Banchieri, L'organo Suonarino

70-26,938
MARCASE, Donald Earl, 1925-

ADRIANO B A HCHIERI, L 1ORGAN0 SUONARINO: TRANS
LATION, TRANSCRIPTION AND COMMENTARY.
Indiana University, Ph.D., 1970

Music
University Microfilms, A XEROXC om pany, Ann Arbor, M ichigan
© 1971
DONALD EARL MARCASE
ALL RIGHTS RESERVED
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93*?
MARCASE, Donald Earl,

ADRIANO BAHCHIFPI, L'OKJ&O SUOiASISO:
TRANSLATION, TRANSCRIPTION ANT COMMENTARY.
Indiana University, Ph.D., I0'??

Music
University Microfilm*. A m C om pany , Asm Arbor. M ichigan
0im
DCMALD EARL MARCASE
ALL R IO T S RESERVED
ADRIANO BANCHIERI, L 1ORGAN0 SUONARINO:
TRANSLATION, TRANSCRIPTION AND COMMENTARY
BY
DONALD EARL MARCASE
Submitted to the faculty of the Graduate School

in partial fulfillment of the requirements
for the Doctor of Philosophy degree
in the Department of Music
Indiana University
June, 1970
Accepted by the faculty of the Graduate School,
Indiana University, in partial fulfillment of the require
ments for the Doctor of Philosophy degree.
J] ? Chairman
S’
ii
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TO MY F A M IL Y
PREFACE
Adriano Banchieri1s L*Organo suonarino is one of
the most significant musical treatises published in the
early seventeenth century. Frequent references are made
to this work, largely in connection with the important
material it contains regarding the early development and
harmonization of the figured bass. However, there is
also much important material contained in this treatise on
a variety of musical subjects which has been almost totally
neglected. The treatise is, moreover, of a practical
nature and as such contains much organ music, of which
the larger portions rema. n unpublished and unknown. In
addition there have arisen some erroneous ideas about the
contents of the various editions, each of which differs from
the other.
This study has, therefore, a threefold purpose.
First the author is making available in an English trans
lation a body of information which he hopes will shed some
additional light on the musical thought and performance
practice of the early seventeenth century. Secondly,
there is the aim of clarifying some of the erroneous ideas
which have arisen concerning the contents of the various,
widely different editions of this treatise. Thirdly, this
study makes available, in a modern transcription, a complete
edition of the organ pieces contained in L »Organo suonarino
along with a number of short two-part works for voices and
iv
organ. The organ pieces have a special historical interest
in that they are embryonic examples of the fugues, ricercatas,
capriccios, toccatas, fantasias and sonatas of the middle
and late Baroque.
The present study deals with what may be ^considered
the basic editions, of L' Organo suonarino, that is, Opus 13,
Opus 2£, and Opus l|.3, published in 1605, 1611 and 1622.
Opus 13 and Opus I4.3 are presented in a complete transla
tion, together with a transcription of all the musical
works in two or more parts. In order to avoid undue repe
tition, only those parts of Opus 25 which are not contained
in Opus 1}.3 have been translated and are included. Prom this
edition, all the music in two or more parts has been tran
scribed and is included in the order in which it appears in
the original, as is the case with the other two editions.
The different editions have numerous items of Gregorian
Chant provided with partly figured organ basses. Only one
example of this early figured bass, the Kyrie of the Mass
of the Apostles from Opus 25, has been harmonized and is
included. This particular Kyrie was chosen because of the
use of the term "fugha" which appears frequently in this
edition and Opus 14.3- The realization has been made accord
ing to the rules set forth by Banchieri in his Musical
Conversation about the harmonization of basso continuo.
In translating from one language to another, diffi
culties inevitably arise with regard to the exact meaning
of certain words. The problem is compounded in this instance
by Banchieri’s use of spellings which are now antiquated and
by his rather involved literary style. Where problems re
garding the exact meaning of certain words arise, the original
word is given in parentheses. Banchieri’s mode of expression
has necessitated frequent textual additions in order to give
completeness and clarity in keeping with'the style of modern
English. These interpolations are so indicated by the use
of brackets. For the musical transcriptions, modern clefs
and notation have been used throughout. Unless otherwise
indicated, the footnotes in the commentary will refer to
the author’s translations rather than to the original edi
tions when reference is made to L ’Organo suonarino.
I acknowledge with much gratitude the assistance of
all who have contributed in any manner to this study. I
especially wish to express my appreciation to Dr. Willi
Apel for his valuable guidance and for the many suggestions
he has made regarding the content, organization and format.
Christopher Kleinhenz, a graduate assistant in the Depart
ment of Modern Languages at Indiana University, contributed
a large part in checking the translations and by untangling
some intricate passages. There is also the important
contribution of my fellow faculty member in the English
Department at Campbellsville College, Dr. Shirley Meece, who
read the entire manuscript and made a number of pertinent
suggestions regarding the style and grammatical construction.
vi
R ep ro d u ced with p erm ission o f the copyright ow ner. Further reproduction prohibited w ithout p erm ission .
Finally, I wish to acknowledge the contribution
of my wife for both typing the manuscript and giving the
constant support and encouragement that has enabled me to
comple te th is s tudy.
VI1
TABLE OP CONTENTS
PART I. COMMENTARY
Chapter Page
I. BIOGRAPHICAL SKETCH .............................. 1
II. L'ORGANO SUONARINO, OPUS 13, OPUS 25, ANDOPUS i|3 8

Editions, Purpose, and Contents ................. 8
The M a s s e s ........................................ 10
The Vesper P s a l m s .................................. 13
The H y m n s .......................................... 17
The M a g n i f i c a t .................................... 22
The Hymn of SS. Ambrose andA u g u s t i n e .............. 26
The S e q u e n c e s ...................................... 28
The Antiphons and Canticlesof the Madonna . . . 28
The Canticle of Z a c h a r i a ......................... 30
The Hymns of the Madonna ................. 31
The Use of the Organ at M a s s ..................... 32
The Mass of the D e a d ..............................36
The Use of the Organ at V e s p e r s ................... 36
The Feasts of the Y e a r ........................... 38
III. MISCELLANEOUS T O P I C S .......................... i|i|.
Figured B a s s .................. Ml-

History of the O r g a n ......................... 5>1
The Arpitarrone ....................... . . . . . 56
On the Tuning of I n s t r u m e n t s ................. 58
a. Stringed I n s t r u m e n t s ....................... 58
b. H a r p s i c h o r d ................................. 6l
The Studying of All Musical K e y s ............. 63

Keyboard Fxngering 3 . . . . . . . . . . . . . . . 63
IV. THE M U S I C .......................................67
Organ Basses ..............................67

Voice and Organ Music ..................... 69
The Organ Pieces, General Remarks and Style . . . 72
a. S o n a t a s ......................................75
b. C a p r i c c i o s ................ 79
c. Ripienos . . . . . 80
viii
Chapter Page
d. Ricercatas . . 81
e. Canzonas . .. 82
f. Dialogos . .. 83
g. Toccatas . .. 83
h. Fantasias . . . 85
i. Bizarias . .. 86
j. The Battle . . 86
k. Organ Mass, si 2 87
Organ Registration and Tempo Indications . . . . 89
Notes . . .......................................... 93
PART II. OPUS 13, TRANSLATION AND TRANSCRIPTION
Title P a g e ....................................... 109

D e d i c a t i o n ....................................... 110
Book I: Discourse by the A u t h o r ................ Ill
Note about the M a s s e s .......................... 112

Guide for the Organ Bass . ................ „ HI 4.
Note about tho Cred o .......................... llq.
Note for the DeoG r a t i a s ...................... 115
Note for the AdventM a s s ...................... 116
Devout Affection to Play and Sing, for the
Elevation of the Most Holy Sacrament . . * « 117
Note for the S e q u e n c e s ........................ 118
Note Regarding the Organ Sonatas ............ 118
First Sonata .................. . 120
Second Sonata ........................ 122
Third Sonata ........................ 121+
Fourth S o n a t a ...................................126
Fifth S o n a t a ...................................128
Sixth S o n a t a ...................................130
Seventh Sonata (Original Notation) .......... 132
Seventh Sonata (Modern N o t a t i o n ) .............. 13J+
Eighth Sonata ................................. 138
Table for Beginning Organists of When and
What to Play at M a s s ........................ 137
Reminder About the Mass of Holy Thursday, and
Holy S a t u r d a y ................................ 138
Book II: Discourse by the A u t h o r ................ 139
Brief Narrative on the Origin of the Eight Tbnes,llj.O

Note about the Four Cadences for Each of the
Eight Tone 3 ...................................lip.
ix
Page
Note about tie Intonations and Finales for

Each of the Eight Tones ........ .. li\2
Useful and Scholarly Meditation by the Author . llj.3
Note about the Vesper P s a l m s ............ ljjjj.
Narrative about the Eight falsi bordoni . . . . lq.7
First S o n a t a ...................................llj.8
Second Sonata ................................. 1$0
Third S o n a t a ............ 152
Fourth S o n a t a ...................................1514-
Fifth S o n a t a ................................... 156
Book III: Discourse by the A u t h o r .............. 158
Book IV: Discourse by the A u t h o r ............... I6I4.
Magnificat, First T o n e ................. 166

Magnificat, Second Tone ....................... 168
Magnificat, Third Tone ....................... 170
Magnificat, Fourth T o n e ........................ 172
Magnificat, Fifth T o n e ....................... 17k
Magnificat, Sixth T o n e ....................... 17o
Magnificat, Seventh T o n e ...................... 178
Magnificat, Eighth T o n e ........................ 180
Note about the C a p r i c c i o s .............. 182
First C a p r i c c i o .................................183
Second C a p r i c c i o .............................. I 8I4.
Third Capriccio .......................... 185
Fourth Capriccio ............................. 186
First Ripieno for the Deo G r a t i a s .............. 187
Second Ripieno for the Deo G r a t i a s ............ 188
Book V: Discourse by the A u t h o r ................ 189
Note about the Marian A n t i p h o n s ................ 191

Calendar of Double F e a s t s ...................... 193
General Rules ................................. 193
Movable Feasts . . . . . . . . . ............ 199
Sundays of the Y e a r ............................ 200
Table* of Contents of Opus 1 3 .................. 202
Notes ....................................... 207
Page
PART III. OPUS k3> TRANSLATION AND TRANSCRIPTION
Title P a g e ........................................ 209

D e d i c a t i o n ........................................ 210
Poem from Count Campeggi to the A u t h o r ........... 211
Book I: T o c c a t a .................................. 212
Note about the Hasses . . . ................... 217

Guide for the Organ B a s s ....................... 217
Note about the Simple M a s s ..................... 219
Note about the Mass of A n g e l s ...................219
Annotations to the Above-mentioned Masses . . . 219
Concerning the Sequences .................... 221
Concerning the C r e d o ........................... 222
Table for Beginning Organists of When and
What to Play at M a s s ......................... 223
Book II: T o c c a t a ............ 22lf
Annotation about the Vesper P s a l m s ............. 226

Eight falsi bordoni on the T o n e s ............... 230
Book III: T o c c a t a ................................23^4-
Notes about the H y m n s ........................... 236

Note about the Hymns for the Feasts of
SS. Peter and P a u l .............. 239
Note for the Preceding H y m n s ................... 2ij.3
Book IV: T o c c a t a ............................... 2Ijlj.
Diary of Double Feasts ..................... 2J4.6

Common F e a s t s .................................... 252
Movable Feasts . « ........................... 252
Sundays of the Y e a r ..............................253
Magnificat, First Tone ....................... 256
Magnificat, Second T o n e ......................... 258
Magnificat, Third T o n e ......................... 260
Magnificat, Fourth T o n e ......................... 262
Magnificat, Fifth Tone ...................................................... Sfy
Magnificat, Sixth Tone • • • • • • $ 9 • • • • ^ O O
Magnificat, Seventh T o n e ....................... 268

Magnificat, Eighth Tone . * » ................... 270
xi
Page
Book V: T o c c a t a .................................. 273
Note about the Hymn of SS. Ambrose and

Augustine « . . . 2711-
Annotation about V e s p e r s ....................... 275
First Benedictus, Eighth T o n e ................... 277
Second Benedictus, Eighth Tone ........... 279
Third Benedictus, First T o n e ................... 28l
Fourth Benedictus, Sixth T o n e ................... 28I4.
Tuning the Viola da Gamba ..................... 288
Tuning the Violette da braccio ............... 289
Appendix: Title P a g e .......... 290
Mass for Sunday, a 2 ............................291

Sonata Grave for the E l e v a t i o n ............ 299
First Bizaria, First T o n e ...................301
Second Bizaria, First Tone .................... 302
Fantasia on the Seventh and Eighth Tones ... 303
Fantasia on the Eleventh and TwelfthTones . . 306
Table of Contents of Opusij.3 309
Note by the A u t h o r .............................. 315
Book VI: Title P a g e . 316
First S o n a t a .................................... 317

Second Sonata .................................. 320
Third S o n a t a .................................... 322
Fourth S o n a t a .................................... 32l|.
First M o t e t ...................................... 326
Second M o t e t . 329
Third M o t e t .......... ..................... 332
Table of Contents of BookVI ............ 335
N o t e s ...............................................336
PART IV. OPUS 25, PARTIAL TRANSLATION, AND TRANSCRIPTION
Book III: Discourse, and Devout Curiosity of the

A u t h o r .................................. 31+0
Book IV: Introductory N o t e ....................... 31l5
Magnificat, First Tone ....................... 3M>

Magnificat, Second Tone ....................... 3^8
xii
Page
Magnificat, Third T o n e ......................... 350

Magnificat, Fourth Tone ....................... 352
Magnificat, Fifth T o n e ......................... 354
M&gnificat, Sixth Tone ....................... 356
Magnificat, Seventh Tone ..................... 358
Magnificat, Eighth T o n e ......................... 360
Book V: Discourse by the Author about the

A m i t a r r o n e ............................. 363
Description of the A r p i t a r r o n e ................. 366

Musical Conversation about the Bas3o Continuo . 368
Remarks and Rules to Read All the Musical Keys 392
First C o n c e r t o ....................... . . . . 39^4-
Second Concerto ............................... 397
Third Concerto . . . . .............. - . . . . 400
Ricercata on the First T o n e ..................... 403
Ricercata on the Second T o n e ................... Ij.08
Ricercata on the Third and Fourth Tones . . . . lj.13
First Italian C a n z o n a ........................... ii-XS
Second Italian Canzona . ..................... 420
Fantasia on the Twelfth Tone, or Sixth
Plagal Tone .......... * . . 422
First Canzona alia F r a n c e s a ..................... 4 25
Second Canzona alia F r a n c e s a ................... ij.27
First D i a l o g o ....................................429
Second D i a l o g o .................... 431
First S o n a t a ....................................433
Second S o n a t a .................... 435
First Toccata for the Elevation . I ............. 437
Second Toccata for the E l e v a t i o n ............... 439
The B a t t l e .................. 441
Ingres so di R i p i e n o ............................. 446
First Ripieno for the Deo G r a t i a s ............... 447
Second Ripieno for the Deo G r a t i a s .......... 44 7
Rules and Practice for Keyboard Fingerings . . 448
Rules for Tuning the Harpsichord ............. 453
Table for New Organists of When and What to
Play at V e s p e r s ............................... 458
N o t e s .............................................. 460
xiii
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Pag©
PART V. REALIZATION OP THE KYRIE PROM THE

MASS OP THE APOSTLES, OPUS 25
Kyrie, Mass of the A p o s t l e s ....................... ij.63
B I B L I O G R A P H Y ................................... ij.66
xiv
PART I
COMMENTARY
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1
CHAPTER I
Biographical Sketch
Adriano Banchieri, also known as Adriano of Bologna,
is one of the most significant figures of the late Italian
Renaissance and aarly Baroque era. During his lifetime
he achieved considerable renown as composer, organist,
theorist, poet, pedagogue, and cultured gentleman. Be
sides music, his studies included literature, philosophy
and theology.
Banchieri was born September 3, l£68, of Lucchese
parents, in the city of Bologna. Presumably Banchieri*s
first musical studies were undertaken in his native city.
They were not, however, under the organist Luci Barbieri,

2
as stated in older accounts of Banchieri’s life. In lf?87
Banchieri entered the Congregazione Olivetano of the order
of Benedictine monks. Two years later he was admitted to
the novitiate and in 1^90 became a professed monk. The
same year Banchieri was assigned to the Monastery of San
Michele In Bo.jo near Bologna. He remained there until
lf>92, when he became a member of the community of the

3
Monastery of SS. Bartolemeo and Ponziano in Lucca.
For a brief period of time during his stay in Lucca,
Banchieri was a pupil of Gioseffo Guami, who was at that
time, organist at the Cathedral of Lucca. A year later
Banchieri was transferror*. to the convent of San Benedetto
2
in Siena from where he returned to San Michele (l59li--l£>G0),
Successive stays were at Santa Maria in Regola at Imola
(1600-I60l|.), San Pietro at Gubbio, where he became acquainted
with Diruta (l60lj.-l60f>), Santa Elena at Venice (1605, where
Banchieri dedicated his L ^rgano suonarino to Father Don
Carlo M a l ’Habbia, Santa Maria in Organo at Verona (1606)
and the General House of the Congregazione Olivetano,
Monte Oliveto Maggiore. Schmidl^- relates that in August,
1607» Banchieri received from the Head of the Congregation
an invitation to inaugurate the new organ built in the
last named church. It appears that ha not only inaugurated
the organ but also supervised the work in the constimetion
of this organ. In 1608 Banchieri returned to his native
Bologna where he resided at San Michele in Bosco, until
his death of apoplexy in I63I+..
It was at San Michele in Bosco that Banchieri
founded the Accadeiaia del Floridi in the year 1615.^
(In 1626 the organization transferred to Bologna and the
house of the composer Don Girolamo Giacobbi^ where it
assumed the title Accademia del Filomusi.) Still later

