-7 would be the interval of a
seventh.
14 A kind of Krummhorn.
15 This is a rather free translation but seems to render the meaning
most clearly.
213
XLIII.
Tiento for divided register for bass in the sixth
mode on C-sol-fa-ut in the diatonic gender, and using primarily
eighth-notes; [this tiento] is easy for beginners and [is one] of
my first [ tientos].
The tempo should be taken rapidly, as I have
already mentioned, and [as] the tiempo [C] denotes. At many places
in these exercises and in particular in this one in measures 15, 56,
and 63 I am accustomed to place a capital "R", which indicates a
redoble, in the voice where it is to occur [as opposed to placement
above the pseudo-staff], and this is much used in all kinds of signs
being placed at the beginning [of a passage] and governing the whol~;
and in the music it is also used, placing the round capital B that
indicates B-flat, and the square B that indicates B-natural or "hard"
B. The octave species is harmonic: ut-re-mi-fa-sol-re-mi-fa.
XLIV.
Tiento for divided register for soprano in the sixth
mode on black B-fa-be-mi [B-flat] in th~ soft semichromatic gender
as regnrds the character of the twelve modes; that is, in order for
the gender to be fully chromatic all the E' s must be flatted [as
the B' s thus]
having two flat signs [two capital B' s] at the
beginning: B. B.
This piece does not have more than one, nor does
it require E-flats, thus it is played diatonically, which, being
[built] on F-fa-ut [actually the fifth mode transposed] lacks [the
proper] accidentals in the upper part, and in the plagal form in th~
lower, therefore it is notated as a mixed mode, [with] irregular or
imperfect octave species: fa-sol-re-mi-fa-re-mi-fa.
[BP- C - D- E- F- G- A-B~]
XLV.
Tiento for divided register for soprano in the seventh
mode, from ut to sol on G-sol-re-ut in the diatonic gender. The same
reason that I have mentioned before on [folio] 99 [v., in the:! title
of Tiento XXXIX] concerning the redoble, applies to this exercise,
concerning ertbellished cadences, which are found in measures 14, 71,
101, and 109, and generally in all my exercises, in which the continuity of the line appears to be broken by a stress on the weak part
of the upbeat; thus in the place cited I am convinced that in redobles
and embellished cadences one must give attention to the plainchant
[cant us
firmus or principal note of the embellishment] of the
cadencing voice, etc.
This is a concept much practiced among the
greatest masters of the organ in Spain.
The octave species is
Arithmetic,
beginning on D-sol-re punto mediante
[i.e. on the
dominant] saying:
re-mi-fa-sol-re-mi-fa-sol [Finalis is G, therefore
actually Mode VIII: D-E- F- G-A-B-C-D].
XLVI.
[Here] follows another [tiento for] divided register
for soprano, in the same mode and gender as the preceding. When the
entrance of the imitating voice clashes with the end of the subject
in the first voice, the masters alter the duration of the entering
note; if it is a whole-note it becomes a half-note and is delayed by
214
half a m~asure, as is seen in the contra- bass of this exercise, -which