7
it became known as the Accademia Fiiarmonica. Banchieri
was the first ”Prince" of the Accademia dei Filomusi,
where he used the pseudorvm ”11 Dissonante." For his
coat of arms Banchieri used a Panpipes of seven pipes
with the motto Dlscordia concors. BanchiBri's vast fame
and artistic activity were recognized in 1620 when the
3
Cathedral Chapter of his Order conferred upon him the
honorary title of Abbot; in 1622® he called himself "Abbot
of Good Merit."
In studying the life of this musician, one is imme
diately impressed by his versatility. He can be counted
among the leaders in the transition from Renaissance to
Baroque. Banchieri’s works include vocal and instrumental
music in both the sacred and profane genres, and in the
stile pollfonico as well as 3tile concertante. He was a
lively personality whose various writings on theory and
musical practice were important and original.
Banchieri was a Bolognese and a Bolognese pur
sang.^ In his youth he was a poet, writing also comedies
and short stories under the pseudonymns "Camillo Scaligeri
della Fratta," and "Attabalippo del Peru." His writings
were, it is r e p o r t e d , s o m e w h a t licentious. As an author
Banchieri supplied the verses for his madrigal comedies
which are in the style of Vecchi. The madrigal comedies
followed the example of the contemporaneous Goamedia
dell' arte. An example of Banchieri’s literary output-
and love for his native eity is a booklet on the advan
tages of Bolognese dialect compared with Tuscan dialect."*’’*'
This booklet takes the form of a dialogue between a
tradesman from Bologna and a nobleman from Siena. In
many of his literary and theoretical works, Banchieri
makes use of Bolognese dialect. Later, in one of his
Lettere armoniche (1628), Banchieri deplored having wasted
his time in such frivolity.
In his musical outlook, Banchieri was a true pro
gressive. He did not hesitate to adopt new practices and
styles, and is credited with being the first, or among the
first, to introduce many innovations which have later be
come standard procedures. His praise for Monteverdi was
enthusiastic and he counted the great Cremonian among
his friends. In. his Lettere armoniche, Banchieri testifies
that in the year 1620 he escorted Monteverdi on a visit to

12
the rooms of the Accademia del Floridi.
As a theoretician Banchieri occupies the position
of a precursor. In the Concert! ecclesiastic! of 1595
for double chorus, Banchieri used for the first time the
concertato style with a separate basso continuo part for
the first chorus. This basso continuo part, which is
called ”3partitura," is printed under the staff of the
treble part (and contains barlines). The treble added
above the bass proved an enormous help to the organist
in determining the harmony. The terms "a lj." "a. 8"
appear here and there to indicate trhsthcr only the first
chorus is singing, or both. A note addressed A gli sig.
organist! tells the player that where (la 8" appears, the
superius and bass of the second chorus are to be added to

13
the printed basso continuo part.
5
The Dialogo musicale in the 1611 edition of L *Organo
suonarino is generally recognized as the first detailed in
structions for playing from the bass. A discussion of the
basso seguente, an early type of the basso continuo technique,
is also provided in the Ecclesiastici Sinfonie. ^
Banchieri concerned himself, as others of his era, with
the practice of solmization. In his treatise on the Canto
figurato, Cartella musicale, he proposed adding a seventh
syllable to the six of Guido. This seventh syllable Banchieri
divided into two kinds. The lower one he called Ba, the higher
one Bi, corresponding to the B-flat and B-natural of today.
Through the use of this seventh syllable the necessity of
mutation would be removed. This idea was not original with
Banchieri, for as early as lij.82 Bartolemeus Ramos de Pareja
in his Musica pratica had proposed using eight syllables for
the eight steps of the octave rather than the six syllables
of the Guidonian hexachord.1^
In his directions for the harmonic accompaniment of
the Gregorian hymns, Banchieri anticipated a liturgical
practice which continues to the present in many ways. He is
one of the firsts if not the first, to use dynamic indications
such as £ and £ (preface to Pazzia senile, 1601). Some of
the modern conductor's practice finds its historic foundation
in the exposition of the Cartella musicale, l 6 l k . ^
Singers of the period are no less indebted to Banchieri
than organists. In his Brevi document! musicali (Venice, 1609),
6
he systematized according to the practice of Caccini and
Cavalieri, the gorgia practice, or ornamental singing.
According to Banchieri, three prerequisites are necessary
for ornamentation in singing: agility of the voice, contra-

17
puntal knowledge, acute hearing.
As a practical composer, Banchieri belongs to the
experimenters of his period. Soon after Maschera and
Bassano, he published early sonatas, that is, original
instrumental compositions rather than arrangements of
vocal settings.1®
In Banchieri*s important treatise L*Organo suonarino,
there are pieces called "Sonatas," noteworthy as being
among the first keyboard pieces to receive such a title.
Of course, Banchieri does not use the term "sonata" in the
later sense of the word, but simply to mean a "sounding
piece." The 1605 edition of this treatise contains thir
teen such pieces; the 1611 edition, two (both of which appear
in the 1605 edition); and the 1622 edition, five. The latter
may be cited as early examples of the concerted sonata in
that "a high and a low instrument can be added, if pleasing,"
to play with the organ. The 1611 and 1622 editions of
L 1Organo suonarino are also historically important in that
precise organ registration is provided for various pieces,
i.e., con tremolo, Principale and Ottavo, Leva3i 1 *0ttava
(take off the octave). These precise registration direc
tions are believed to be the earliest on record.
A large part of Banchieri1s compositional activity
was devoted to the writing of madrigal comedies. Today
it is mainly through occasional performances of these madri
gal comedies in their entirety, or by excerpts such as the
Contrappunto bes tiale, that the name of Banchieri remains
known.
Yet as an early exponent of the basso continuo tech
nique in sacred and secular music, as a composer of early
independent instrumental pieces, as a progressive theoreti
cian with the view toward new ideas in tonal practice,
Adriano Banchieri is one of the foremost figures in Italian
music at the beginning of the seventeenth century: "a

19 20
remarkable theoretician," a "universal man" in the
mode of the Renaissance era, "one of the patron 3aints

21
of music in Bologna."
8
CHAPTER II
L 1Organo suonarino, 1605, 1611, 1622
L 1Organo suonarino is considered one of the most
important treatises of the seventeenth century. It was
printed and revised several times, as were many of Banchieri's
works. The subsequent editions are extensive revisions of
the first printing and each of the editions is, therefore,
different in total content.
L* Organo suonarino first appeared in 1605 as Opus 1 3 ,
published in Venice by Ricciardo Amadino. With revisions
the treatise was reprinted in 1611 and in 1620 as Opus 2 5 .
It appeared in 1622 as Opus 1+3 with still further revisions
and with this same opus number was reprinted in 1627 and I6 3 8 .
The reprints were published by Ricciardo Amadino (Opus 25)
and Allessandro Vincenti (Opus i+3). F^tis-1- lists also
L 1Organo suonarino piccolo, an abridgement of the 1605 edition
published in Venice, 1608, by Ricciardo Amadino.
L 1Organo suonarino is not concerned with.
. , . rules for polished and scholarly playing (they are

already contained in the Transilvano of the most suffi
cient Diruta) nor to give rules of counterpoint (which
have been written clearly by Zarlino, Tigrino, Artusi,
Pontio, and other most excellent musicians of our time)
but . . . rather to demonstrate with real experience
how much organists usually ne 3 d 1X1 OX*Ct3 r to alternate
choir to the Canti fermi in all the feasts and cere
monies of the year.
9
It is, therefore, a practical treatise which has been called
"ein Not und Hilfe-Bucblein fiir Organisten"^ and "ein
Repertoire ritueller G-esfinge."^-
Each of the three editions under consideration is
divided into Five Books (registri). In each of the Five
Books "one practices whatever is usually necessary for
performers of the organ, in order to alternate the Canti
fermi with the choir for all the feasts and ceremonies of
the year."^ In the edition of 1605, material to be prac
ticed is "transposed and translated from the Canto fermo
most faithfully," while the 1611 edition is "tuned to the
pitch of the choir, with the Caremoniale. Missals, Breviaries,
and Roman Canti fermi . . . a useful work . . . necessary to
studious organists . . . ." According to the title page of
the 1622 edition, Banchieri considers L 1Organo suonarino
to be "a very useful book for the organist . . . ." Organists
who practice the contents of L 1Organo suonarino will be equipped
to play "not only in the churches of the Reverend Priests, but
in those of Canons, Monks, Friars, Nuns, Sisters, and Brother
hoods. The organist will be able to alternate "according
to the custom of the Holy Mother Church.
The contents of the first four Books in each of the
editions are basically the same. Minor deviations do occur,
but the major portion of each book is devoted to the same
aspect of the liturgy of the Roman Catholic Church. Each
book is introduced by a Discorso and/or a Toccata. Banchieri
uses the term ’’Toccata” in a facetious sense here, meaning
Prelude or Introduction. In each of these introductions
Banchieri discusses various topics such as the ’’Invention of
the Organ,” the ’’Eight Tones,” ”Commemorations of the Peast
of St. Cecilia,” and the ’’Holy Days and Feasts” of the
Church, to name only a few. In addition to the aforementioned
introductions, each of the editions is liberally supplied with
"Narratives” and "Notes" on the item of the liturgy to be prac
ticed and many brief bits of "advice" on the performance
practices for various items of the liturgy.
The Hasses
In each of the editions (1605, 1611, 1622) the first
book is devoted to alternating and harmonizing the Masses from
an organ bass based on the canto fermo. In the 1605 edition
L *Organo suonarino, Banchieri informs the organist that
three Masses are found in the Roman Missal which "are approved"
to be alternated between the choir and organ. These three
Masses serve for "all the feasts and ceremonies of the year."®
The Masses are: (1) Mass of the Madonna, (2) Mass of Sunday,
(3) Mass of the Apostles, or as they are known today, (1) Cum
Jubilo, (2) Orbis factor, (3) C u n c t i p o t e n s An Advent Mass
is included in the 1605 edition of L *Organo suonarino in
addition to the above-mentioned Masses. It i3 customary to
11
sing this Mass In some churches, and in particular In monas
tic churches "on the Sundays of Advent and Lent, and for
the Feast of Holy Innocents." The Mass, as Banchieri's note
informs the organist, does not include the Gloria or Credo.10
A brief motet, Adoramus te, which is to be played and sung
at the Elevation, is contained in this Advent Mass. For
this motet both the Canto and Bass parts are given.
The 1611 edition also contains the Mass of the
Madonna, Mass of Sunday, and Mass of the Apostles. A
fourth Mass is added to the above three: the Simple
Mass, which is sung "on the occasions of processions" or
when "brevity is expedient."^ This Mass is known today

^ . 12
as Dominus Deus.
Then follow four Masses which are sung in monastic
churches. They are: (1) Mass for Corpus Christi,1^
(2) Mass of the Angels,1^ (3) Mass for the Octave and
Sunday within the O c t a v e , ^ and (if.) the Major Double
Mass .16 The latter Mass is "for both Easter and other
17
solemn occasions.
The "Toccata" to the First Book of the 1611 edition
lists a Minor Double Mass which is used for feasts of
Martyr Confessors and Dedication of Churches. An organ
bass for this Mass is not included. The Simple Mass, on
the other hand, is not included in the list of Masses; but,
as previously indicated, an Organ Bass for this Mass Is
12
Included. Banchieri states also in this Toccata that the
Mass Tor Corpus Christi is sung for "particular feasts of
the Lord,"1® but he does not state on which feasts it might
be sung. The Mass of the Angels is sung on Christmas Night,

IQ
for the Feast of San Michele, and on other occasions, 7
which, however, are not specified.
A prefatory note to the Masses in the 1622 edition
of L 1Qrg.ano suonarino informs the reader that four Masses
are approved in the Roman Missal to alternate by the canto
ferano. They are: (1) Mass of the Madonna, (2) Mass for
Sunday, (3) Mass of the Apostles, and (Ij.) Simple Mass. To
these four Masses is added a fifth Mass, the Mass of the

20
Angels. A note about the last-named Mass says that it
succeeds because of both its gaiety and its devotion. Ban
chieri informs us that the canto fermo for this Mass is
found in only a few printed Graduals and choir books. How
ever, since it is sung in many churches and oratories, it
is included . ^
In each of the three editions of L 1Organo suonarino
under consideration, the Credo of the Mass is included "for

22
necessary occasions" and "when the custom still prevails."
There are two Credos provided in each edition, one called

23
Dominicale, the other called Cardinalis. ^ The Credo can be
ted between choir and organ or not alternated accord
ing to the custom of the particular church. The reason for
13
not alternating the Credo is that the words of the entire
Credo must be heard by the faithful. However, it can be sung
in alternation between the choir and organ if the words are

p) ^
recited with an intelligible voice.
The Credo Cardinalis is used "for the principal
solemnities." In the 1611 and 1622 editions of L 1Organo
suonarino, Banchieri names St. Bonaventura as the composer
of the Credo Cardinalis.
Throughout the entire treatise, one finds frequent
notes pertaining to when and how the various Items of the
liturgy are performed, i.e., "Advice for the Mass of the

Pfi
Dead," "Annotation for the Masses of Holy Thursday and
07 28
Holy Saturday," '."Studious Annotation by the Author,"
and "Annotation on This P a g e . "^9
The Vesper Psalms
Book Two of L» Organo suonarino is devoted to the
practice of the Eight Vesper Psalms. In each of the edi
tions, there is the usual Discourse, or Toccata, for the
purpose of introducing the subject at hand. In this par
ticular introduction, Banchieri concerns himself with a
discussion of the modes. There is some discussion about
the twelve modes of Zarlino and the eight modes of Guido,
Banchieri holds that both doctrines are good and both have
their place, The twelve modes or tones of Zarlino may be
Ill-
used. for couqpositions different from the ecclesiastical
canti fermi: Fantasias, Franceses, Rlcercares, and also
Madrigals. On the other hand, "the eight tones are used
to praise the Blessed God and His celestial court by the

30
choir and organ . . . ." Banchieri cites as witness
of this the Antiphonaries, Graduais and "other books of
canto fermo. H e then comments upon figurato settings
of Psalms and canticles which alternate choir and organ.
Although it is not specifically mentioned, we may assume
the twelve modes can be used for the composition of Psalms
and canticles for Banchieri cites some of the celebrated
composers "old and modern," including himself, whose figurato
settings of the Psalms for five voices on the twelve tones
"may be superior to the eight tones,"^2 However, since the
eight tones are ordered in the ecclesiastical books, Banchieri
then discards the twelve tones and uses "the eight tones
which belong to the ecclesiastical canto fermo.
The decision to use the eight tones being ordered,
Banchieri, in the 1605 and 1611 editions, launches into a
narrative on the origin of the eight tones. Here we are
told that "four tones were discovered by the Greeks, the
first inventors of M u s i c . T h e s e tones are the Dorian,
Phrygian, Lydian, and Mixolydian. They are called Authentic,
and the reader is told that Franchino Gaffurio in his Practical
relates this and that this is confirmed by other music writers.
According to Banchieri’s account, four additional tones were
added because of difficulty in performing the Authentic
tones. These additional tones are attributed to Guido
Aretino, and are called the Plagals, from the Greek word
Plagon which means "contrary,” or "collaterals" to the
Authentic tones. The four additions j. uOnss are the Hypo-
dorian, Hypophrygian, Hypolydian, and Hypomixolydian.
There are four chords for each of the eight notes

37
which the organist "is obliged to use."
First: Beginning chord which takes the pitch of the
Chant.
Second: Middle chord which you use in order to
make a cadence (in the middle of the verse).
Third: Indifferent chords where you can use a cadence
as one is needed.
Fourth: Final chord from which the choir takes its
pitch in the cadence.
The performer is advised, in the 160£ edition, that
although the cadences are placed in the soprano, they can
be used in other parts provided the chords remain the same;-^
in the 1611 edition the cadences are placed in the tenor.^9
Basses are given for practice of these cadences in both
editions.^ Exercises follow in the 1605 and 1611 editions
for transposition of the fermo to figurato. This in turn
is followed by exercises for practice in transposing the
finales to the chord of D. 1&, solt re. In these exercises
for transposition, the intonations of the choir are given
16
with the bass for the organ verset and finale on D. In
the 1605 edition Banchieri relates that he heard such a
transposition as provided in L 1Organo played in Venice "with
the greatest taste by the most excellent musicians and
organists, Giovanni Gabrieli and Paolo Giusto at St. Mark’s
Cathedral."^" The organ basses then follow for the organist
to practice the eight Psalm Tones, each with an annotation
concerning the time or times of its proper use.
With his customary thoroughness, "leaving nothing
to chance," Banchieri also includes eight falsi bordoni
The falsi bordoni can be used to alternate with the
canto fermo of additional Psalm3 other than the eight Psalms
which Banchieri includes in Book II. In the 1605 and 1611
editions, only an organ bass is provided. The 1622 edition,
however, has the soprano and bass voices with a notation
that the falsi bordoni can be sung "with one or two voices,
1a
and also the soprano in the tenor,"
A warning is issued not to be "surprised if the eight
Psalms are not arranged according to the Vesper custom . . .
the Vesper custom originated in order to arrange the eight
tones . . . Appended to the 1605 edition are "five
sonatas in score, for the occasion of the five Psalms, that
ordinarily are sung at Vespers . . . Ll^
The Hymns
The Vesper Hymns for all the feasts and ceremonies of
the year comprise Book Three of L 1Organo suonarino. Banchieri
begins his introductory remarks in the editions of l6 o£ and
1622 , both essentially the same, with a biblical reference
to Ecclesiastes ^ the exalted maxim, "Nothing is said
that may not have been said b e f o r e . " ^ ue referring here
to those who have written on the subject of alternating the
organ to the canti fermi. Among such writers are Aron,
Recanetto, Asola, Diruta and possibly others who are not
known to Banchieri. The writings of these men, while schol
arly, teach the alternation of the canti fermi by the same
canti fermi. This has meaning, therefore, only for those who
have knowledge of the canti fermi. This is, says Banchieri,
like a Latin book which, in the Latin language, is understood
only by those who have knowledge of the language. When the
book is translated into the vernacular, however, it is under
stood, not only by those x-jith a knowledge of Latin, but also
by those who understand the vernacular. Banchieri concludes
that "all organists have some knowledge of the canto figurato,
some more, some less; few, particularly laymen, have knowledge
of the f e r m o . T o overcome lack of familiarity with the
canti fermi, Banchieri has used a new approach. His L 1Organo
is "interpreted and rendered with a most sure guide of the