entt:rs at the half [measure].
Such pnssaf..eS are good for improvisatory music, but not for strict counterpoint as here in the passages
where voices are in opposition [simultaneous lines contrapuntally
combined], and the notes, or the pitches, or at least the intervals
must be carefully observed.
XLVII.
Tiento for divided register for soprano in the eighth
mode, from ut to sol on C-sol-fa-ut in the soft semichromatic gendtr.
An excellent way to handle the imitation is for the second voic~ to
~nter before th~ end of the first, and the third before the end of
the second, especially in exercises and versets for entire register,
because in [ t ien tos for] divided register one can well use long
subject entranc~s even in the imitating voices; and as far as the
soprano or bass is concerned, it is not only possible but obligatory
to use the: full subject statement, and even more if the music
rt:quirts, before the imitating voice enters.
This is all the more
11ecess~ry as piect:s for entire register require great gravity in their
t:ntranct:s if they use sixteenth-notes or Sllialler valu~s. 16
XLVIII. Tiento for divided register for soprano in the eighth
mode, from ut to sol on G-sol-re-ut, in the diatonic gender, and using
primarily eighth-notes.
This tiento is considered [to be] for high
clefs [using the terminology of vocal polyphony] in respect to the
eighth mode; however, inasmuch as it uses the Arithmetic octave
sp~cies,
it absolutely must be designated as the seventh or tw~lfth
[mode], aud not as th~ eighth.
It is suitable for organs with loud
stop!:> and for organists [of] moderate skill.
The octave species
commences on D-sol-re sograve
[great D], ascending:
re-mi-fasol-re-mi-fa-sol; the tempo [should be taken] quickly as the tiempo
partido rJ indicates.
XLIX.
Tiento for divided register for bass in the twelfth
mode, from ut to sol on G-sol-r~-ut, in the diatonic gender, endir.g
irregularly on G because its regular finalis would be on C-sol-fa-ut,
and so it is held by many to be in the eighth mode, as in polyphonic
pieces with high clefs; but (Salva pace) it must be considered in
the twelfth [mode] and not in the eighth, ending on G-sol-re-ut.,
because
the diaptntes and octavt species are different in the
authentic (modes], while the stated modes [the eighth and twelfth]
are
plagal.
The octave species is Harmonic,
beginning from
C-sol-fa-ut and intoning: ut-re-mi-fa-sol-re-mi-fa; the tempo [should
be taken] quickly.
L.
Tie:nto for divided register for bass in the seventh mode,
from ut to sol on G-sol-re-ut, in the diatonic gender. Many liberties
will
be found in my works; they should not be understood as
necessarily being very good but possible, but they must be noted;
especially if they occur in a diminution in the lower voice, where
they must not be too short nor cluusy. And if they should be found
bad in place of good, in the Arsis or Thesis of the measure (as will
16 Fr~e translation.
215
be found in the twenty-fourth measure of this exercise), the same