kg
figured canto fermo." This use of figurato makes L 1Organo
18
different from the writings of the previously mentioned au
thors. These authors deserve great praise for having written
in a scholarly manner. Banchieri, however, in his opinion,
does not deserve reproach for having taken a less scholarly
approach in the writing of his work to make it more useful
to a larger number of organists.
In the l 6ll edition Banchieri writes an introduction
for the Third Book which he entitles "Discourse and Devout
Curiosity of the Author." This introduction is about St.
Cecilia, and contains an account- of some musical commemorations
which were held on the birthday of the patron saint of musi
cians. Banchieri statos that in Metafra 3te, Voraggine, and
other authors, we do not read that she played the organ^®
as she is portrayed in many pictures. Raphael first made such
a connection when he portrayed the Saint holding an organ
in her hands in a picture which he painted in lf?13. As
certification of this, Banchieri cites Vasari's Vita de gli
pittori illustri. This, according to Banchieri, is when
and how St. Cecilia became the patron saint of musicians.
Vercelli also painted a representation of St. Cecilia lo
cated at the Olivetan monastery in Siena. Here the Saint
is portrayed eagerly playing the organ. Because of this,
the Sienese musicians honor St. Cecilia each year on
November 22, concerting in her honor a Solemn Mass in the
cathedral. Similar ceremonies are held in Ferrara and
Cremona and in Milan where Banchieri witnessed "a most
solemn music for eight choirs . . . in the rotunda of St.
L o r e n z o . P e r f o r m i n g here "were no less than 60 instru
ments and voices . . . ." Unfortunately, Bologna does not
have such an event. Since Raphael's picture hangs in Bologna
Banchieri believes the musicians of that city should join in
the pious custom more than the musicians of the other cities.
He then proceeds to suggest solutions to some of the basic
problems pertaining to arranging for such a commemoration.
Concluding this Discourse, Banchieri expresses the wish that
God may allow him to see the effects of such an event, "so
that together with all of His devoted ones we will be made
most worthy to enjoy in Paradise that everlasting melody

to
concerted by the musical hierarchy."^
Concerning the performance of the Hymns, Banchieri
provides, in the 1611 and 1622 editions, "Notes on the
Vesper Hymns." 53 Again, as for all the information given
about the performance of the liturgy, the Ceremoniale
Romano, Chapter 28, is the source. It is stated that the
last verse of all Hymns must be sung by the choir. The
1611 edition is more precise in specifying the last verse

to be the G l o r i a .^4- Banchieri further informs us that in
many churches, where the custom prevails, the first verse
of the hymn will be sung entirely by the choir; the next
verse is played on the organ, alternating to the end, with
the Amen always played on the organ, whether the number of
20
verses is even or uneven.'*'* The organist is advised, since
not all hymns have an even number of verses but many have an
uneven number, that for the hymns with an even number of
verses, the choir sings two successive verses at the end.
Indications are provided so that the organist knows which
hymns have an even number of verses.
In many churches It is traditional for the organ to
play the first verse of the hymns. When this is done, the
”thought 11 of the Ceremonials can be achieved by the choir
flsaying what is to be read with an intelligible voice in
chorus . . . just as . . . when the Gloria is heard by the
listeners, and also as in the hymn Pange lingua the verse
Tantum ergo, and in the Te Deum the verse Te ergo . . .
By reciting the text in chorus or with a few voices while the
organ plays, the rubric for the performance of the last verse
of the hymns is carried out in spirit. A similar statement
is made in conjunction with the Credo. B a n c h i e r i concludes
his remarku about the Vesper Hymns by advising that the dis
creet organist will be able to change the fermo to figurato
and the figurato to fermo."
In all of the three editions the order of the hymns
is uniform; the hymns for the Sundays of the year are given,
followed by the hymns for the various feasts. In both the
1611 and 1622 editions the verses for the choir and those
for the organ are clearly indicated by the words "Choro"
and ’’Organo." Both the chant and texts for the verses sung
21
by the choir are given in these later editions. And, in a
similar manner the text is supplied for the verses played by
the organ.
While the arrangement of the hymn 3 is the same in
the l 60^ edition, only the texts for the verses sung by the
choir are provided under the organ bass. A further compari
son of the first edition with the later editions reveals the
omission of some verses for certain hymns and for the Fourth
Sunday of Lent, the 160*? edition has the hymn Ad Jgreces,
while the later editions have Audi benigne as the hymn for
this Sunday. The canti fermi of the Sunday hymns have been
"placed under the guide of a bass." This, however, is im
proper; the Festive Hymns, we are told, "should be put under
the guidance of the tenor . . . it being the proper voice
for the canti fermi.
In the 1611 and 1622 editions notes are given con
cerning the feasts of SS. Peter and Paul. The hymn Aurea
luce is sung at the common feast on June 29. Since the
hymn has four verses, in keeping with the regulations con
cerning the performance of hymns, the organ plays only one
verse, the second. There are two additional feasts for St.
Peter, January 18 and February 22, and two additional feasts
for St. Paul, January 2$ and June 30. On August 1 the feast
of St. Peter in Chains occurs. For each of these feasts
the hymn used has only two verses. Hence, the organ plays
22
the first verse; the choir sings the second verse, which
is Sit Trinitate (verse four of Aurea luce); and the organ
plays the Amen .^0
A final note for the hymns occurs on page 31 in the
1622 edition. Here the organist is told that all the hymns
finish in one of three final positions— C, D, or E. When
they end on C,the Amen is taken on the same pitch (voce);
when they end on D, the Amen is taken a pitch below; when they
end on 3, the Amen is taken a third above. Banchieri informs
us this information is 11indispensable . . . to respond to
the choir for all the Hymns . . .
The Magnificat
Settings of the Magnificat on the eight tones of the
canto fermo are contained in Book IV of L *Organo suonarino.
The settings are a 2, a bass "for singing and playing,” and
an upper part for singing indicated variously for Soprano
(1605)t Canto (1611), and Soprano or Tenor (1622).
Banchieri introduces the Magnificat settings with
the customary Discourse in the 1605 and 1611 editions. As
in the other Discourses and Toccatas, the organist is pro
vided with some brief notes on the performance of the portion
of liturgy at hand. Should a comparison be made between these
settings and those of other composers, the organist is advised
how the settings which Banchieri has provided for practice
23
differ from settings of other composers. No such information
is provided in the 1622 edition. Among the composers singled
out from 11a vast company of musicians" who have made settings
of the Magnificat on the eight tones of the canto fermo are
Morales and Ruffo. The settings by these two composers are the
"most agreeable" and "pleasant." Morales* settings sl ii are

62
"for observance of the canto fermo.” The settings by Ruffo
6
are £ 5 "for organ, for the beauty of the harmony." While
the intonations, keys, and finales appear "for the most part
to be different," the organist is advised that the intonations,
keys, and finales in L *Organo "are the same” as those used by
Morales and Ruffo, "but transposed into convenient positions
for docility and comfort . . . ." If Banchieri "is conscious
of hearing the Third and Eighth Tones alternate between the
choir and canto fermo," he indulges the voices by transposing
a fourth or fifth lower. Because of this transposition "the
harmony is languid," and by ". . . doing this in moderation
the sweetest melody is heard.
At this point in the 1611 edition of L *Organo, Banchieri
launches into a discussion of the purpose of music and the
organ in the church. This portion of the 1611 Discourse also
serves, with modifications, as the Toccata to Book V of the
1622 edition. Music and the organ are used in the church
"not only to praise God," although this is the most basic
purpose, but also "to entice the faithful from servile
work to devotion on the feast d a y s . " ^ in proof of
21*.
his thesis* Banchieri quotes here passages from St. Augustine,

66
The Confessions, Book II, and from the Old Testament, Book
67
of Kings, Chapter 6 , ' The organist is exhorted to make a
“beautiful, happy, and grateful fantasia to His Divine

68
Majesty.” Through the “new inventions of the Francesine,
60
Dialogues, Echos, and other pleasantries” 7 the organist is
70
to ”cause cordial rejoicing in the listeners.” The organist
is admonished, however, to have esteem for the edicts of the
Council of Trent. There is not to be any “lascivious song"
or songs made impure by vulgar speech, dances, or sonatas,
which instead of moving the faithful to devotion may move them
to worldly pleasures.
Banchieri, having taken this brief digression, now
returns to the subject of the Magnificat in a supplementary
section following the Discourse, which he entitles "Advice,"
He states here that the Magnificats in L 1Organo "succeed

71
most comfortably for the choir . . . .” If "more musical
ones" might be desired, he has Magnificats on all the eight
tones published under the title Secondi Novi Pen 3ieri
Ecclesiastici.
In all three editions of L 1Organo, only the texts
for the verses of the Magnificat played by the organ are
printed. Only in the 1611 edition, however, are they clearly
indicated with the designation Versi Spettanti all 1 Organo.
In this edition fauxbourdon settings which Banchieri entitles
Consonante Bordone are also included. An Annotatione per
R ep ro d u ced with p erm ission o f th e copyright ow ner. Further reproduction prohibited w ithout p erm ission .
25
Curio3ita discusses the subject of falsi bordoni. Falsi
bordoni are those ’'harmonies which can be sung for both the
Psalms and canticles in alternation with the canto fermo
. . . .”72 jfoy this term is used Banchieri has not been
able to determine either from skilled musicians or their
writings, and for this reason Banchieri concludes "that tradi
tion and custom allow it . . . The term bordone comes from
the lute string of that name which furnishes a "tenor that
guides the harmony." Banchieri will go along with the popu
lar custom and call these melodies falsi bordoni, but, for the
Magnificats of the 1611 edition of L'Organo, Banchieri "takes
pleasure in calling them consonanti bordoni, not recognizing
in them falsity but . . . a guide and bordone to the canto
f e r m o . "73 a final note in the 1611 edition informs us that
"the falsi (or consonanti) bordoni placed for the Magnificat
on the eight tones can in case of need serve for any Psalm
. . . ."74 The practice of the Magnificat on the eight tones
in the 1622 edition is concluded with an exorcise in trans
position entitled "Suitable practice, so that the eight tones
can end on D. sol r£."7^ On page 105 of the 1605 edition,
a brief note supplies the information that the four Capriccio3
commencing on the following page are "to be played after the
Magnificat . . . ." Like the Magnificat settings, they are
in two parts with the "filling-in" to be done at the pleasure
of the organist.
26
The Hymn of S S . Ambrose and Augustine
The Hymn of SS. Ambrose and Augustine is called today
the Te Deum Laudamus. In the 1605> edition, Banchieri in
cludes the organ bass for the Te Deum in Book Three where the
"hymns for all the ceremonies of the year" are practiced. No
special notes are provided, simply the heading, in keeping
with those provided for the other hymns, "A hymn for Christmas
Night, and other needs."76 In the 1611 edition of L 1Organo,
Banchieri includes the Te Deum in Book Four, and in the 1622
edition, in Book Five. In both editions special notes are
printed. The heading in the 1622 edition informs us that
the Te Deum is "sung in the Brotherhoods on feast days be
fore the Canticles of the Madonna, and also universally on

77
Christmas Night." The note contained in the 1622 edition
is basically an abridgement of that in the 1611 edition.
Banchieri relates in the l6 ll edition that by tradition all
canti fermi are called Gregorian and Ambrosian. Because of
this tradition Banchieri attributes to Gregory the Great and
St. Ambrose the invention of the canti fermi, of which the
major part has been composed by them. Other canti fermi
have been composed by "other spirits elevated to celestial

nQ
contemplations." The long existing legend, which can be
traced back to the end of the eighth century, cf St. Ambrose
and St. Augustine having invented this hymn at the baptism

79
of the latter is repeated. Banchieri cites here as evidence
2?
an Antiphon of the Third Tone "sung up to the present by

Qa
Ambrosian clerics . . . (besides tradition)."ou Here, as
in so many of his statements and examples of evidence,
Banchieri fails to elaborate upon this statement. For
additional proof to back his idea of the creation of the Te
Deum, Banchieri quotes a passage from Franchino Gaffurio’s
Prattica £sicj musicae Book 3, Chapter 13.
With regard to the cantus flrmus of the Te Deum,
it is called one of "ingenuity" by Banchieri.81 This is
because it is "composed of three tones, . . . the Eighth,
Third, and Fourth." Banchieri further states that this is
the most difficult hymn for organists to alternate. The
assumption can be made that the difficulty is due to the
necessity of a smooth modulation between the three tones
used. Many skilled organists whom Banchieri has heard, some
"really conqoosers . . . disconcert the choir" in making these
modulations. The organist can, "if pleasing, play one pitch
(voce) lower" which will be "to the greater satisfaction of
the choir.
About the performance of the Te Deum, Banchieri has a
note which informs the organist that the organ plays the first
verse, after the intonation. This allows the versicle Te
Ergo Quesumus to be sung by the chulr. The Ceremoniale
Romano ordains this in Chapter 28, "submitting to the cus
tomary usages."^3
28
The Sequences
The Sequences are included in Book One of each edition
of L 1Organo along with the Masses. This, as Banchieri states,
is so the organist will know when the Sequences occur. There
are three Sequences which in many churches are alternated be
tween choir and organ. They are: (1) Victimae Pa 3chali,
sung on Easter Day and the two days following; (2) Veni sanote
Spiritus, which is sung on the day of Pentecost and the two
feasts following;^ and (3) Lauda Sion, sung for the feast of
Corpus Christi and within the Octave.®^ In the 1611 and
1622 editions of L 1Organo, Banchieri tells us that these
Sequences are sung after the Epistle. In the 1605 edition
he is a bit more specific, stating that the Sequence comes
after the Gradual. As to the manner of performance we are
told that they "alternate after the Epistle, after having
sung the first verse, the Alleluia, and then the second
verse."®^
The Antiphons and Canticles of the Madonna
Both the l605' and 1622 editions of L 8Organo suonarino
contain information concerning the Antiphons of the Madonna.
In the 1622 edition we read the Antiphons of the
Madonna are "five Psalms."®^ The organ is played "at the
end of each Psalm as at Vespers of the Double Office."
29
After the chapter has been sung, a hymn is played; this is then
followed by the Benedic t U 3 , alternated like the Magnificat
according to the proper tone. At the end "a sonata is played,

QD
as after the . . . Deo G-ratias."
The 1605 edition informs us there are two methods of
alternating the Antiphons of the Madonna. In the first
method after the choir sings the intonation, "the organ plays
the first half . . . , and the choir performs the remainder"
of the verse. The second method is to alternate by verses,
after the intonation by the c h o i r . ^ heading in the 1622
edition for the first of these Marian Antiphons, Alma redemp-
toris mater, states that it is sung at Vespers as well as at

90
Compline and Lauds.
The four Antiphons B. V. M. which Banchieri includes
are: Alma redemptoris mater, sung from the first Sunday of
Advent until Purification, or Candlemas, which takes place
February 2; Ave Regina Coelorum, sung from Candlemas to Holy
Saturday; Regina Coeli Laetare, sung from Holy Saturday until
Trinity Sunday; Salve regina, sung from Trinity to Advent.
In the 1622 edition the heading for the Regina Coeli states
it is sung from Easter to Pentecost inclusive. The Salve
regina in the same edition is for the "Protectress of Wretched
Sinners."
All three editions have only the organ bass, with the
intonations for the choir. The Alma redemptoris mater is
given twice in the 1605 edition to illustrate the two methods

91
by which the four Antiphons can be alternated.
30
The Canticle of Zacharia
The Canticle of Zacharia or the Benedictus Dominus
Daus Israel is included in the 1611 and 1622 editions of
L *Organo suonarino. In the 1611 edition the Canticle is in
Book Pour, and in the 1622 edition, it is in Book Five.
This Canticlo is sung at Lauds and, according to the infor
mation provided by Banchieri, is preceded by tho Te Deum,
Marian Antiphons, Chapter and H y m n . 92 the 1611 edition
the Benedictus is given on two tones, the First and Sixth.
The odd-numbered verses are sung by the ohoir while the
even-numbered verses are played on the organ.93
In the 1622 edition of L *Organo, four settings of the
Benedictus are given. Two are on the Eighth Tone, one on
the First Tone, and one on the Sixth Tone. Prom the first
Sunday in Advent up to Christmas Eve, the Antiphon Spiritus
sanctus is sung before the first Benedictus on the Eighth
Tone. This same Antiphon is also used on March 25 for the
Feast of the Annunciation. The second Benedictus on the
Eighth Tone is preceded by the Antiphon Mirabile misterium,
which is sung from Nativity until Purification occurring on
February 2. The third Benedictus is on the First Tone; for
this, the Antiphon Beata Dei is sung from Purification to
Easter, except on the Day of the Annunciation (March 25),
and from the Octave of Pentecost up to Advent. The fourth
Benedictus is on the Sixth Tone. Preceded by the Antiphon
Regina Coeli, it is sung from Easter until Pentecost.
31
In the 1622 edition the choir sings the intonation, after
which the organ plays the remainder of the first verse. The
organ thus plays the odd-numbered verses while the even-
numbered verses are sung. While the 1611 edition has the
canto fermo for the choir and an organ bass given separately,
the Benedictus settings in the 1622 edition are a 2, for
bass and canto, or tenor. Presumably, these are to be per
formed in a manner similar to the Magnificat, by the organ

9I1
alone, or one or two voices and organ.
The Hymns of the Madonna
Two Hymns of the Madonna appear in the 1611 edition
of L 1Organo suonarino. They are located in Book IV along with
the Magnificats, Marian Antiphons, and other items for the
Offices. The first of these hymns, Quern terra pontus, appears

95
with the heading "Hymn of the Madonna at Matins." This
96
hymn is sung for the Feast of Purification. There are
five verses to this hymn with verses 1 , 3 > and £ sung by
choir. In this edition both the chant and the text are
given. Verses 2 and I4. are played on the organ, for which
the bass is given along with the text for these verses.
The second hymn, 0 gloriosa Domina, bears the heading

97
"Hymn of the Madonna at Lauds." Since this hymn has four
verses, verses 1, 3 and J4. are sung by the choir; only verse
two is played on the organ. The latter hymn is also in Book V
32
of the 1622 edition. <D gloriosa Domina is originally the second
portion of the hymn Qyiem terra pontus. The original text
for this second portion of the hymn begins, "£ gloriosa femina,
Excelsa super sidera." With a slight textual change, the
second portion often appears as a separate hymn as it does

98
in the 1611 and 1622 editions of L 1Organo suonarino.
The Use of the Organ for Mass
In the 1605» 1611 and 1622 editions of L 1Organo
suonarino, Banchieri provides numerous notes pertaining
to the use of the organ in the liturgy. The organist is
told when to play, what to play, and the manner of perform
ing the various parts of the liturgy. Throughotit the three
editions, one theme is prevalent: the organist must avoid
including the mundane in the worship of G o d . ^ Virtuosity
for the sake of virtuosity, or to invoke "worldly praise and
interest," is to be a v o i d e d . T h e organist is to "assume
a beautiful and pleasurable manner of playing," but this is
for the primary purpose of moving the faithful to devotion.
In each of the three editions, Banchieri includes a
"Table for Organists" concerning the use of the organ in the

102
Masses of the canto fermo. This table, which is perhaps
one of the two best known and most widely cited portions of
L'Organo, gives precise instructions as to when and how much
the organist must play during Mass. In the 1605 and 1622
R ep ro d u ced with p erm ission of the copyright ow ner. Further reproduction prohibited w ithout p erm ission.
33
editions of L 1Organo, this table appears in Book One follow
ing the Hasses. In the 1611 edition, the table is found near
the end of Book Five, preceding the tables listing the Hymn,
Antiphon, and Magnificats for the various feasts and Sundays
of the year. The information given is essentially the same
in the three tables. In the 1611 edition the instructions
are more explicit than in the 160£ and 1622 editions with
regard to exactly how much to play, e.g., "play a ahort fuga

10"3
of about i«.0 measures." An examination of the tables will
reveal the minor differences which exist among them.
With regard to the Introit and Kyrie, the information
is basically the same in all three editions. The l605> and
l 6ll editions inform us, in an additional note elsewhere,
that "repetition of the Introit will serve for the first
K y r i e At the end of the Epistle, the organist is to
play a ripieno or fuga (1605), a short fuga of about ij.0
measures (1611), or a short Toccata on the First Tone (1622).
In the edition of 1611, the instructions concerning the
Alleluia are much more precise than in either the edition of
1605 or 1622. In the latter edition we read that the Alleluia
is repeated after the Verse (if needed), while in the 1611
edition we read the second Alleluia should be approximately
12 measures. We also find some minor devergencies regarding
the Offertory, for in the 1605 edition the organist is told
to play a Motet or "musical" Ricercata; whereas, the 1611
edition reads, "play a Motet or something else," The 1622
edition merely tells the organist to play daring the offer
tory until the Priest says "Orates fratres." At the Eleva
tion the organist is to play "softly and solemnly" to move
the faithful to devotion. The organist plays, according to
the 1622 edition, up to the saying of the Pater Noster. For
the second Agnus Dei, after the repetition by the choir, the
organist is to play (according to the 1605 edition) a Capriccio
or Aria alia Francess that is "pleasing, but musical." In the
1611 edition Banchieri gives the same instruction but lists

the music as a Franzes in 3.., *. term used by Banchieri to desig
nate the Canzona alia francose. In the 1622 edition the or
ganist is informed that after the second Agnus, he is "to
play until communion has been taken." It does not, however,
specify any particular type composition to be played. Finally,
according to the 1611 edition, the organist is to play "fully,
but briefly," after the Ite Missa Est or Bensdlcaaias Domino.
The 1605 edition stipulates that the music should be a ripieno,
while the 1622 edition specifies a "Deo Gratias on the first
Kyrie of each Mass."'*'^
Concerning the playing of the organ during Advent
and Lent, Banchieri informs the organist, in various places,
that the organ is not played during Advent except on the third
Sunday, "Gaudete." The same custom prevails during Lent
except for the fourth Sunday, "Laetsre." Banchieri further
advises the organist that in many Masses the Credo is net
35
sung, and during Advent and Lent, the Gloria is also omit
ted. ^-06 above regulations are still in effect today.
For the Masses of Holy Thursday and Holy Saturday,
Banchieri provides the organist with copious notes on the use
of the organ for these two days. As with the table for the
use of the organ during Mass, Banchieri is more precise and
detailed in his instructions in the edition of 1611 than in
the 1605 and 1622 editions. All three editions, however,
contain essentially the same basic instructions. Banchieri
instructs the organists that on Holy Thursday after playing
the Kyries, the Gloria in excelsis Deo is intoned by the
priest. Following this the organist plays a ripieno, then
the organ is silent until Holy Saturday when the Gloria is
again intoned. Following the intonation on Saturday, the
remainder of the Gloria is alternated as for the other Masses.
The organ is not played after the Epistle, nor is the Credo
sung. For the Offertory, the organ is played "as usual," and
similarly for the Sanctus. The Agnus Dei is not sung, but
after the Pax Domini and the response cum splritu tuo the
organ is played until the priest has partaken of communion.
Annexed to the Mass of Holy Saturday is the Office of Ves
pers. For Vespers the organ is not played until the Psalm
Laudato dominum omnes gentes has ended. The Magnificat is
played on the Eighth Tone, and upon completion of this, a
Franzesina is played. At the Ite Missa E 3 t the organ responds;
more specifically the 1605 edition says with an Alleluia,
36
while the 1622 edition indicates a Franzesina is to be played.
In brief, the music of the Masses for Holy Thursday and Holy
Saturday is so constituted that it is performed as if it were
one Mass. The music begins on Saturday where it has ended on
Thursday.10®
The Mass of the Dead
In the 1611 and 1622 editions of L 1Organo suonarino,
Banchieri includes some brief notes concerning the use of
the organ for the Offices and Mass of the Dead. The organ
is played for the Mass of the Dead only for "Head Prelates,"
1OQ
or "Titled Gentlemen." ' It is not to be played loudly but
with solemn and devout harmonies for the fulfillment of the
mourners. Only the principal stop is to be used; no toccatas
or ricercares are to be played, and the shutters are to be
closed. This, Banchieri states, is the customary use of the
organ for the Mass of the Dead .110
The Use of the Organ at Vespers
With regard to the use of'the organ at Vespers, Banchieri
provides a table for "new organists" in the 1611 edition of
L 1Organo suonarino of when and how much they are to play
at Vespers. The first notation for playing at Vespers re
fers to a calendar of the various feasts and Sundays of the
37
year. When a star appears before a cross (# ^ in the calen
dar, the organ is played at First Vespers even though the
feast may occur on a weekday. On occasions when Vespers
is "sung with pomp" the organ is played "fully" at "the
emergence of the Priest from the Sacristy" until he has in
censed the altar. The organ is further used at the end of
each Psalm, after the Sicut erat. where it is played "briefly
or long, according to the need." Concerning the playing of
the hymn, the organist is referred to the introductory notes
on page 2 8 . Next the Magnificat is sung, which, according
to custom, may have either the first or second verse played
on the organ. It is proper, however, as regulated In the
Ceremonials, Chapter 28, for the choir to sing the first
verse. This is in order for the Gloria Patri to bo sung or
heard. If it should be played on the organ, the verses are
not to be sxmg also. The choir is probably to recite the
words which can be done while the organist plays his verse.
A "musical Franzes a £,slej, or something else," whichever the
organist wishes, follows the Magnificat. Finally after the
Benedicamus, as for Mass, the organ is played "briefly and
fully." Banchieri advises the organist that when "the Vesper
is not sung with pomp" the organ is played only after the
Psalm Dixit Dominus. "When Double Feasts don't occur on
Sundays of the year, or on Mondays, the organ i3 not played
at Vespers on these Sundays except after the last Psalm.
38
These Sundays are listed after the calendar of Double and
Movable Feasts. Excepted are those Sundays which fall be
tween the Octave of Movable or Immovable feasts; on such
Sundays, the organ is played for the entire Vesper.
The Feasts of the Year
All three editions of L 1Organo suonarino contain an
extensive listing of the Festal and Non-Festal Doubles,
Movable Feasts, and Sundays of the entire year. These list
ings of feasts and Sundays of the year provide the organist
with the tone for the Antiphon of the Magnificat for both
First and Second Vespers and, in the 1605 «uad 1611 editions,
the "usual Hymn.” According to the 1622 edition, the feasts
are drawn front the "Roman Breviary and Antiphonaries."
Banchieri informs us, "All Holy Days and Feasts of Our Lord
and His Most Holy Mother are doubles by appointment," by
order of the Apostolic See. The list of feasts presented
in the 1605 edition is drawn "faithfully from Ecclesiastical
Diumals." Banchieri notes that the organ is not played for
all feasts; it is used only on those feasts marked with a
cross . The other feasts given are doubles too, but the
organ is not played, except as certain feasts might require
it on a Sunday or Monday. If a double feast occurs on Monday,
the Second Vespers of Sunday will be the First Vespers on
Monday. Exceptions to the above conditions are the Sundays of
39
Advent through the Octave of Epiphany and the Sundays from
Septuagesima until the Octave of Easter, also Pentecost and
its Octave, Holy Trinity-. All of these Sundays require a
Double Office, and any feasts of Saints which might occur on
these Sundays are omitted. For such Sundays the organ is
played. Two exceptions to the above practice are: (1 ) if
the Double of the Saint is the title of a church, (2) some
long prevailing custom. Commemoration of the Saint or custom
would take place on such an occasion.
For those feasts where the organ is to be played for
First Vespers or Vigil, Banchieri places a star before the
cross in the 1611 edition, or two crosses in the 1622 edition.
A comparison of such feasts in the 1611 and 1622 editions of
L 1Organo reveals there are nine feasts in each of these edi
tions where the organ i 3 used at First Vespers. These feasts
according to the calendar in the 1611 edition are:
Circumcision
Epiphany
Purification
St. Thomas Aquinas
Annunciation
SS. Peter and Paul
Nativity of the Madonna
All Saints Day
Christmas
]+0
With three exceptions, St. Thomas Aquinas, SS. Peter and Paul,
and All Saint3 Day, these feasts are celebrations of events
concerning Our Lord and His Mother. The 1622 edition lists
the following feasts where the organ is used at First Vespers:
Circumcision
Epiphany
St. Benedict, in Monastic Churches
Annunciation
Nativity of St. John the Baptist
SS. Peter and Paul
Assumption
All Saints Day
Christmas
It can be seen from the proceeding lists that six
feasts were affected by a change of classification in the
intervening eleven years between the 1611 and 1622 editions
of L 1Organo.
In the 1622 edition of L 1Organo, Banchieri says that
for days where the Double is marked by a the organ is
"played on the day assigned" for that feast regardless of
when it occurs, since these feasts are "ordered by the
Mother Church," There are nine such feasts listed below
in the order of their occurrence:
St. Anthony, Abbot
SS. Phillip and John
Nativity of St. John the Baptist
ia
Visitation of the Madonna
St. Mary of the Snow
St. Matthew
Presentation of the Virgin
Conception of the Madonna
Christmas
For Doubles marked with one cross, the organ is played for
the Second Vespers only, and where there is no special desig
nation of any kind, the organ is not played. !a?hen feasts occur
on succeeding days, the Second Vesper of the first day is sung
as the First Vesper of the second feast day, e.g.,the Second
Vesper of the Feast of Circumcision on January 1, becomes the
First Vesper for the Octave of St. Stephan on January 2.
Such instances are indicated by Banchieri by the use of dots
instead of the usual number to indicate the tone for the
Antiphon of the Magnificat. In both the 1611 and 1622 edi
tions, the letters P. V. (Primo Vespro) and S. V. (Secondo
Vespro) are followed by a number, e.g., 2, 8 , 1, which in
dicate the tone of the Magnificat. In the 1605 edition,
words (Ottavo, Primo) rather than numbers are used to indi
cate the Magnificat tones. In this edition, and that of 1611,
the correct hymns to be sung for the various feasts and Sundays
of the year are also given along with the page number on which
the hymn is found in L 1Organo suonarino.
After listing the Doubles month by month, Banchieri
next provides a Table of Movable Feasts. This is followed
h2
by a Table of the Sundays of the year. Movable feasts are
those feasts, he informs us, that are determined according
to when Easter occurs. They have no precise date, except in
relationship to Easter and take precedence over double feasts.
Should a movable feast coincide with a double feast, the
latter is omitted, and the office of the movable feast is
performed.
The calendar of all the Sundays of the year begins in
proper liturgical fashion with the First Sunday in Advent.
The First Sunday in Advent is the Sunday after the Feast of
St. Andrew which is celebrated on November 30. Banchieri
informs us that "on all Sundays of the year, Paschal and Non-
Paschal," the organ is played after the last Psalm when "there
is not a double antiphon sung.” When a "Holy Double” occurs
on a Sunday of the year, or on Monday, the organ is played
for "all the Psalms through the Antiphons" of the Double
Office.
For the Sundays of Advent, Banchieri affirms again that
the organ is played only on the third Sunday, and for the
Sundays of Lent, only on the fourth Sunday. He states that
during Advent and Lent the organ is played at Vespers. This
is customary in that the Ceremoniale only forbids vhe use of
the organ at Mass during these two seasons of the church year.
There are two additional Sundays when Banchieri feels the
organ should not be played. These Sundays are Passion Sunday
and Palm Sunday. The first of these two Sundays ushers in
1+3
Passiontide which consists of the last two weeks in the Lenten
season. Since this period is a time of "sorrow and devotion,
it is proper "not to play the organ on these two Sundays."
In the calendar of the Sundays of the year, we find the prop
er tone fdr the Magnificat given, and in the l60f> and 1611
editions, the "customary hymn" for the Sundays when a hymn
is sung.
There remains one more table of feasts to consider.
This table is found only in the 1622 edition of L*Organo,
and concerns "common feasts" which are grouped tinder various
categories. Banchieri explains in a prefatory note that these
categories are for the "occasions of Protectors of the City,
Titles of Churches, Bodies of Saints, or other needs, where
there would not be a proper office." The categories given
in Banchieri*s table are for Several Martyrs, One Martyr,
in Paschal Time and Throughout the Year, and Virgins and

113
Widows.
kk
CHAPTER III
Miscellaneous Topics
Figured Bass
Adriano Banchieri is recognized as being among the
first to make use of a basso contiauo in his musical compo
sitions. He is also recognized as one of the first composers
to provide instructions for playing from the basso continuo.
It is erroneously indicated by musical scholars that these
instructions are found in the 1605 edition of L 1Organo
suonarino. In this edition, as in the 1622 edition of
L 1Organo, Banchieri provides only a ”guide del Basso” which
contains the following information: ”for those organists
who do not have much knowledge of the middle parts, the sharps
and flats will be placed . . . in three ways.
”1. When they are before the note and located on the
same line or space, they serve for this note.
"2. When they are before the note and located a third
above, they serve for the third or tenth.
”3. When they are before the note and located a third
below, they serve for the sixth and thirteenth.”^
-------- # ° * ° * ° t> °
For the note For the 3rd or 10th For the 6 th or 13th
45
In the 1605 edition only the bass notes are given to illus
trate these instructions; the succeeding two editions have
both the bass and canto given as above. The 1605 and 1622
editions contain nothing other than the above instructions
regarding the harmonization of the basso continuo.
In the 1605 and 1611 editions, Banchieri uses no num
bers but sharps and flats to create a rudimentary basso
continuo. Not until the 1622 edition of L *Organo are num
bers encountered above the bass, e.g., 4 # 3t 5 # 6» 7 # 6.
Even here the numbers are not used with any great degree of
frequency. Where numbers are encountered, they are used al-

p
most exclusively for cadential formulae.
It is in the 1611 edition of L 1Organo suonarino that
the most important material is found on harmonizing the basso
continuo, not in the 1605 edition as so frequently indicated
by many musical scholars. These instructions are presented
in the form of a "Musical Conversation" between Banchieri and
a friend who seeks information on how to harmonize the basso
continuo.
After a brief introduction to set the scene, Banchieri
proceeds to answer the questions posed by his friend. Banchieri
does not consider himself enough of an authority on the subject
"to treat it completely," but he will do his best to satisfy
the inquiries of his friend. Banchieri informs his friend
that Viadana, Bianciardi, Agazzari and others, of whom he
perhaps does not know, have given some brief rules for playing
from the basso continuo.^ There is such variance among these
rules that Banchieri proposes to treat each composer individ
ually; however, this proposal does not materialize.
The friend has noticed four ways in which the basses
differ. They are:
1. "Some composers divide the bass £or use barlinesj,
others do not divide it.
2. "Some composers place the accidentals of ^ a n d # "
below or above the notes, and others do not place them.
3« "Some composers place arithmetical numbers of
3 , 10 ,6 ,and 13 under the notes, and others do not make
use of them.
Ij,. "Some put in consonant and dissonant numbers such
as lj.3 , 11 10 , 7 6 , and lij.13."^
Banchieri advises his friend not to get "the cart
before the oxen" but to proceed in an orderly manner, mas
tering first the basic rules. By doing this the friend will
see that diversities really do not exist but are variants or
subtleties of a basic idea. For the beginning organist who
desires to play from the basso continuo, Banchieri presupposes
the following:
1. That he know in practice the system of notation,
for the arrangement of the hands.
2. That he know how to read and sing securoly the
key of F fa ut with both b flat and b natural in the bass
clef, with mutations, ascending and descending.
47
In practicing the exercises to gain knowledge of the
rudimentary requisites necessary for playing from the haeso
continuo, Banchieri suggests playing the exercise first from
key to key (tasto in tasto), then singing it with an accom
paniment in harmony.'* With the practice and mastery of easy
exercises, one can then begin to practice the accompaniments.
For the harmonization of the basso continuo, two con
sonances are used for each chord. One is a perfect consonance,
or the fifth of the chord; the other is an imperfect consonance,
or the third of the chord, or their compounds, the twelfth
and tenth. To these intervals, the octave, or its compound
the fifteenth, is added for "filling-in.” This forms the
familiar 8, 5» 3 chord.^ When practicing the accompaniments,
Banchieri advises beginning first with two part 3 , then pro
ceeding to three parts and finally four parts. Banchieri,
for some unexplained reason, provides no example for the
practice of three parts but includes two four-part examples
which are captioned "a tre voci .11 Certain notes, e.g., E la
with the flat, produce the diminished fifth, rather than the
perfect fifth; when this occurs the sixth above the bass,
rather than the fifth, is used. The result in such places
would be an 8 ,6,3 chord rather than the customary 8 ,5*3
chord.^
Banchieri next explains the effect of the sharp and
flat accidentals on the bass note. Ke says that as a general
1*8
rule "all the notes raised in the bass by the sharp accidentals
g
always require the sixth in place of the fifth . . . ." The
octave is not used "but in place of the sharpened octave, we

Q
will give the third, sixth, and tenth." Where "accidental"
flats (accidenti di b molle) affect the notes, the fifth will
be used if it is perfect, or the sixth "at pleasure."^® Ex
cept for the chords constructed on the bass notes of and
E |? chords of this type would be a chord of the first inver
sion in present day harmonic practice.
The accidental alteration of notes in the upper parts
when the bass descends a fourth or ascends a fifth is then
introduced. The intervals affected by alteration are the
third and tenth, which are changed from minor intervals into
major. By a minor third, Banchieri understands an interval
consisting of a tone followed by a semitone, or 1 and 1/2
steps. A major third "is formed by two successive tones,

11
Ut re, Ris mi; Fa sol, Sol la," according to the illustration.
The semitone is produced by "two successive sounds, one per
fect, and the second, imperfect . . ."; each semitone is the