consideration, which I have noted coucerniug the en<bt:::llished redoble,
must
be observed, which is to give attention to the ba~ic note (s)
of the cadencing or embellished voice and not to the surrounding notes
of the embellishment. The octave species is Arithmetic, from D-sol-re
sograve [great D]: re-mi-fa-sol-re-mi-fa-sol.
LI.
Tiento for divided register for bass in the tenth mode,
from re to la on A-la-mi-re in the diatonic gender, and using
primarily eighth-notes.
Some keyboardists say many bad things
concerning tablature, and one of the reasons they give is that it
contains unsingable figurations, that is groupings having the value
of five, seven, or nine half-, quarter-, or eighth-notes, and they
do not realize that when they improvise, the same happens to them
at every step because, as I have explained earlier, we have more than
the common groupings of eight or nine [notes]; in my opinion this
is not the reason; but because the tablature very openly reveals what
is musically good and bad which normal polyphonic notation does not
do, but rather covers up and thus becomes a cloak for sinners, and
what appears as liberties thert::: will cause admiration in tablature.
LII.
Here begin the works for five voices: first a tiento
for the entire register in the first mode, from re to sol on D-lasol-re, in the diatonic gender.
Also some tientos for divided
register for two sopranos, and ultimately others for two basses, all
of which have five voices.
All musical works are considered in two
ways; that is, generically and specifically:
generically is to
consider the mode as such [i.e. authentic as well as plagal]; and
specifically is to consider one aspect of a certain mode [either
authentic or plagal], that is, first or second, etc., "master" or
"pupil"; thus the generic contains the specific and the specific is
contained in the generic.
Those that cannot be mixed are called
specific, and these (most of the time) can be sung, while those that
are rr.ixed are generic and they are to be played because they contain
both species of modes, "master" and "pupil", exceeding their limits
as happens in this exercise, where the first mode is mixed with the
second mode, descending to D-sol-re sograve [great D] and ascending
to G-sol-re-ut agudissimo [ "g"] with the quality which will be given
below; therefore we will say that it proceeds and is considert:::d
gentrically.
LIII.
Tiento for divided register for two sopranos in the
second mode, from re to sol ou D-la-sol-re in the diatonic gender,
for five voices, and according to my ordering and that of some
experts, these [tientos for divided] registers for two sopranos must
be for five voices, and not for four (with no offense to the eminently
exptrt men who affirm the contrary); the reason is that the least
that can be played is three voices, and the other two [i.e. the
sopranos] make a duet through the whole subject entrance and the
silence of the sopranos for many reasons would produce a deficient
216
sound, even more so during a subject statement, because it is necessary for it to remain in one voice only; for the sopranos never
to rest would be a greater defect.
I will not write any more about
this so as not to be longwinded. I state again that a tiento for
divided register for two sopranos on D-la-sol-re is in the second
mode, and at times in the seventh, and never in the first, according
to what I stated in those for one soprano, and for bass [on
D-la-sol-re]. The octave species is Harmonic and proceeds from
D-sol-re sograve [great D] with the solmization re-mi-fa-sol-re-mira-sol.
LIV.
Here follows another tiento for divided register for
two sopranos in the seventh mode [mixed with the second], from ut
to sol with the final is G-sol-re-ut, in the diatonic gender, the
octave species of which is Arithmetic and commences on D-sol-re
so grave [great D], the dominant, rising and singing re-mi-f a-solre-mi-fa-sol.
Since the upper voices of these exercises for divided
register are so distant from the lower voices, in order for these
(that is the sopranos) to be played on the plenum, and these (that
is the basses) to be played on the flautado; or the opposite, if the
exercises are for two basses the sopranos to be played on the flautado
and the basses on the lleno or trumpets; and they cannot cross each
other, as they can be in mensural [polyphonic] music of two or three
sopranos, contraltos, etc. in which the second sopranos, contraltos,
etc. in which the second soprano may assume the role of contralto,
being written lower than it [the contralto] on many occasions:
therefore it is necessary that these exercises for two sopranos or
two basses be of five voices, and in no way less, so that when the
two sopranos become silent, three voices should remain on the flautado
[principal]; and the second soprano cannot and should not change over
to the flautado, to become in effect a contra! to, which is very
~~desirable, which some inexperienced people have attempted to do.
LV.
Exercise for divided rtgister for two basses in the
second mode, which starts another and last group of pieces for divided
register for two basses in five voices. Exercise for divided register
for two basses in the second mode on D-la-sol-re, with a chromatic
beginning although the greater portion of it is in the diatonic
gender, the octave species of which is Harmonic, and begins on
D-sol-re sograve [great D] with the solmization re-mi-fa-sol-re-mifa-sol.
The same reasons which mak~ the extrcises for divided
register for soprano, for bass, and for two sopranos with a final is
of D-la-sol-re to be in the second mode and not in the first, apply
also in these exercises for two basses. And the same [reasons] which
demand that [the pieces] for two sopranos should be composed for five
voices and not for four, demai.,d the same [number of voices] for those
for two basses; an additional reason is that two basses, with the
thickness of their voices, overpower the other tv.o (in exercises for
four voices);
therefore I conclude that [exercises for divided
register for two bass voices] have to be for five voices and in no
way less.
LVI.
Exercise for divided register for two basses in the
fourth mode on E-la-mi, in the diatonic gender, the octave species
of which is Harmonic, and proceeds frorn said note with the solmiza-
217
tion mi-fa-sol-re-mi-fa-sol-la.
Whenever in these tientos the left
hand can be freed from playing the tenor part (the first bass), which
then is left to the right hand, it should be done so that the
diminution [in the bass] can be played with more freedom, agility
and better touch. This can be practiced in measures 50 to 55 of this
exercise.
And the same rule should be observed in pieces for divided
register for two sopranos in which the second-soprano part is rendered
with the thumb of the left hand leaving the first soprano part to
the right hand alone when executing diminutions. And it is understood
that the hand playing the longer notes [can to llano] should assume
the added part if it can be reached comfortcbly.
LVII. Tiento and exercise for divided register for two basses
in the eighth mode, from ut to sol on G-sol-re-ut in the diatonic
gender, or also in the eleventh mode (with irregular finalis) with
res pee t to its having high clefs [in the terms of vocal polyphony],
and the ambitus frorr1 D-la-sol-re grave [small d], and in the absence
of the [sound of the] flautado from D sograve [great D] Y.~hich is the
same [?] to G-tiol-re-ut agudissirr1o [g"]. The digression in the modes
is as gentle to the ear as the diversity of courses at a banquet;
tld~
tiento has this [digression] from measures 86 to 98, using
passages and cadences which combine first, fourth, ninth, and tenth
nwdes.
The octave:: sp~cies is Arithmetic, considered as eighth mode,
beginnin8 with D-sol-re, with the solmization re-mi-fa-sol-re-mifa-sol.
LVIII.
Tiento for divided re~ister for soprano in the second
mode, for four voices using primarily thirty-second uotes, followed
by three similar ones.
First there are two tientos for divided
register for soprano in the second mode, from re to sol on D-la-sol-re
of the diatonic gender; and then one tiento for divided register for
bass in the same mode and gender. And lastly the song "Susana", very
popular among organists. 17 All of these works mentioned I write with
the time [meter] (commonly) called perfect [sic], 18 to
make
clear
the slowness of the measure out of consideration for the great amount
of diminutior~.; how slow this ought to be depends on the greater or
lesser skill of the player's hands, so that he who has greater skill
will d~lay less, and he who [has] less will delay more.
The same
applies to the plain [ uneiUbellished] passage as in that embellished
by eight, twelve, sixteen, twenty-four, and thirty-two notes [to the
mtasure] .
I much recommend evenness and clean touch in these works.
[This p;:!rticular work is] a tiento for divided register for soprano
using
primarily
thirty-second
notes,
in
the
second mode on
0-la-sol-re, the octave species of which is Harmonic and begins on
the
stated note
[D-la-sol-re], ascending with the solmization
re-mi-fa-sol-re-mi-fa-sol.
17 The
song "Susana" is actually the chanson "Suzanne un jour" by