12
"interval of Mi fa." Banchieri also points out in this dis
cussion on accidentals that accidentals affecting the third
also affect the interval of the sixth. In places where two
voices are singing with the basso continuo, if a sixth is
created between the vocal bass and the upper part, a fifth
below the vocal bass is placed in the basso continuo,
thereby creating the interval of a tenth between the organ
k-9
bass and the vocal soprano. The vocal bass Is therefore the
middle part and recognition need be taken of the sixth . ^
Banchieri now gives examples of the leaps of a fifth
and fourth and when they should be altered. When there is
a flat in a key, there are two more leaps; one, a descending
fifth, one, an ascending fourth. By using both accidentals
and numbers, octaves can be avoided "which can occur between
the voice and the note played . . . . Banchieri expresses
the opinion that even the experienced organist oould cause
dissonances while performing from a basso continuo without
accidentals. This could be occasioned because composers
can be free in avoiding the use of accidentals in the leap
of a fifth and fourth and thereby avoid the full cadence,
or because they accommodate the text so people may "sing with

„l£
feeling in a modern manner . . . ^
Concluding the Dialogue, Banchieri briefly summarizes
the merits of each of the four varieties of basso continuo.
He is of the opinion that dividing the organ bass is done with
much judgment. The organist who does not see the words and
who hears a different harmony from the vocal parts, even
though experienced, could lose his place without the bar
lines. Furthermore, the divided bass "gives much light in
the cadence." He informs us that the flats and sharps fit
very well; they "are necessary," and " . . . the inventor
of them merits no little praise for the reasons and practical
examples given . . . Whoever added the numbers 3 and 10
5o
to the sharps and flats deserve still greater praise, and
the one who added the consonant and dissonant numbers deserves
the "greatest praise , . . and without comparison . . . .
Banchieri then provides some examples of the use of the con
sonant and dissonant numbers. Through the previous detailed
treatment, and this summation, Banchieri has explained the
basso continuo. When all these conditions are fulfilled, it

1A
represents the "true epitome of the entire score." However,
in order not to omit anything, Banchieri adds a final example
illustrating non-harmonic tones and syncopated passages.^
Upon a request by his friend for some brief methods
for playing from the basso continuo after learning the fun
damentals, Banchieri tells him that he is more a composer than
an organist. However, he agrees to give his opinion. He
does not shed any additional insight on harmonizing the basso
continuo, but instead launches into a discourse about organ
playing and musicianship in general. Banchieri is neutral
about the "new fashion" of organ playing— he does not cen
sure it--he does not praise it. Simply because a person can
play the four voices of a basso continuo does not maks him a
"trustworthy organist." The proficient organist is "one
who can play a well-conceived counterpoint in which . . . all
four parts can be heard." Furthermore organists should not
"cease to s'udy the Ricercata in four voices" or the "Fantasia
of illustrious men in the profession . . . ." The organist
must become accustomed to a steady beat, playing slowly, and
51
not covering up the effects of the singer by tirades or whims.
Furthermore, the organist is to use judgment in selecting
a registration that is compatible with the quantity and
quality of the voices and when there is more than one singer,
not to overcome them on the organ. Organists are told to
use "wisdom and the ear," to count rests, to "consider the
quality of the harmony, and the disposition of the place.
"Praise others--not yourselves," and "don’t belittle the

pi
reputation of a companion, or fall into vain-glory . . . ."
Affirming once again, as he has done previously, that the
organ is used in the church to praise God, relating a tale
about a certain Biogene Cinico, and referring to the Dies
Caniculari 3 , a book by Simone Maioli, Bishop of the Dome,
Banchieri bids his friend Godspeed.^
History of the Organ
The introduction to Book Five of the 160.5 edition
of L ’Organo suonarino is a "Discourse by the Author" on the
history of the organ. This brief discourse of the 1605
edition is expanded in the succeeding editions of 1611 and
1622 and is not only a history of the organ, but also men
tions some outstanding organs and organ builders in Italy.
Banchieri writes from the knowledge available at the
beginning of the seventeenth century, much of which has been
superseded today. In his account, Banchieri relies heavily
52
on information from The Bible, which he quotes freely, and also
scholarly writers. Banchieri begins by quoting Genesis lj.:21,
which reads: "Jubal is the father of all such as handle the
harp and organ." He is quick to declare the primitive organ
of Jubal's era is not like the one of the seventeenth century,
but was "a body of small pastoral (rustic) reeds," according
to Cassiodorus.^3 Banchieri likens this body of reeds bound
together to the instrument played by Pan, or the Panpipes.
with regard to the organ in use at the time of King David's
reign, Banchieri cites II Kings, Chapter 6 . ^ He tells us
King David in observing "the Sabbaths and Feasts of the
Synagogue, added the organ to the seven choirs . . . ."^5
This organ is different from the one of Jubal, in that the
"organ" played by Jubal was played with the lips, and the
26
organ of David's time was "struck with the hand."
According to Banchieri, who mentions a book entitled
Theatro della vita human a , Chapter 22, and Battista Platina,^
it was Pope Vitalliano who introduced the organ into the
church. This was in the year 65^ during the reign of
Constance III. The inventor of fcuo organ (according to
Celio Rodigino in Book 9 of De Rebus Antiquorum) was

pQ
Cresibio or Ctesibius, a philosopher. 0
The organ invented by Ctesibius is of the variety de-

29
scribed by Vitruvius, having pipes similar to those on the
organs in use at the beginning of the seventeenth century.
Organs of this type were played, however, by the force of
water. Two such organs were still in use as late as 1622:
one in Rome at Montecavallo and the other at rratclinc, the

30
residence of the Grand Duke of Tuscany. This instrument
is called the HYDRAULICA, or liYDRAULIS, as "attested by Pliny

31
in the Natural History, Book 7» Chapter 30 . . . ." Since
the instrument is played by the force of water, Banchieri
prefers the more accurate name given to it by Giovanni Ravisio
in Officina Tea tor is --NAVILIUM STRUMENTUM MUSICUM. This
instrument was invented "in 226 under the authority of Mamea
Siro." 32
Banchieri presents evidence at this point that Guido
d'Arezzo was the probable inventor of the organ with bellows
and was responsible for the introduction of the organ into
churches. The evidence which Banchieri advances comes from
two old books which he saw on a visit to the town of Arezzo,
in Tuscany. One of the books was handwritten, while the second
was printed. It is in the first book that one can read that
Guido, in the year 1018, composed the Graduale of canto fermo
"under the authority of St. Henry," then personally brought
the Graduale to Rome, and dedicated it to Pope Benedict VIII.
Because of this event, Guido obtained permission to introduce
the organ into the churoh. Banchieri then quotes from the
second book, entitled Micrologus, which is mentioned by

33
Zarlino in Chapter 3 of his Supplimenti Musicali. Referring
to Chapter 33 of St. Benedict's Rules for Monasteries, ^
Banchieri concludes that Guido is "probably the inventor" and
introduced the organ into the church. However, because of
the regulation forbidding monks to call anything their own,
Guido could not claim credit for inventing the organ with
bellows or introducing it into the church.
Banchieri says the organ was introduced to the Offices
about the year 1300 , citing as a source for this information
the Canonic Hours, Chapter 17, of Dr.. Navarro. His reasoning
for this is that organs were not widely used until approximately
this time due to a lack of organists and organ builders. He
also declares in the 1611 edition of L 1Organo that until
about 1300, organs were generally erected in the wall.
Banchieri now leaves the development of the organ and
goes into an explanation about the Guidonian hand. He re-

35
fers to a book by Nicola Vincentino, which states that the
musical hand and the six musical syllables were invented by
Guido. These syllables were devised from the verse headings
of the first Settenario of the hymn of St. John the Baptist.
Banchieri quotes a phrase from the third Settenario of the
above hymn which refers to the vocal organs. He concludes
that the idea for the invention of the organ could possibly
have been derived from this third Settenario since the human
voice and the organ have a "great correspondence."
In making this analogy between the organ and the human
voice, Banchieri mentions that this comparison has been made
SS
previously in Galeno's De Usu Partium and in the beginning of
Diruta's Trans11vano. The bellows are compared here to the
heart and lungs, the pipes to the throat, the keys to the
teeth, and the hand of the player to the tongue. When the
player touches the keys "with graceful movements,” he creates

37
a manner of speaking. '
Banchieri now turns his attention to some outstand
ing organ builders and organs. Mentioned first is the organ
builder Vicenzo Fiamengo and two organs that he built, one
in the Cathedral of Orvieto, the other in the Olivetan
Monastery Church of San Pietro in the City of Ugubbio (Gubbio).
According to Banchieri, these organs contained more than 12
registers. Imitated are covered flutes, open flutes, Swiss
fifes, regals, trombones, "ear-splitting" trumpets, horns,
drums, nightingales, and the voce umana with tremolo.^®
These stops imitated the natural instruments to such an ex
tent that foreign musicians could not tell whether these in
struments were, or were not, attached to the organ. Banchieri
mentions also Vincenzo Colonna, a native of Venice (but at that
time living in Bologna), who "is famous" in many Italian cities
as an organ builder.-''
Also mentioned is Domenico Vanni of Feltre. This person
traveled about Italy for some years performing in many Italian
cities. His instrument contained a harpsichord keyboard and
a vacuum or lagoon of water "which represents the two Castles
56
of the Lido of the Republic of Venice." Banchieri relates
that with such an instrument Vanni "caused every bowed,
plucked, and blown instrument to be heard with a full har-

kO
monic of ten feet on the mi, re, ut . . . ,"H‘
Banchieri mentions three organs with pipes of unusual
materials in concluding his brief account about the organ.
The first of these is an organ made by Gilberto Remense, who
later became Pope Sylvester II. As a youth he constructed
an organ with pipes of gold which received its wind from
boiling water. Mentioned next is an organ with pipes of ala
baster given by a Neapolitan to Frederick, the Duke of Mantua.
The third of these organs is one with pipes of glass.^
The Arpitarrone
In the 1611 edition of L 1Organo, Banchieri describes
a new instrument which he invented--the ARPITARRONE. Banchieri
relates that in the year 163 0 while he was in Milan, he heard
and played a harpsichord which was called a "lute harpsichord."
Because of the "great similarity" of this instrument and the
lute, Banchieri concluded that by "removing some keys in the
acuto and adding some in the grave" the instrument would con
form no a chitarrone in sound and harmony. Enlisting the aid
of a player of the lute harpsichord, Banchieri made a different
type of keyboard than ordinary, but one which would conform in
range to the chitarrone. It begins in the grave, u t , re, m i ,
57
fa, sol, la, beginning on the notes C, D, E, P, G, and A,
’’for the formation of the twelve tones, six Authentic, six
Plagal This is advocated by Zarlino in his
Dimonstrazzioni Armoniche, Book I, Discussion 5, Definition
8. The above-mentioned notes are the notes for the white
keys of the first string or key of G ut. Between D and E
there is a black key added which ”in the contrabass forms
the chord E t and by adding two black keys after P and G
the eight notes of the contrabass are formed. For the sharp
accidentals the ordinary keyboard is used "up to the chord or
key of E la mi . . of Guido's Musical H a n d . ^
When the keyboard of I4.O keys, 2i|_ white, and 16 black,
had been arranged, Banchieri then procured the services of
the manufacturer of the "lute harpsichord" to make his in
strument. The craftsman was Michel de Hodes, a native of
Prance who had resided in Milan for many years. According to
Banchieri, the instrument "succeeds admirably . . . " In the
low register, it sounds like a cnitarrone, and in the high
register, it resembles a harp. Banchieri conceived the name
ARPITARRONE for this instrument since it has the 3hape of a

J.-a
harpsichord and the sound of the chitarrone.^
Banchieri relates that he has included a "small
treatise" about this instrument in his Seoondi Nuovi Pensieri.
In describing the Arpitarrone, he informs us that the instru
ment is dedicated to the Marquis Don Alfonso da Este. It is
58
"arranged and invented from the six musical letters" of
Zarlino and "the musical hand of Guido." The description
again relates that Banchieri invented the instrument and that
it was built by the "Magnificent" Michel de Hodes. It is
also "a harmonious instrument" consisting of four registers:
grave. acuto, sopâcuto and acutissiao, "which corresponds
to the modern harmony of human voices.
The acutissimo register is "added beyond the musical
hand." The four registers are divided "by C natural and are
musically appropriate for the well-ordered harmony."^
On the Tuning of Instruments
Both the 1611 and 1622 editions include timings for
string instruments when played with either the organ or
harpsichord. In the 1611 edition, directions are al 3o
given for timing the harpsichord, so that it can "play alone
or in concert."
Considering first the timings for the string instru
ments, Banchieri includes tunings for the Viole da Gamba,
Violette da Brazzo and Lute in three sizes in the 1611
edition. The 1622 edition contains only the timings for
the viole and violette families. Banchieri recognizes
three sizes of Viole da Gamba, bass, tenor and alto, and
soprano. Likewise, he recognizes three sizes of Violette
da Brazzo: bass, tenor and alto, and soprano. The distinc
59
tion made by Banchieri between "leg viols" and "arm viols"
is in keeping with the practice of the sixteenth and seven
teenth centuries.^ The designation of the 2nd viola and
the 2nd violstta as "tenor and alto" is also in keeping with
the seventeenth-century practice of having a single medium
sized instrument whose range is capable of playing with the
tenor and alto voice lines. Such an instrument was called
"Alt-Tenor.
The viols are six-stringed instruments tuned in per
fect fourths with a major third in the middle between the
third and fourth strings. According to Banchieri’s table
of tuning, the first viola or bass has as its lowest note,
G gravissimo. In an annotation following the viol tunings,
Banchieri specifies this lowest note to be four notes below
C ut on the kejboarr’; that is, an octave below the G grave
or in modern terminology, GG. The second viola, tenor-alto,
has D gravissimo (DD) as the lowest note, while the third
viola or soprano, has as its lowest note G grave (G) .^-®
Prom the tunings it can be observed that the first viola
or bass, is the violone, whereas the second viola has one of
several timings used for the viola bastarda. This latter
instrument is between the tenor and bass viols in size and
was timed in several manners, dependent upon how the piece
of mueic was set and arranged.^ The soprano viola tuning
is that of an alto Viola da Gsuaba.
60
In turning to the instruments of the Viole da Braceio
family, we find instruments which are in the lineage of the
present day violin and viola. The bass and alto-tenor instru
ments are designated as ”violetta, *' while the soprano is desig
nated as "violino."^ The first, or bass violetta has its
lowest note G grave (G) and is tuned by perfect fifths, an
octave lower than the violin, through its four strings.
The second and third violetta, tenor-alto, has as the lowest
note D grays (D). The lowest two strings are tuned by a
perfect fourth rather than by a perfect fifth as with the
modern tuning for the cello and viola. The remaining three
strings are then tuned by perfect fifths. The violin is

cj2
tuned, as nowadays, by perfect fifths beginning on G acuto.^
In the l6ll edition of L fOrgano, Banchieri gives
tunings for three sizes of lutes. They are the chitarrone,
a long-necked lute type instrument of thirteen strings used
chiefly as a basso continuo instrument; a Seven String Lute,
and a Six String Lute. The tuning for the chitarrone begins
on G gravissimo (GG), then continues AA, B B ^ , CC, DD, EE ^ ,
P, G, C, P, a, d, (g). As with the tuning of the bass viol,
Banchieri warns that the first three notes Re, mi, fa (GG,
AA, BB £), are not on the keyboard, but four notes below
the lowest C ut (CC). The tuning for the lute of seven
strings begins on P grave (P), and continues as for the
61
chitarrone through the highest note (g). Tuning for a lute
of six strings begins on G grave and follows the chitarrone
tuning through the highest n o t e . ^3
In the 1611 edition of L *Organo, directions are in
cluded for tuning the harpsichord "to play alone or in con
cert." In timing the harpsichord, four consonances, the
perfect fifth, octave, perfect fourth, and major third, are
used. By means of the perfect fifth and perfect fourth, the
octave is achieved which is used for tuning the white keys;
the major third is used for tuning the black keys. "Pour
orders" or registers are tuned: (1 ) grave, (2 ) acuto,
(3) sopr'acuto. and (ij.) acutissimo. By using seven letters
P, G, A, fc|(B), C, D, E, with repetitions for each order, a
perfect keyboard of k5 keys is constituted which begins on
C gravissimo. according to Zarlino, for the natural formation
of the twelve modes. Banchieri begins the tuning on P acuto.
since that is the tuning pitch for "experienced choirmasters"
and the organ.

5k The distribution of the I4S keys is as follows:
26 white keys.
I4. black keys for natural flats.
3 black keys for accidental flats.

9 black keys, sharps in the chords of C, P, and G.
3 keys for Ut, re, mi, 1 white, 2 black.^

The tuning pitch is P acuto (f) from which P grave an octave
lower is tuned by the octave. Proceeding from P grave, the
timing is by a fifth with C grave, and from the C grave by
62
the interval of a fourth with P acuto. The entire grave
register is tuned in a similar m a n n e r . ^ The tuning of E
grave involves the acuto which then is tuned by an octave
with Lf grave. Only the lowest register is tuned in such a
manner, which, according to Banchieri, is a new method of
t u n i n g . T h e remaining three registers are tuned "with
ease from octave to octave," i.e., F-f-f1, G-g-g*.
Banchieri now turns to the tuning of the black keys.
In each register there are five black keys: two of these
black keys are flats, one natural (B fc), the other an "acci
dental" occurring on E (E^). Three sharps which affect the
notes of c, f, and g account for the other three black keys.
As indicated previously, these five black keys are tuned in
major thirds. The flats are tuned by descending thirds,
e.g., d ’-'-bfr1; the sharps are tuned by ascending thirds,
e.g., a'— c#'. A final annotation following the illustra
tions for the tuning of the black keys concerns the tuning
of the three lowest notes of the keyboard. These notes of
ut, re, and mi constitute the gravissimi register, and are

58
tuned by octaves with the C, D, E, "gravi."
By using the hand of Guido, and the last named three
keys of Zarlino for timing, a "harpsichord will be musically
tuned." "Two conditions" or requisites are necessary to tune
a harpsichord accurately: (1 ) a "knowledge of the musical
register" and (2 ) "a good ear" because without the latter,

59
music is worth nothing .-77
63
The Studying of All the Musical Keys
In the 1611 edition of E 1Organo suonarino rules are
included to safely 3tudy '’all the musical keys on the basic
keyboard of 28 keys." Such a keyboard is "divided into
four dispositions of seven notes . . . Fourteen of the
28 notes are unaltered or natural notes which "serve for
the harmony of the choir," and the other fourteen notes are
altered, or black notes, which are convenient for playing
in concert. Four of the keys, two altered and two unaltered,
are read in the same manner as the "unaffected ones," yet
with the mutations as t-hey are indicated. Banchieri provides
examples of the keys along with the sharps and flats as they
are used in the various keys. The mutations are indicated
by the black diamond shaped notes.^®
Keyboard Fingerings
In the 1611 edition of L 'Organo Banchieri gives
attention to the matter of keyboard fingerings by providing
"rules and practice" on the subject. There are eight in
tervals in each hand, four simple intervals and four com
pound or full ones. The intervals begin with the unison
and extend to the octave. Simple intervals are those in
tervals that do not have the middle filled-in, or the unison
through the fourth. Banchieri first takes the fingerings for
the right hand, then the left. An ascending scale passage in
6Ip
the right hand begins onithe third finger, changes to the fourth
finger, and then alternates three and four to the end of the
passage. On the descent, one begins with the third finger,
changes to the second finger, and alternates three and two
until the end of the passage. The thumb, as in the modern
sense, is understood to be the first finger. For the inter
val of a second, the second finger plays the lower note, the
fourth finger plays the upper note. The second finger then
moves to the interval of a third, which resolves to a unison
played with the third finger. Major and minor thirds, and
fourths, are fingered with the second and fourth fingers.
The second finger takes the lower note, the fourth finger
takes the upper note. The open fifth is played with the
second and fifth fingers, with the fourth finger playing the
middle note when the interval is filled-in. The same fin
gering is likewise used for the open sixth with either the
third or fourth finger used for* filling-in. Banchieri re
lates that the seventh is not used in the right hand, while
the octave is fingered with one and five or "the outermost
fingers of the hand e . . ." When an intermediate note is
played with the octave, the third finger plays the middle
note. However, Banchieri indicates the octave with an in-

61
termediary note is seldom used.
Fingerings for the left hand follow much the same
pattern as for the right hand. A descending scale passage
65
begins on the third finger, followed by the fourth finger,
alternating three and four until the end of the passage.
An ascending scale passage begins on the third finger, changes
to the second finger and alternates the third and second
fingers until the end of the passage. To play the interval
of a second in the left hand, the fourth finger takes the
lower note, the second finger takes the upper note, the
fourth finger moves to the third, and resolves to a unison
on the third finger, The fingerings given by Banchieri in
the example for this interval are the reverse of the above
explanation. For the third, major and minor, and the fourth,
the fourth finger plays the lower note, while the second
finger plays the upper note. The open fifth is fingered
with five and two on the lower and upper notes respectively;
the third of the triad is played with the fourth finger.
The open sixth is fingered in the same manner as the open
fifth; the fourth finger is used for the filling-in of the
interval. When playing the seventh, fingers five and one are
used. The example provided begins with the interval of a
sixth, moves to the seventh, resolves to a 6 th, and ends on
the octave. All the intervals, with the exception of the
second sixth, which is fingered five and two, are fingered
five and one. As with the right hand, the octave is taken
with the outermost fingers. Where filling-in is required
with the "interval of a fourth," the second finger is used,
Banchieri’s example, however, shows a fifth above the lowest
66
note instead of the fourth. In concluding, Banchieri says
these fingerings are "the actual beginnings, safe changes
£of fingerings] and comfortable for the hands."^
67
CHAPTER IV
The Music
Since L tQrgano suonarino is a practical organ method,
where one learns by doing, a major portion is devoted to
musical examples. Every example has a liturgical connection,
whether it is a simple organ bass for a verse of one of the
Masses or one of the four or five voiced organ pieces found
in the various editions. In general, three types of musical
examples can be distinguished: (1 ) a bass line only, or
partly figured bass, which is used for the organ verses of
the Masses, Hymns, etc., (2) Magnificats, Motets, etc., which
use one or two voices with the organ and (3 ) the two to five
part compositions for organ, such as Sonatas, Fantasias,
Toccatas.
Organ Basses
A major portion of the music contained in L 1Organo
suonarino consists of only a bass part. This is in keeping
with the intent of the treatise to provide practice in al
ternating the choir and organ and to provide an organ bass
as a secure guide for the organist to realize the harmony
for the organ versets. The basis of these organ versets is
the Gregorian canto fermo which is presented in canto figurato.
These organ basses are used for Mass items such as the
68
Kyrie, Gloria, Sanctus, and Agnus, as well as for the Credo,
Sequences, Psalms, Hymns, Marian Antiphons, Te Deum, and
Canticle of Zacharia, all of which make use of the alterna
tion principle. The use of numbers does not occur in the organ
basses until the 1622 edition, and then they are used sparsely.
Sharps and flats affecting the 3rd, 6th, and their compounds
are indicated as needed in the 1605 and l6ll--editions. These
basses are not barred and contain a number of two and three
note ligatures, thereby creating a manner of free rhythm in
the style of the canto fermo. In the 1605 edition, only a
bass for the organ verses is given with the text underlying
the organ bass for all verses belonging to the organ,^ This
same practice holds true in the lbii edition, with three
exceptions; these are the Hymns, the Te Deum, and the Bene-
dictus canticle. These latter three items have both the text
and chant of the verses for the choir and the bass for the
2
organ versets with the text for these verses. In the 1622
edition, the choir chants and their texts are included along
with the organ versets and their texts for the Mass of Angels,
Credo C a r d i n a l i , the Hymns, and Te D e u m . All other items
have only the organ bass and text for the organ versets.
Both the 1605 and 1611 editions have black breves given in
dicating the verses for the choir. The 1605 edition has only
one breve under which is given the first word of the choir
verse, while in the 1611 e dition Banchieri instructs that the
69
two black biteves at the end of each organ verset are the
beginning and final notes of the verses allotted to the
choir.^ In the 1611 edition, Banchieri has certain verses
designated "fugha .11 This term is U 3ed mainly for the organ
versets in the Kyrie, but it is also used for certain verses
of the Gloria and, in one instance, the Sanctus. The Kyrie
of the Mass of the Apostles from the 1611 edition has been
harmonized for the purpose of illustration.^
Voice and Organ Music
In each of the three editions of L 'Organo suonarino,
there are various items of the liturgy which are indicated
for one or two voices and the organ. One item, the Magnificat,
is common to all three editions. Banchieri's settings on the
eight tones are not extended settings, but are short versets,
approximately four measures in length. After the intonation
of the initial word, Magnificat, the organ completes the first
verse. Thus, in these settings, the organ is played for the
odd numbered verses rather than for the even numbered verses
as is customary. In the 1605 and 1622 editions, the first
stave of music is for the completion of the first verse; the
second stave is for the remaining organ v e r s e s . ^ Printed
beneath the second stave is the text for these remaining
organ verses. The 1611 edition contains consonante, or
falsi bordoni settings, one for each of the eight tones to
70
be used as an alternate harmonization, if desired. These
consonants bordoni are placed immediately following the first
verse. All settings are in two parts, bass and canto; one
or two voices can sing, if desired, with the organist filling-
in the middle parts.7
In addition to the Magnificat, a brief item for voice
and organ appears in the 1605 edition. This is the short
motet, Adoraraus te Chris te, which is included in the Advent
Mass. Canto and bass are given for this short motet to which
Banchieri has given the heading, "Devout affection to play,

O
and sing . . . ." This item is sung at the Elevation of
the Host where it is appropriate occasionally to sing a
brief motet.
Besides the Magnificat settings in the 1611 edition,
there are in Book Five three Concerti for Soprano or Tenor
and organ. For these Concerti, the bass and canto are given,
the organist filling-in the middle parts. Banchieri has
previously given "rules to read safely all the musical keys
on the fundamental keyboard of 28 keys." We read that with
the given illustations the harmonies can be transposed to
"the taste and agreement of instruments and voices in con
cert . . . " o r will also be "convenient for the canti ferml."
These Concerti, therefore, are to give practice in the com
bining of the organ and voices in a concert-like manner.
The 1622 edition of L 1Organo contains more music for
voice and organ than its predecessors. In addition to the
Magnificat settings, there are eight falsi bordoni found in
Book II, used in conjunction with the Psalm settings. They
are to be sung by one or two voices and also with the soprano
by the tenor. Two parts, bass and canto, are given for each
of the tones.^
Book V of this same edition contains four settings of
the Benediotus Canticle, two on the Eighth Tone, one on the
First Tone, and one on the Sixth Tone. These settings have
the bass and canto or tenor given. As for the Magnificat
settings, the organ completes the first verse after the in
tonation and plays the odd-numbered verses. And as for the
Magnificat, the first stave of music is for the completion
of the first verse; the second stave is used for the remain
ing organ versets. The organ plays the first half of the
Gloria Patri, as for the Magnificat. In the manner of the
Magnificat, the text for the organ versets is placed under
the second stave of the music.
In Book VI of the 1622 edition, three Motets are in
cluded. With a few minor changes, they are the same as
three concerti contained in Book V of the 1611 edition.
They have two parts as in the 1611 edition, bas 3 and a
part designated for either tenor or soprano.
All the above-mentioned settings are short, straight
forward settings with little or no repetition, and are so
designed to suit the needs of the liturgy.
72
The Organ Pieces
The third and last category of music contained in
L 1Organo suonarino comprises a number of short, original
organ pieces to be played at the places in the liturgy
designated by Banchieri in his "table for beginning organists
of when, and how much they are to play." Before considering
these organ pieces, a few remarks seem appropriate about the
character of the early seventeenth-century Italian organs for
which these pieces were written.
Most Italian organs at the beginning of the seventeenth
century were quite small instruments. In general, they con
sisted of a one-manual great organ with an occasional eight
to twelve pedal pull-downs. The tone was clear, but was

12
neither very loud nor very soft. There were no solo
stops or individual coloristic stops such as the oboe or
clarinet, but a unified sound derived from a flue, or prin
cipal ch o r u s . ^ Wind pressure was light; the 16’ principal
was the fundamental stop in the principal chorus, and there
was no seeking of coloristic effects.-^ A typical disposi
tion might be: Principals, Octava, Quinta deeima, Decima
nona, Vigesima seconda, and Vigesima ses ta (161, 8 1, V ,
2 2/3 ', 2 ’, 1 1/3 ’)• To this basic disposition of stops
were sometimes added another Vige 3ima seconda and a wooden
flute stop or t w o . ^
73
Banchieri's own organ in the monastery church of
San Michele was a one-manual great organ built by Antegnati.
Specifications for Antegnati organs are nearly uniform;
therefore, we may assume Banchieri's organ to be similar
to the above-given Antegnati specification.
Banchieri uses a variety of titles for the organ
pieces without any of these titles designating a truly in
digenous f o r m . ^ Most of these short pieces can be played on
the manual alone as only a small number have a part specifi
cally indicated for pedal. The majority of these organ pieces
are a lj. in the l 60f? and 1611 editions, but in the 1622 editions
they are exclusively a 2. All of these pieces are of short
duration, and a number bear the designation da capo, which
makes it possible to lengthen these pieces, if necessary,
to meet the demands of the liturgy. Registrations are speci
fied by Banchieri for some pieces, e.g., Secondo Dialogo
(1611), Sonata Grave (1622), Bizaria del Primo Tuono (1622);
and for one piece, La Battaglia, tempo indications are also
given. Most of the pieces are mono-thematic, or bi-thematic;
several are entitled triplicate but have no clearly defined
third theme. The themes are motivic, and are continuously
repeated in one voice or another. A contrapuntal texture
predominates, with stretto and diminution encountered fre
quently. In some pieces, imitative passages are contrasted
with chordal style, as in Sonata Eight, Book I, 1605 edition.
714-
Other compositions are almost entirely chordal in texture like
tk® Sonata Seven, Book I, l60f> edition. Imitation is mainly
paired, soprano and alto, or tenor and bass, and occurs at the
interval of the octave, fourth, and fifth; one pair of voices
begins where the other pair ends. The notation is of the
Italian partitura variety which is similar to that used at
present. This type of notation is used for the Gregorian
Chant items as well as for the organ pieces. The main dif
ference in the music is that the organ pieces are barred, or
measured, whereas the Gregorian Chant items are unmeasured.
Both the l6 ll and 1622 editions contain pieces found in
earlier opus numbers by Banchieri. The 1611 edition includes
pieces from the 1605 edition of L 1Organo while the 1622 edi
tion incorporates pieces from the Moderna Armonia of 1612.
This latter work is a collection of fifteen Canzone a 2 for
organ alone, or in combination with one or two high and low
instruments added to the organ, two Fantasia a ij., and an
organ bass for a Magnificat on the Sixth Tone. Not all of
these duplications bear the same title in the earlier and
later publications as the following comparison will show:
1605 1611
Sonata Seconda, Fuga Triplicata. Seconda Sonata, Soggietto
Triplicata.
Sonata Terza, Fuga Grave. Prima Toccata del Terzo

Tuono Autentica, alia
levatione del Santiss
Sacr.
75
1605 1611
Sonata Quarta, Fuga Cromatico. Seconda Toccata del qulnto
Tuono Flagale, alia leva-
tlone del Santiss. Saer.
Prlmo Sonata, Ingresso d'un Ingresso di Ripleno.

RTpieno.
Terza Sonata, in Dialogo. Secondo Dialogo.
Primo Ripieno. Prlmo Ripleno.
Secondo Ripieno. Seconda Ripleno.
Moderna Armoni a 1622

Canzona l£. Frima Sonata.
Canzona 11. Seconda Sonata.
Canzona 4.. Terza Sonata.
Canzona 7• Quarta Sonata.
The Sonatas
Turning now to the individual titles, we consider first
the Sonatas. In the three editions of L 1Organo suonarino,
there are twenty pieces having the title sonata applied to
them. A close examination of the sonatas shows no essential
differences in style from the other types of organ pieces. For
example, Sonata Four, Book I, 1605, is titled Second Toccata in
the 1611 edition and from this we can assume the term sonata con
notates fantasy as much as the title capriccio, toccata, or the

17
fantasia itself. It is therefore a generic use of the term
designating a work to he played, not a sonata in the modern sense.
76
Of the total of twenty sonatas contained In the three
editions of L 1Organo suonarino, thirteen are found in the first
two books of the 1605 edition, two are contained in Book V of
the 1611 edition, and five are in the 1622 edition (one in the
appendix and four in Book VI, added after the appendix). The
sonatas of the two earlier editions are a Ip in partitura;
those of the 1622 are all a 2. All are polyphonic one move
ment sonatas composed for a specific use in the church liturgy.
They are among the first keyboard pieces to receive the title
of sonata and certainly among the first such works for organ
nO
to be called sonatas. There are no tempo changes, expressive
elements or, by virtue of their liturgical function, secular
elements present in these pieces.
The Eight Sonatas which conclude Book I, 1605 edition,
are composed specifically for use with the Gradual, Offertory,
Elevation, and Post-Communion. Such usage is explicitly con
firmed by Banchieri in an annotation at the conclusion of the
Masses.Those sonatas are provided with designations such
as Fuga Plagale, Fuga Cromatica, In Aria Francese, Concerto
Enarmonioo. Of the eight sonatas contained in this book, per
haps none has drawn more attention than the Seventh Sonata,
Concerto Enarmonico. This piece with its curious a ^ a n d g#
and d & and c# used side by side has confused musical scholars
for years. No less a significant music historian than Ambros
has called this piece "the most frightful nonsense ."20 The
77
"frightful nonsense” disappears, however, When one considers
two explanations which have been advanced for solving the
enigma of this sonata.
One solution is that given by Ritter 21 in which a >
is equated to a# and d ^ t o d#. Ritter says that German
tablature notation made no provision for the notes of e &
and a#, and the same practices of notation were carried over
22
into Italian tablatures of this period. This solution is
very logical on the basis of harmonic principles,
A second solution to the problem and a solution which
ha 3 been largely overlooked, has been suggested by Haas. He
suggests that the organ for which this sonata was written
had split keys, with the afcand d ^ being higher in pitch
than g# and c # . ^ With the knowledge of either solution,
the "nonsense” disappears.
The five sonatas in Book II, 1605 edition, are for
use with the five Psalms ordinarily sung at Vespers. They
bear such titles as Ingresso d*un ripieno, Fuga Autentica
in Aria Francese, In Dialogo, Capricoio Capriocio, In Aria
Francese, Fuga per imitatione. Of these we mention the First
Sonata for its toccata-like elements. Three or four measures
of passage work over a sustained psdal tone are alternated
with a measure in chordal style, the whole in the style of
a free fantasia. These sonatas are less restrained than
those in Book I of this edition.
78
Two sonatas are included in Book V of the 1611 edition
of L 1Organo. Both of these are contained in Book I of the
1605 edition. The First Sonata, doppio soggietto, is the
Sixth Sonata, Fuga triplicate, in the 1605 edition; the
Second Sonata, Soggietto triplicato, appears in the earlier
edition under the same title.
Five sonatas are in the 1622 edition of L 1Organo
suonarino~-one in the appendix, the remaining four in Book VI.
All five sonatas are s. 2, with the four contained in Book VI
being taken in their entirety from the Moderna Armonia.
Banchieri tells .us in the appendix that the purpose of these
£ 2 pieces is to practice playing the fantasia in an easy
manner.^ One of the five sonatas (found in the Appendix)
bears the title Sonata Gravet Alla Levatione. Later, on the
title page of Book VI, Banchieri discloses that the four
sonatas in this book are "to harmonize on the organ and, if
pleasing, a high instrument and also a low one . . . " may

25
be added to the organ. The instruments indicated by
Banchieri for the high and low parts are, respectively, the
violin and trombone. These four sonatas are imitative; the
indication fuga occurs at the beginning of the first two
sonatas while the third and fourth sonatas are designated
in 3cherzo. With regard to the use of the instruments, the
violin is used exclusively with the upper voice in passages
notated in the G clef while the trombone is employed mainly
in passages notated in the F clef. The instruments are not
79
used in the passages marked fuga, which are notated in the alto
and tenor clefs in the first two sonatas. In the Third Sonata
the lower voice bears the designation "trombone all 1 alto"26
at the initial entry of the trombone. With the exception of the
first four measures, notated in the alto clef, the lower part
is notated in the tenor clef. The instruments play continu
ously throughout this piece excluding the previously cited
four measures. The Fourth Sonata begins with the lower voice,
for which the trombone can be used, "if pleasing; if desired"

27
the violin can also be used. The lower voice is again no
tated in the tenor clef. Some use of numbers, e.g., 5 6, 3
is indicated for the middle voices. These are found mainly in
the Sonata Grave. The organ as employed in the four sonatas
in Book VI functions as a basso continuo instrument. In
essence these four sonatas in Book VI are examples of the
ensemble canzona which frequently appeared under the title

20
"sinfonia" or "sonata" at this time.
Capriccios
Four capriccios are found in Book IV, 1605 edition of
L O r g a n o suonarino. A 2 pieces, they are played after the
Magnificat, or after the second Agnus Dei with the "filling-