Orlaudus Lassus; this work was generally well-known in the sixteenth and seventeenth centuries and was frequently arranged for
keyboard instruments.
18 He obviously means uncut common time[] as the time signature
shows, in contradistinction to Alla Breve which he had previously
discussed.
218
LIX.
Here follows another ti~nto for divided register for
soprano in the second modt:, from re to sol on D-la-sol-re, in the
diatonic gender, and using primarily thirty-second notes.
One mode
can be dt:scribed in three [different] ways as being in such-and-such
gender:
first, by the intervals which each voice intones; second,
by the notes on which it plays, whether natural or altered; and third,
by the finali&; e.g. when a voice intones whole-tones and major
naturc.l strnitones, it proceeds diatonically; and when [it intones]
major semitones with accidentals, and minor semitones, and minor
thirds [with accidentals], it proceeds chromatically; and when [it
intones] half-steps and major thirds, it proceeds enharmonically;19
and when it passes through white keys, sounding B-natural, it proceeds
diatonically; and when it passes on black keys (except for that of
G-sol-re-ut [G-sharp]) it proceeds chromatically; and when it passes
through G-sharp, it proceeds enharmonically.
And when it ends on
ut
or fa, it ends diatonically [because the leading tones are
natural]; and when [it ends] on re or sol, chromatically [becaus~
of
C-sharp
and F-sharp]; and when [it ends] on mi or la,
enh&rraonically [becaube of G-sharp as either third of final chord
or as leading tone].
LX.
Tiento for divided register for bass, using primarily
thirty-second notes,
in the second mode on D-la-sol-re, in the
diatonic gender, upon nearly the same subject as the preceding
[ tientos] for soprano, which is for playing on regals rather than
on large organs, whose basses are unable to respond with the necessary
velocity, whose keys are very hard to play and must be pushed deeper.
When I give and exercise the title of this or that gender, it has
to be understood in the second sense of the three mentioned in the
preceding [title]; that is, as regards the [location of its] fa's
or mi' s occurring on altered or unaltered notes on their respective
keys.
The cause for interpreting it [ge'nero] in this sense rather
than the other two is that it is very general and encompasses much,
and there is no work in which the stated notes or keys are not played
everywhere, while the other two are not like this; and this sense
of genera is the most important.
The octave species is the same as
that of the preceding [tiento] in every respect.
LXI.
Here follows the very famous song "Susana" embellished
with thrity-second notes, from re to sol on D-la-sol-re in the
diatonic gender.
There was in that Holy Church in Seville a
sackbut-player named Gregory of Lozoya, a man remarkable in knowledge
and especially in skill of embellishing on this instrument.
One
critic stated of him that he had ruined many sackbut-players of his
time, because in imitating his embellishments they revealed faults
that
they
hid
[when]
playing
quietly,
that
is,
plainly
[unembellished]; I should not like that the same happens to my
organists in these very embellished and difficult works; and that
in trying to draw strength from their weaknesses to play them, they
will become even weaker, losing the touch, clarity, and other good
19 Apparently scalar intervals art counted dowr.ward; for more information see Correa's Preface, f. 13-14v.; cf. p. 63-68.
219
factors, if they had them to begin with.