29
in" to be done at the pleasure of the organist. 7 The
capriccios are short pieces which begin imitatively, but
basically are of a nomophonic texture with some points of
80
imitation occurring throughout. Imitation occurs at the in
terval of a fourth or fifth; all have the indication da capo
fino al fine. All have much more movement than the sonatas
and are less restrained in style.
Ripienos
Pieces bearing this title are found in both the 1605
and 1611 editions of L *Organo suonarino. Prom the previously-
given list of duplications, it can be seen that the Ripienos
for the Deo Gratias have the same title in both editions.
With slight modification, the Ingresso d*un Ripieno of the
1611 edition is the First Sonata, Ingres30 d*un ripieno,
contained in Book II, 1605 edition. The principal change in
the l6ll edition is the elimination of the dual bass part,
one note for manual, the lowest note for pedal. In the latter
edition, only a bass part specified for pedal is given.
Banchieri indicates in his table for organists that
the Ripieno is played after the Epistle and again after
the Ite Missa E s t . It is also played after the intonation
of the Gloria on Holy Thursday and at other times.3® When
played for the Deo Gratias, the Ripleno serves in a manner
similar to a postlude. The Ingresso di Ripieno is meant to
b'7' played at the entrance of the priest, Ingres so meaning
"entrance," or in the Ambrosian rite "introit."-^ In this
function, it serves in the nature of a prelude.
R ep ro d u ced with p erm ission of the copyright ow ner. Further reproduction prohibited w ithout p erm ission .
81
All of these pieces are extremely short; the longest
is only approximately 20 measures in length. The Ripienos
for the Deo Gratias are a mere 8 or 10 measures in length.
All the pieces are in a chordal style infused with much
passage work. They are all a ij. with the exception of the
Second Ripieno in the 1605 edition. This piece is a 5
with a dual bass part, one for manual, and one for pedal,
although not specifically indicated as such. In the 1611
edition, the bass part is changed to a single line and the
sustained pedal notes are eliminated. The word Ripieno
by the nature of its use can be taken here to mean "full"
rather than "filling-in"; hence, Ripienos are pieces played
where the liturgy demands the full organ.
Ricercatas
Three compositions with the title of Ricercata are
included in Book V, 1611 edition. The first of these works
is on the first tone and is based on the Kyrie from the
Mass of the Apostles. This monothematic piece is based on
the first eight notes of the first Kyrie. The first four
notes of the plainsong are the ones which receive the most
extensive treatment following the initial entries of the
four voices.
Ricercata number two is on the second tone and is
bi-thematic. One theme appears at the outset in the bass,
82
with the second theme played in the tenor a measure later.
The uppermost voice part then answers to the bass theme, and
the alto answers to the tenor, or second theme.
The third of the riceratas is on the third and fourth
tones. It is a polythematic work with several motives,
heard one after another, being treated imitatively.
The use of paired imitation occurs in the first two
pieces while the third is characterized by frequent use of
chromaticism. In all three, there is use of the usual imi
tative devices of stretto, diminution and, to a lesser degree,
augmentation. The Ricercata is specified to be played after

32
the Orernus until the Orates fratres is said.
Canzonas
Two of the four pieces in this classification are
designated by Banchieri as Canzone Italiana, and two as
Canzone alia Francese. No major stylistic differences can
be discerned between the two types as composed by Banchieri.
All are short imitative works of lj?-20 measures; all bear the
da capo indication, and all are a ii. The Italian type is in
a quadruple meter throughout; the French type, while mainly
in quadruple meter, contains an occasional measure or two of
sextuple meter. Both types are found in Book V, 1611 edition.
The canzona as well as the capriccio is used after the second

Agnus D e i . 33
83
Dialogos
The Dialogos are in the nature of the echo type pieces
that were popular in the late sixteenth century. Two such
pieces are included in Book V, 1611 edition. Banchieri*s
Dialogos are short pieces approximately 20 measures in length
which achieve an echo effect through the repetition of a
short phrase first played in an upper register, then repeated
in a lower register, and by specific registration changes,
rather than through the musical content.
For these pieces, Banchieri utilizes an episodical
arrangement. In the Second Dialogo, four episodes are com
bined to form a symmetrical whole. Each succeeding episode
is shorter, which produces a feeling of balance and continuity.
The last 3 1/2 measures form a short coda which concludes the
piece. The First Dialogo follows a similar formal structure
except it does not have a coda. Both of these works are
homophonic in texture, a ij..
Toccatas
In Banchieri’s table for organists, we read that for the
Elevation the organist is to play something soft and solemn.
The 1611 edition of L *Organo contains in Book V two short works
which are entitled Toccata and which are specifically indicated
for use at the Elevation. Thus, we find here a predecessor of
Frescobaldi*s toccatas for the same purpose. Elsewhere,
81 *.
Banchieri relates that the toccata is played after the Epistle.^
Both of the toccatas In the 1611 edition are found in Book I,
1605 edition, with the title of sonata. The First Toccata is
the Third Sonata, Fuga Grave, in the 1605 edition; the Second
Toccata is the Fourth Sonata, Fuga Cromatico, in the 1605 edi
tion. We see again with the toccatas, factual evidence that,
regardless of the title, Banchieri*s short organ pieces are not
of a sharply varying style. The First Toccata is on the third
tone, authentic, while the Second Toccata is on the fifth tone,
plagal.
One may assume Banchieri intended the registration for
these toccatas to be a principal stop used alone, or a com
bination of the principal and vox humana stops. These stops
were customarily employed for the Elevation, with the principal
stop being p r e f e r r e d . T h r o u g h this registration, as through
the music, solemnity is achieved to move the people to devotion.
Due to the purpose for which they are used, these toccatas
are not designed in the usual style of the toccata of this period,
passage work alternating with chords. Banchieri1s toccatas are
imitative, therefore, of a contrapuntal texture. Both are poly-
thematic, beginning with the simultaneous announcement of two
themes; when the third theme enters, both toccatas subject this
theme to strett-o treatment and become monothematic from this point
to the end.
85
Fantasias
A Fantasia on the 12th, or Sixth Tone Plagal,
is contained in Book V, 1611 edition of L 1Organo suonarino.
This composition, a I}., is imitative throughout. After suc
cessive entries, the voices proceed a I4.; then a brief passage
of paired imitation follows. Concurrent with the paired
imitation is a change from the 12 th tone, or sixth tone
plagal, to the 11th tone, or fifth tone authentic. Another
passage a 1|. concludes the work. Throughout this work,
Banchieri uses the tenor clef for the'lowest or bass voice.
Two additional fantasias are included in the appen
dix of the 1622 edition of L rOrgano. Both are a 2 in keeping
with Banchiori1s purpose of providing easy practice for the

17
playing of the fantasia. The first of these a 2 fantasias
is on the seventh and eighth tones. It is further designated
Fuga per imitations. The figures I4. # 3 for the filling-in of
one of the inner voices appear in measure six. This is the
only instance where such numbers are used in either of these
two fantasias.
The Second Fantasia, Modo Fuga Corrispondente, is
on the twelfth and eleventh tones. Both fantasias are
imitative, and both are considerably longer than the majority
of the other pieces. No precise use is given by Banchieri
for the fantasia but from use of the term fuga in the title,
one can draw the conclusion that the fantasia could be used
at the places in Banchieri1s table for the organist where a
fuga is specified.
86
Bizaria
Two short works, sixteen measures each, have the title
of Bizaria. Both works are in the appendix of the 1622 edi
tion. The word itself means "whimisical," or a "whimsy."
How such a title fits with the Gradual, as is indicated for
the first Bizaria, can not be determined. Presumably both
Bizaria are used for the Gradual; only the first one, however,
specifies such a use, Both works are on the first tone and
specific organ registrations are given; both are imitative.
The first Bizaria is in duple meter with a mixture
throughout of Lf./2 and if/lf. meters. The numbers I4. # 3 are given
in four measures (lj., 6, 10, 13) for the middle parts. In two
instances, there is also the use of tempo indications, i.e.,
piu presto, prestissimo. The organ registration specifies
"flute at the octave."3® The second Bizaria is in triple meter;
Banchieri has designated this piece to be played "at the fourth
with the Flute 12th. Again numbers are given for the middle
voice in measures three and five, e.g., 5 # 6 and # 5 # 6.
The Battle
Banchieri’s Battle is found in Book V, 1611 edition of
L *Organo suonarino. This particular Battle has received atten
tion on at least two accounts: (1) it is one of the first com
positions of this genre which is not the representation of a
specific battle; (2) it is the first battle piece to be written
specifically for orga n .^ Though this battle piece has received
87
mention for some years in various articles pertaining to the
historical development of the battle pieces, those who have
written about it have failed to notice Banchierifs explana
tion about this Battle piece. Earlier, in the introductory
comments to Book IV of this edition, Banchieri has written:
. . . by custom, on Easter Bay, a battle is permitted to

be played that is virtuous and consistent with the sacred
Paschal Sequence. ‘Mors et vita duello conflixere mirando
. . . .’ We must not always, however, employ a cheerful
style, but sometimes vary the time, and, in particular
for the Elevation of the Holy Sacrament use seriousness
and tenderness . . . .4-1
Prom this we see Banchieri*s Battle is to be played during
the Mass for Easter and symbolizes the struggle of life over
death. More precisely, it is symbolic of the Crucifixion and
Resurrection. Therefore, it appears that we have the repre
sentation, not of an earthly battle, but of a struggle be
tween the physical and spiritual aspects of death.
The Battle is an a 2 piece which, through meter changes,
various rhythms, and tempo changes, is of sectional construction.
In an almost continuous stream, it contains march, signal, and
fanfare type motives. The various sections, or divisions, are
each marked by not only the above-mentioned characteristics,
but also changes of organ registration.
Organ Mass
The Mass for Sundays, a 2 for organ, is the first item
in the appendix of the 1622 edition of L *Organo suonarino.
88
Banchieri has set the usual items of the Ordinary played by the
organ in alternation. The disposition of the versets for organ
is as follows:
KYRIE. 1. Kyrie _________ 3. Kyrie
_________ 5. Christe
7. Kyrie 9. Kyrie
GLORIA. 2 . Et in terra ip. Benedicimus.
6. Glorificamus. 8. Domine Deus Rex.
10 , Domine Deus Agnus. 12. ûi tollis.
114-■ Quoniam. 16. Tu solus. 18. Amen
SANCTUS. n•
X Sanctus 3. Sanctus
AGNUS. 2. Agnus
To these versets Banchieri adds a short verset for the Deo
Gratias. The first Kyrie contains the instruction "after the
Introit.nk-3 There is approximately an even number of versets
in both chordal and imitative styles. For the middle voice,
there is also some use of numbers, e.g., 7 U- # 3» They are,
however, more of a rarity than the norm. Only a few versets
display a noticable resemblance to the Gregorian canto fermo
used for the corresponding organ basses of this Mass in Book I
of this edition. They are the second Christe, the fourth Kyrie,
which is based on Kyrie I, Et in terra pax, which is in diminu
tion compared with the organ bass, and the second Sanctus, which
is Sanetus I of the organ basses.
89
Here again, as with the Masses of Book I of the three
editions of L 1Organo, Banchieri follows the format of Cavazzoni
for his disposition of the organ v e r s e s . ^
Organ Registrations and Tempo Changes
Organ registrations are specified by Banchieri in each
of the three editions of L *Organo suonarino. These registra
tions, along with the tempo indications and changes that are
given, are among the oldest, if not the oldest, specified
organ registrations. These specified registrations do not
occur frequently, but the function of many pieces in the
liturgy gives a clue as to their registration. Such is the
case for the compositions of the l60j? edition. Their use
during the Mass at the Offertory, Elevation, Gradual, etc.,
would undoubtedly require a softer, more solemn type of
registration. In Book II, 1605 edition, the Third Sonata
specifically designates Ripieno for the last three bars, in
dicating a full registration. By the nature of their use,
the Ingressp di Ripieno and the Ripienos per il Deo Gratias
would also demand a full registration.
It is in the 1611 edition of L 1Organo that Banchieri
gives the most precise organ registrations. In the First
Dialogo in the third last measure, the directions 11full and
solemn” are f o u n d . ^ The Second Dialogo begins with the
Principal and Octave with the direction "take off the octave.”^6
90
in measure four where the first of the echo effects occurs
through a shift to the lower octave. The basic Principal
sound of the Italian organs of this era was a 1 6 1 stop, and
the Octave was an 8 ’ of the principal ranfc.^ Thus, we have
in this Second Dialogo not an 8 * and J4.1 registration, but a
1 6 ’ and 8 ‘ and when the Octave is taken off, only the 16*
sound remains. Although Banchieri does not so specify, it
may be assumed h© intends the same registration to be used for
the succeeding register changes.
Probably no other organ piece by Banchieri is as spe
cific in registration details as the Battle. At the outset,
Octave and Piute are the indicated stops, on the Italian
organs of this period, the Piute was the principal solo stop.
Usually it had an 8 ’ pitch, but it was also found at the
2 ’, and 2 2/3’ pitches on some organs.^-® At the beginning of
the first adagio, the Principal is added to the initial two
stops. Two sections call for a ’’full" registration, while
another section is indicated "adagio and empty. Presumably
Banchieri desired a quieter registration for this section in
asmuch as it follows a section which is designated "presto and

Cq
full." Some changes in registration may be assumed for those
sections where none is indicated, by virtue of the fact that
the same registration, Octave and Flute, is indicated for two
widely separated sections with no changes in registration be
ing called for in the intervening sections.
91
In turning to the 1622 edition of L *Organo, the use
of tremolo is indicated for the verset "Qui tollis" in the
Gloria of the Mass. The use of the tremolo is indicated for
the organ basses for this same verse in theMass of Sunday,
Mass of the Apostles, Mass of the Angels, and also in the
& 2 Organ Mass. Itis also designated for the "Crucifixus"
verset in the Credo Dominicale.
The Sonata Grave for the Elevation is to be played with
only the Principal, such a registration being customary at this
period. The Italian principal had a smaller, softer, and clearer
sound than the German Principal and the Principal on today’s
organ. Such a registration, therefore, was well suited for

£l
moments of meditation in the liturgy of the church. We can
conclude that the two Toccatas for the Elevation in the 1611
edition of L ’Organo would employ the same registration, al
though the registration is not specified by Banchieri.
We consider now the registrations for the two Bizaria
in the 1622 edition. The first of these calls for the "flute
at the Octave," or an 8* Flute Stop. The second presents more
of a problem in that it is to be played "at the Fourth with the
Flute 12th." The Flute 12th is normally a 2 2/3* stop. Ritter,
however, Is of the opinion that the Flute 12th called for in
this piece is a Q u i n t e 10 2/3' by which the piece is transposed

eJ2
a fourth lower in sound .^ This explanation, although a work
able one, seems rather unlikely when we take into consideration
92
the principles of construction generally embodied in the
Italian organs of the early seventeenth century.
The first of the three Motets in the 1622 edition
contains not only registrations and tempo markings but also
a performance indication. In two instances in this work,
the word arpeggiato is found. ^
Finally we consider the tempo indications which
Banchieri has used. These tempo designations are, like the
organ registrations, the exception rather than a common
occurrence. For the majority of pieces contained in
L *Organo suonarino, the liturgical nature determines the
tempo. It is in the first Dialogo contained in the 1611
edition that one encounters the first definite terms govern
ing tempo. This Dialogo, in the third last measure, has
the directions "pieno e^ grave,*' full and solemn.^ A second
piece where definite tempo terms are used is The Battle
where such terms as adagio, presto, allegro, and veloce are
found. Here the tempo indications are used in conjunction
with the changes in registration, e.g., Octave and Flute,
allegro, etc.
55
9.3
NOTES
Chapter I
■Âllorto, Ricardo, "Adriano Banchieri" in Enciclopedia

Ricordi, G. Ricordi and Co., Milano, 1963, p. 177*
2Ibid., p. 177.
3capaccioli, Enrico, "Precisazioni biografiche su

Adriano Banchieri" in Rivisfca Musicale Italian!, October-
December, 1954, p. 341*
^•Schmidl, C., "Adriano Banchieri" in Dizionario

Universale dei Musicisti, Casa Editrice Sonzogno, Milano,
1928-1929, p. 10m
^Schmidl in the previously cited article on Banchieri
in Dizionario Universale reports that a constitution for this
organization is in the Cartella Musicale (1614 edition), where
it called Accademia del Florid!'.
^Don Giralomo Giacobbi (1567-1629), an Italian composer

who was maestro di cappella of San Petronio in Bologna from
1604-162B"I He is recognized as the earliest dramatic composer
in Bologna.
Êinstein, Alfred, The Italian Madrigal, Princeton

University Press, Princeton, N. J., 1949, vol. 2, p. 802.
^Banchieri, Adriano, L 1Organo 3uonarino, Alessandro

Vincenti, Venice, 1622, p. 209.
Êinstein, o£. cit., vol. 2. p. 802.
lOschmidl, ojd. cit., p. 104 *
■^This booklet is known under the title Dlscorso per

fuggire 1 ^ t i o esfclvo, published in 1622.
^2Redlich, Hans P., "Adriano Banchieri" in Musik in

Geschichte und Gegenwart, Bfirenreiter, Kassel and Basel,
1949----- , vol. 1, p. 1^07.
■Ârnold, A. P . , The Art of Accompaniment from a Thorough-
Bass, Dover Publications, N. Y., 1965, vol. 1, p. 7*
^Redlich, o£. cit., p. 1209.
9if
'Reese, Gustave, Fourscore Classics of Music Literature,

Liberal Arts Press, N. Y.7 1957» P • 371 388 also Scfalmidl, op.
cit., p. 10i|..
•^Redlich, op. cit., p. 1210. The Ecclesiastic! Sinfonie

is a collection of“four-part canzonas for playing and singing.
17Haas, Robert, Auffuhrungspraxis der Muaik, Academiache

Verlagsgesellschaft Athenaion, Potsdam, 1931 > p. 1^-5.
■^Redlich, o£. cit., p . 1210.
•^^Raugel, Felix, Les Organistes, Henri Laurens, Paris,

1933, P. 57.
20
Ambros, A. W., Geschichte der Muaik, F. E. C. Leuckart,
Leipzig, 1881, vol. If., p. 711.
21
Einstein, oj>. cit., vol. 2, p. 802.
Chapter II
^-F^tis, F. J., Biographie Universale des Musicians,

Librarie de Firim Didot Fr&res. Fils et cie, Paris, i860,
vol. 1 , p. 23^4-*
^Banchieri, Adriano, L O r g a n o suonarino, Rieciardo
Amadino, Venice, 1605, P* 111.
■Âmbros, o£. cit., vol. ij., pp. i|.35-i+36.
^Frotscher, Gotthold, Geschichte des Orgelspiels,

Merseburger, Berlin, 1959, vol. 1, p. 221.
^Banchieri, o£. cit., 1605, p. 109.
Îbid., 1611, Title page (original edition).
7Ibid., 1622, p. 209 .