And so I counsel (unless
they have the necessary disposition and knowledge) that they leave
thes~ difficult things to those who have these skills, and that they
lay hand on those pieces they can do.
LXII.
Tiento in the first mode; here follow four works in
triple
meter
using
three
whole-notes, six half-notes,
twelve
eighth-notes, and twenty-four sixteenth-notes to the measure. First
a tiento in the first mode, from rt: to sol on D-la-sol-re in the
diatonic gender. 20 Next a tiento for divided register for soprano in
the sixth mode ending on F-fa-ut.
Next an embellished song in the
generic
eighth mode, from ut to sol on C-sol-fa-ut. And finally,
sixteen emb~llished variatior.. s on the melody of "Las vacas".
None
(.::xcept the [embellished] song) uses C, D, and E sograves [great C,
D, and E], which are the three notes signified by two lines attached
to the bot toiL [of the number used in the tablature], because they
were composed with respect to so~e old organs which lacked these three
notes.
The tempo should be quite broad, plo.ntir.g all the foot on
the beginning of the measure, raisin one part of it
(that is the
toe or ht::el) on the micidle of the measure, and lastly raising the
whole foot for the end of the measure.
A tiento in the first mode
on D-la-sol-re, whose octave species is Arithmetic, and which ascends
from A-la-mi-re grave
[great A~, with solmization re-mi-fa-remi-fa-sol-la.
LXIII.
Tiento for divided register for soprano in the sixth
mode, from ut to fa ou F-fa-ut, of the soft semichromatic gender,
and with twenty-four notes to the measure, composed with regard to
some old organs which lack the three notes so grave [great C, D, E],
and so it will be noted that they do not appear. It uses contrary
motion, i.e. when one voice descends the other three ascend; it is
(as the preceding) in triple meter.
In the second exercise for
divided register for soprano, with thirty-second notes, I stated that
the cadences or endings on ut and fa are diatonic, those on re and
sol chromatic, and those on mi and la enharmonic; the reason is that
the first can occur naturally, which is to say, diatonically; the
second cannot occur (regularly) without playing the sharps of ut and
fa [ Cll and FIJ], in order to end on re and sol [D and G], which
[cadences] are chromatic.
And the third, because the [cadence] of
mi-re-mi can be
, 21 as I explain in the treatise on the punto
intenso
contra remisso
[dissonance against consonance], and is
properly of the enharmonic gender; and the [cadence] of la-sol-la
using a sharp cannot occur without playing the sharp of sol [G-sharp],
which is properly of the salLe gender. There is another reason also,
and it is that the first note ut pertains to the first gender, and
the second note re to the second; and the third note mi to the third;
and the fa-sol-la are reduced to ut-re-mi and so are attributed to
the same three genders.
20 Hixolydian authentic and plagal combined.

2l The original has "dio.esea", which is undecipherable.
220
LXIV.
An embellished song in triple meter (as in the two
preceding exercises),
in the eighth mode,
from ut to sol on
C-sol-fa-ut in the soft semichromatic gender, [based] upon the
tetrametric Catalectic verse "Dexaldos mi madre mis ojos llorar pues
fueron a amar"22: the cantus firmus begins in the soprano and proceeds
through the rest of the voices.
From what was said in the [title
of] the preceding exercises concerning the procedure of [determining]
the genders, it may be deduced that one cannot have one gender per
se ~dthout taking into account the other two, because one has to
proceed either by intervnls, or by accidentals, or by cadences, and
disregarding this would mean to produce a very tasteless music, and
the desire to have the ancients abstract the genders, proceeding in
each one simply, without m1x1ng them, was the cause of so much
tastelessness in the songs due to the rejection of the use of genders
in this [the truest] sense; and so today they are used concretely
which llieans that [the thret genders] interweave one ~ith another.
LXV.
Here follow
sixteen variations on the Cantus Firmus
"GuJrdc:.rr.e la:.; Vacas"; or better stated, over the "seculorurn" part
in the first mode of plainchant23 which fits together with the bass
of "Gu~rdan:e las Vacas" as bans ar.d discant. They [the variations]
are composed with respect to old organs whose first [lowest] note
is F-fa-ut grave [Gre.1t F], otherwise called "retropellex", and thus
neither C-fa-ut, IJ-sol-re, nor E-la-mi sograve [Great C, D, E] are
played; tht:! variations are played diatonically, from re to sol on
D-la-sol-re, and are of triple IUE:ter, as [are] the three preceding
works.
We conclude with the mdterial concerning the genders, declaring th~ compound descending sp~cies or interval the same as the simple
interval ascending btce:tuse (as Sa.linas states) they are of the s~me
proper nature, and so we state that the [intervals of the] second
and seventh, the fourth and the fifth (oade up of natural [unaltered]
notes) would be diatonic; and the minor third and major sixth [would
be] chromatic; and the major third and minor sixth enharmonic.
I
shall deal with the compound [intervals] in the appropriate place.
, . LXVI.
Here follows the chanson of Tomas CrJquilion [Thomas
Crequ1llon]
called "Gaybergier" for four voices, and embellished
with sixttenth-notes; the octave species of which seems to be Arithmetic, because it is a chanson in the seventh mode, from ut to sol
on G -sol-re-ut in the diatonic gender; beginning on D-sol-re, ascending re-mi-fa-sol-re-mi-fa-sol.
LXVII.
Prosa for the Holy Sacrament which .is sung following
the [reading of
the] Epistle on the Feast of Corpus Christi and on
its octave.
It is played with naturals, from re to la on A-la-mi-re,
in the diatonic gender.
[It is] for organs of thirteen or thirteenand-one-half palms [approximately eight feet], wh~ ch have the low
fa in the key of [???] A-la-mi-re.
It can also serve as the lowest
note for plainchant in organs of fourteen palms. The cantus firmus
22 Translation:
"O !-lot her,
gone to love."
23 From the "Gloria Patri 11
leave my eyes to
weep
since they have
221
is in the soprano, and where a curved line might be found are tied
notes, and the second [note] does not have th~ number repeated.
LXVIII.
Plainchant about the Immaculate Conception of the
Virgin Mary:
This treatise ends with the following plainchant about
the IJLillaculate Conception of the Virgin Xary, Our Lady; beneath whose
protection may app~ar this present work, to the honor and glory of
God our Lord, of the same Lady, our Intercessor, and of the rest of
the saints ic the heavenly court. Th~ cantus firmus is in the tenor.
It is to be played with B-flat and it is in triple meter.
LXIX.
Here follo\\ three variations on the plainchant about
the Immaculate Conception of the Virgin Mary Our Lady.
The first
variation [is] of six [notes] to the measure, the second of nine,
th~ third of twelve.
In triple l!Leter, the first [variation being]
in sesquialtera [
"'ith six half-notes per measure], the second in
sesquinona [
with nine half-notes per measure], and the third also
in sesquial tera, marked by numbers [in the text]; where there is a
triplet mark, which is a "3", one has to proceed with the little air
of minor proportion [with dactylic alteration]; and where there is
the binary [number "2"] with the air of major proportion, [meaning]
equal notes.
The piece is for divided register for soprano, and so
the flautado can be played for the contrabasses [lower three voices]
and in the soprano the organist may use the combinations which might
see~ best to him.
[Final Poem]
Praise be to the Holiest Sacrament and the
Illlrrlaculate Conception of the Virgin Mary Our Lady, conceived without
the stain of original sin.
APPENDIX B
Errata in Kastner Edition
Tiento III:
Measure 110.
On the second half, an alternate
reading could (and probably would) be alto 11
(not -natural) and tenor d-g (not d-g sharp).
}1easure 115. Rhythm of soprano and bass in last
half measure should be /J ), not.~ lJ
Measure 141.
read f 1/-g-e-f II.
Measure
sure.
143.
Alto:
last four eighth should
Alto e tied into the followin mea-
Measure 168.
Redoble not written-out from half
note b on in the original tablature.
Measure 191.
Tiento IV:
No ties into next measure.
Measure 36.
Tie missing in soprano voice from
measure 36-37.
Measure 38.
tenor f.
Redoble
should be on bass b, not
Measure 92.
Redoble marking is ambiguous, but
certainly should be on tenor f#, not c.
Measure 104. Bass part should be two whole-notes
g and f, not the breve g.
Measure 112. Second half of measure should have
a rest in bass.
Measure 113.
Tiento XII:
Measure 21.
Soprano e" should have tie.

Soprano c should have tie.
Measure 88.
Soprano is unclear, but should
probably be "a" tied from previous measure, as
Kastner suggests.
Measure 90.
Tenor, second half-note is c, not e.
222
223
Measure 91.
Final tenor note should be tied
to the following measure.
Measure 97.
Final
to following measure.
Measure 14 7.
measure.
Measure 149.
measure.
Tiento XIII:
Soprano f
Tenor
should be tied to next
note
is
tied
to next
Measure 16.
First soprano note is c-na tur al,
not c-sherp; c-sharp appears in the Vorschlag
of the redoble.
Measure
not A.
Measure
measure.
46.
67.
Measure 114.
not d.
Tiento XVI:
tenor note should be tied
Last
Tenor
note
of
should
bass should be G,
have
tie
to
next
Soprano note should be b-natural,
Neasure 79.
Bass note in Kastner correct, but
probably an error by Correa.
Measure
higher.
90.
Measure 158.
measure.
Tenor note "a" should be one octave
Alto should be tied to following
Tiento )\.\Til:
Measure 48.
Bass c in second-half of measure
is tied to next measure.
Tiento XXVIII:
Measure
153.
Second e" of soprano not
clear;
but should probably be tied to preceding note

(Kastner edition lacks the tie).

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I

THE FACULTAD ORGANICA OF FRANCISCO CORREA DE ARAUXO:

CERTAIN ASPECTS OF THEORY AND PERFORMANCE

Andr~ Duane Lash

Submitted in Partial Fulfillment

DOCTOR OF MUSICAL ARTS

Supervised by Dr. Ernest Livingstone

Lash was born on Xay 18,

He attended Kansas State College of Pittsburg

burg State University)

from 1965 to 1969, receiving the degree Bach-

elor of Music EJ.Hcation with concentrations in both piano and organ.

at Southwestern Baptist Theological

degree Master of Music in Church

emphasis in Organ Performance.

He spent the academic

Eastman School of Music of the University of

where he fulfilled residency requirements for the degree

Doctor of Husical Arts in Performance and Literature with Organ as

professor in Organ at the Eastman School was Russell Saunders; his

advisors included Dr. Alfred Bichsel and Dr. Jessie Owens;

and his dissertation advisor was Dr. Ernest Livingstone.

He is an Associate of the American

Guild of Organists (A.A.G.O.).

to his dissertation advisor, Dr.

Faculty of Musicology of the Eastman School of

not only aiding greatly in the translation

of the Spanish but translating in entirety the passages which were

including the poem given on Fol.IIIv of

advice in refinement of the writing has been of

I wish to acknowledge the

persons for their invaluable assistance:

Dr. Jessie Owens,

and who gave many useful suggestions reflected in its

Delbert Disselhorst of the University of Iowa,

whose loan of a microfilm of the Facultad Orginica enabled me to begin

the text and the checking of the Kastner

Lenora McCroskey of North Texas State University, who

graciously lent me her edition of the Kastner transcription for an

Book hcldings; Max Mayse and Dan

Abrahamson of the Reuter Organ Company fer making available detailed

technical information concerning the voicing of the VanDeren Memorial

area of early Spanish organ music was a

catalyst in the initiation of this project.

work in the typing of initial drafts and for her

thank my wife, Sheryl Beaty Lash, for

years have elapsed since the Facultad Organica

began to appear in a complete

edition transcribed into modern notation by Macario Santiago Kastner.

Correa's life and work; while a recent translation and

study of the preface to the Facultad Organica by Jon Burnett Holland,

spanning the period from approximately

to the daring and sometimes tumultuous experiments

reflected in his compositional

passage-work, the irrepressible energy

much of the music,

concern with specific types of registration, all typical features of

Yet Correa's musical roots lie

in the sixteenth century, an era most clearly typified in Spanish music

to these conservative musical roots shows in the linear

mysticism of certain tientos, as well as

and references to the

translation of Correa's preface into English is