®Ibid., "Discorso dell 1 Autore,” 1605, p. 112, "Toccata,”
1611, p. I4. (original edition).
^Liber Usualis, Desclee Co., New York, 1959, pp. 39-14-3,

I4.6 -48 , 25-28. See also, Tagliavini, Luigi, "Role Liturgique
de L'Organiste Jusqu’ A L'Epoque Classique" in Ac tea du
TroisiSme Congr^s International de Musique Sacree, Edition du
Congr&s, Pari s . 1957, P« 369.
95
"^Banchieri, eg., cit., 1605> p. 116.
11Ibid., 1611, p. 9 (original edition).
^ L i b e r Usualis, pp. 56-59.
•^■^This Mass is not included in the Liber Usual i s .
^ L i b e r Usualis, pp. 37 —I4-O.
Îbid., the Kyrie is taken from Mass XII, p. ij.8 ; the

remainder is Mass XIV, pp. 51-J--56.
^ lbid .t the Kyrie, Sanctus, and Agnus are from Mass II,
pp. 19-22; the Gloria is Chant I ad. lib.
^Banchieri, op. cit., l6ll, p. ij. (original edition).
^ I b i d . , 1611 , p. l\. (original edition).
^ I b i d ., 1611, p. Ip (original edition).
Z 0Ibid., 1622, p. 217 .
21Ibid., 1622, p. 219 .

22Ibid., 1605, P* 111*5 l6ll, p. 6 (original edition):
1622, p. 222 .
23These Credos are found in the Liber Usualis as
Credo I, p. 6ip, and Credo IV, p. 71. See also Sobering,
Arnold, ”Zur Alternatim-Orgelmesse” in Zeitschrift fur
Muslkwissensohaft, vol 23, p. 23 .
^Banchieri, ojo. cit., 1622, p. 222.
2Îbid., 1611 , p. 6 (original edition); 1622, p. 222 .

2Îbid., 1611 , p. 10 (original edition); 1622, p. 220 .
27Ibid., 1605, p. 138; 1611 , p. 17 (original edition);
1622 , p. ‘2207
2®Ibid., l6ll, p. 21 (original edition).
2Îbid., 1611, p. 36 (original edition).
3®Ibid., 1605» P» llfOj 1611, p. 19 (original edition);

1622, p. 2257
96
31Ibid., 1605, P. 140; 1611 , p. 19 (original edition);

1622, p. 225.
32Ibid., 1605, P« 140 ; 1611, p. 19 (original edition);

1622, p. 225.
33Ibid., 1605, P. 140; 1611, p. 19 (original edition);

1622, P. 225.
3Îbid., 1605, P* 140; 1611, p. 19 (original edition).
-^Franchinco Gaffurio (Gafori), Pratica Musicae, 1496.

Later editions to 1512 with slight variations in title. See
Reese, Fourscore Classics, p. 37.
38Banchieri, oj>. cit. 1605, p. 141; 1611, p. 19

(original edition).
-^ I b i d .3 1605, p. 11^-lJ 1611, p. 19 (original edition).
38Ibid., 1605, p. Ik2.

^°Ibid., 1605, P. 41; 1611, p. 20; 1622, p.30. All

references here are to the original editions.
Îb i d . , 1605, p. 143•

^2Ibid,, 1605, p. 59 (original edition); 1611, p. 26
(original edition); 1622, p. 230. The term falsi bordoni
refers here to a series of sixth chords or six-four chords
with a bass tone added below. Such harmonizations were used
for the Psalms, Magnificats, etc.; organ verses harmonized
in this manner were used in alternation with the plainsong
verses.
^3Ibid., 1622, p. 230.
Îbi d . , 1605, p. 144; 1622, p. 226.
Îbi d . , 1605 , p. 147.

Êcclesiastes 1:10.
^Banchieri, -op. cit., 1605 , p. 158;
^8Ibid., 1605, p. 159; 1622, p. 234.
^9Ibid., 1605, p. 158.
97
£°Ibid. 1611, p. 31+0 .
Î b i d . 1611, p. 31+3.
52Ibid. 1611, p. 31+1+*
^3Ibid. 1611, p. 28 (original edition); 1622, p. 236.
Îbid. 1611, p. 28 (original edition) .
Î b i d . 1611, p. 28 (original edition); 1622, p. 236.
^6Ibid. 1622, p. 236 .
^7Ibid. 1611, p. 6 (original edition); 1622, p. 222.
^8Ibid. 1622, p. 237.
^9Ibid. 1611, p. 30 (original edition).
6oIbid. 1611, p. 36 (original edition); 1622, p. 239 .
6lIbid. 1622, p. 21+3.
8^Reese Gustave, Music in the Renaissance, W. W. Norton

., Inc., N. Y., 1951+, P- ^90.
^Banchieri,
— — — 9 pp. cit., 1605> p 161+; 1611, p. 1+1
(original edition).
k^T b i d ., 1605, P* 161+.; 1611, p. 1+1 (original edition).
Îbid., 1611, p. 1+1 (original edition); 1622, p. 273 .
^ I b i d .s 16II, p. 1+1 (original edition); 1622, p. 273*
87II Kings 6:12-ll+.

68 Banchieri, ojo. cit.. 1611, p. 1+1 (original edition)
69Francesine is Banchieri’s term for Canzona alia

Francese.'
70 Banchieri, o£. cit., 1611, p. 1+1 (original edition).
71Ibid., 1611, p. 1+1 (original edition).
72Ibid., 1611, p. 1+2 (original edition).
^Îbid., 1611, p. 1+2 (original edition).
98
^ I b i d ., 1611,p. 49 (original edition).

7Îbid., 1622,p. 272.
76Ibid., 1605, P. 163.
77Ibid., 1622,p. 27^..

78Ibid., 1611 ,p. 52 (original edition).
79
Catholic Encyclopedia, Robert Appleton Co., N. Y.,
1938, vol. II4., p. 14.68 .
Qa
Banchieri, op.cit., 1611, p. 52 (original edition).
8lIbid., 1611, p. 52 (original edition); 1622,p. 275 .
82Ibid., l 6ll, p. 52 (original edition).
83Ibid., 1611, p. 52 (original edition); 1622, p. 275 .
8^*These two feasts would be Whit Monday and Whit Tuesday.
8^Banchieri, pp. cit., 1605, p. 118; 1622, p. 221.
86Ibid., 1622, p. 221.
87Ibid., 1622, p. 275 .
88Ibid., 1622, p. 276.
89Ibid., 1605, p. 191.
90Ibid., 1622, p. 287-
91Ibid., 1605, p. 191.
92Ibid., 1622, p. 275.
93Ibid., 1611, pp. 55-56 (original edition).
9Îbid., 1622, pp. 277-279 .
9% b i d . , l6ll, p. 54 (original edition).
9^Julian, John, A Dictionary of Hymnology, Dover

Publications Inc., N. Y., 1959» p. 9lffi.
97Banchieri, op. cit., 1611, p. (original edition).
99
9®Julian, o£. cit., p. 9i|JU-•
99ganchieri, o£. cit., 16q5» p* 137} 1611, p. l+l

(original edition); 1322, p. 273*
100Ibid., 1611, p. 2 (original edition); 1622, p. 27I4.
101Ibid., 1611, p. I4.I (original edition); 1622, p. 273*
102Ibid., 1605, P. 137} 1611, p. 99 (original edition);

1622, p. 223. The Masses of the canto fermo are based on
Gregorian Chant. Banchieri uses the terms canto fermo and
canto figurato synonymously for his paraphrases of the chant.
l°3ibid., 1611, p. 99 (original edition).
lOîbid., 1605, p* 113} 1611 , p. 6 (original edition);
10Îbid., 1605, p. 137; 1611, p. 99 (original edition);

1622, p. 2^37“
107see O'Connell, J. B., Sacred Music and Liturgy,

The Newman Press, Westminster, Md., 1959, pp. 168-171*
10®Banchieri, ojo. cit., 1605, p. 138; 1611, p. 17

(original edition); 1522, p. 220 .
^•^ I b i d ., 1611 , p. 10 (original edition); 1622 , p. 220 .
•^•Îbid., 1611, p. 10 (original edition); 1622, p. 220 .
•^•*-See the edition of 1622, p. 236 , where essentially

the same material on the performance of the hymns is given.
-*--^Banchieri, o£. cit-., 1611, p. J|58»
118lbid., 1605, p. 193; 1611, p. 99 (original edition);

1622, p. eEpir:
100
Chapter III
•^Banchieri, op. cit., 1605> p. II/4.5 1611, p. 5

(original edition); 1622, p. 218.
^ I b i d ., cf. the 1622 edition, p. 3 (original edition),

Prima Messa della Madonna.
^The rules of these composers are contained in the

following books: Viadana, Cento Concerti Ecclesiastici;
Bianciardi, Breve regola per imp'asar a sonar® sopra i ~
Basso con ogni sorte d 1 Instrumento; Agazzari, Del suonare
sopra il basso con tutti strumenti & use loro nel concerto.
^Banchieri, o£. cit., 1611 edition, p. 369.
5ibid., 1611, P* 371.
6Ibid., 1611, P* 373.
7lbid., 1611, P- 377.
8Ibid., 1611, P* 379.
% b i d . , 1611, P- 379-
10Ibid., 1611, P* 379.
i:LIbid., 1611, P* 381.
12Ibid., 1611, P« 381.
•Îbid. , 1611, P* 382.
^ I b i d . , 1611 , P* 381+..
^ I b i d . , 1611, P- 385-
l6Ibid., 1611, P» 387.
^ j b i d . , 1611, P- 387.
101
l8Ibid., 1611 , p. 387 .
19Ibid., 1611, p. 389.
20Ibid., 1611, p. 390.
21Ibid., 1611, p. 391.
22Ibid., 1611, p. 391.
2Îbid., 1611, p. 3 (original edition); 1622, p. 212 .
2i4 l Kings 6:12.
2^Banchieri, 00 . cit., 1611, p. 2 (original edition);

1622, p. 212.
28Ibid., 1611, p. 31 (original edition); 1622, p. 213.
2 ^Platina, Battista (Bartolomeo, Ii4.2i-li4.8l), a humanist

and historian; he became Vatican librarian under Sixtus IV.
He is the author of the book Lives of the Popes, which prob
ably serves as the source of Banchieri's information.
28Ctesibius (Ktesibius), flourished c. 214-6-221 B. C.;

he was a native of Alexandria.
2^See Vitruvius, Ten Books on Architecture, Dover

Publications, Inc., N. Y., i960 , pp. 299-300.
3®Banchieri, o£. cit., 1622, p. 213.
^ 1Ibid., 1611 , p. 3 (original edition); 1622, p. 213 .
3 2ibid., 1611 , p. 3 (original edition); 1622, p. 213 .
33lbid., 1611 , p. 3 (original edition); 1622, p. 21I4..
102
3^-This chapter i3 on "Whether Monks Ought to Have

Anything of Their Own." The essence of this chapter is
that Monks are not to consider anything as their own, but
"all things" are to "be common to all . . . See St.
Benedict, Rule for Monasteries, trans. Leonard J. Doyle,
The Liturgical Press, Collegeville, Minn., 191+8, p. 51.
-^Vincentino, L'Antica musica ridotta alia moderno

prattica, 1555* See Reese, Fourscore Classics, p. 1+7.
3^Banchieri, oj3. cit., 1611, p. 1+ (original edition);

1622, p. 215 .
3?rbid., 1611, p. 1+ (original edition); 1622, p. 215.
38ihe voce umana was a Principal tuned sharp, which

produced an undulation when combined with the true Principal.
It was, in sound, similar to the modern voix celeste. See
Tagliavini, "Role Liturgique de L'Organiste Jusqu1 A L'Epoque
Classique," in Agt93 du Troisikme Congrks International de
Musique Sacrde, Edition du Congrds, Paris,' 1957, p. 371.
^^Banchieri, o ]d . cit., 1611, p. ip (original edition);

1622, p. 216.
^°Ibid., 1611, p. i+ (original edition); 1622, p. 216.
^ I b i d . , 1611, p. 1+ (original edition); 1622, p. 217 .
^2Ibid., 1611, p. 361+.
^3ibid., 1611, pp. 361+-365.
^+Ibid., 1611, p. 366.
^ I b i d . , 1611, p. 367.
^Sachs, Curt, History of Musical Instruments, W. W.

Norton, N. Y . , 191+0, ;p . 266.
^ S a c h s , Curt, Real-Lexikon der Musikinstrumente,

Julius Bard, Berlin, 1913, P* 10.
^Banchieri, oj>. cit., 1611, p. 97 (original edition)
1622, p. 288.
^Praetorius, Michael, Syntagma Musicum, trans.

Harold Blumenfeld, Barenreiter, N. Y . , 1982, vol. 2, p. 1+7.
^Sachs, Real-Lexikon, p. 10.
^Banchieri, o£. cit., 1611, p. 97 (original edition)

1622, p. 289.
^2Ibid., 1611, p. 97 (original edition); 1622, p. 289
^ Ibid., 1611, p. 97 (original edition).
^ T b i d . , 1611, p. 454.
% t , re, mi, are the three lowest notes of the key

board in the GravTssimi register.
-^Banchieri, o£. cit., 1611, p. 454*
^ 7Ibid., 1611, p. 455.
58Ibid., 1611, p. 457.
^Îbid., 1611, p. 456.
60Ibid., 1611, pp. 392-393.
8lIbid., 1611, pp. 448-450.
62Ibid., 1611, pp. 1

+50-452.
Chapter IV
^Banchieri, ojo. cit., l605» cf. p. 3 (original edi

tion) .
2ibid., 1611, cf. p. 52 (original edition).
10k
Îbid., 1622, cf. the Mass of Angels, p. 13 (original

edition).
% b i d ., 1605, p. ki 1611 , p. 5 (both, original edi

tions) .
^See page J4.62 for this realization.
6Ibid., 1605, P» 166 ;
?Ibid., 1611, P- 3¥>.
8Ibid., 1605, P* 117.
9Ibid., 1622, P- 230 .
10Ibid., 1622, P- 277.
1:LIbid., 1611, P* 3914-5
Sumner, William Leslie, The Organ, Philosophical

Library,, N. Y., 1952, p. 77* See also Hytek, Sister M.
Theophane, "Aspects of Style in the Performance of Organ
Literature: (16th, 17 th and 18th Centuries)" in Develop
ing Teaching Skills in Music, Catholic University of America,
Washington, D. C., 19^0, p. 53 •
13sumner, o£. cit., p. 77*
■^Frotscher, oj d . cit., p. 236 .
•Îbid., pp. 236-238 . These pages give a variety of

dispositions for Italian organs in the early seventeenth
century.
l6Ibid., p. 221.
^Newman, William S., The Sonata in the Baroque Era,

University of N. C. Press, Chapel Hill, N. C., 1959, p. 22.
l8Ibid,, pp. 121-122.
•^Banchieri, ojo. cit., 1605, p. 118.
?0
Ambros. o£. cit., vol. I)., pp. i|35 -^36 .
105
21Ritter, A. G., Zur Geschichte des Qrgelspiels,

Max Hesses Verlag, Leipzig, 108^, p. 28.
^ I b i d . , p. 28, footnote 2.
23Haas, Robert, Die Musik des Barocks, Akademische

Verlagsgesellschaft Athenaion, Potsdam, 1928, p. 175*
^Banchieri, o£. cit., 1622, p. 290.
2Îbid., 1622, p. 316.
26Ibid., 1622, p. 322 .
27Ibid., 1622, p. 321+.

pQ
See Bukofzer, Manfred P., Music in the Baroque
Era, W. ¥. Norton & Co., N. Y., 19i|-7> P» fHT, about the
ensemble canzona.
2<^Banchieri, o£. cit., 1605> p« 182.
3°Ibid., 1605* p. 137; 1622, p. 220.
31Apel, Willi, Harvard Dictionary of Music, Harvard

University Press, Cambridge, Mass., 195o> p. 353*
32Banchieri, cyo. cit., l605» P« 137*
33ibid., 1605, p. 137.
3^-1bid., 1605, p. 137.
3Îbid., 1622, p. 223 .
38Tagliavini, ojd. cit., p. 371*
^Banchieri, ojo. cit., 1622, pp. 303“305»
38Ibid., 1622, p. 301 .
106
39Ibid., 1622, p. 302.
^•°Bienenfeld, Elsa, ’’tfber ein bestimmtes Problem

der Programnmsik1’ in Zeitschrift der Internationalen
Mus ikge se11schaft, voT 8, pp. 166-167.
^-Banchieri, oja. cit., 1611, p. 1+1 (original edition).
^Schering, 0£. cit., p. 21.
^Banchieri, oj). cit., 1622, p. 291.
^Reese, Music in the Renaissance, p. 536. See

also Sobering, o p . cit., p. 21+, for Cavazzoni’s disposi
tion of verses, and Tagliavini, o£. cit., p. 369 .
^Banchieri, o£. cit., 1611, p. I4.3O .
^6Ibid., 1611, p. if31.
^•^Protscher, o£. cit., pp. 236-237*
^Hytek, o p . cit., p. 5 2 .
ii9Banchieri, oja. cit., 1611, p. 1+52.
^°Ibid., 1611, p. i+J+2.
51
Tagliavini, o£. cit., p. 371*
^Ritter, oja. cit., p. 29 ; see footnote 2.
^Banchieri, oja. cit., 1622, pp. 326-328.
107
^Tbid., 1611, p. J+30.
^ I b i d . , 1611, pp. i+i+l—1^ 3 .
p a r t ii
OPUS 13, TRANSLATION AND TRANSCRIPTION
The Art of Organ Playing
by Adriano Banchieri,
Bolognese.
In which one practices whatever is usually required
for organ players, in order to alternate the choir to the
canti fermi, for all the feasts and ceremonies of the year.
[The music isJJ interpreted and rendered most faith
fully from the canto fermo [and capablej of being played
and sung under the guide of a bass in canto figurato, and
is divided into Five Books with intelligible docility.
In the first book one harmonizes the Holy Mass,
in the second the Vesper Psalms, in the third the Hymns,
in the fourth the Magnificat, and in the fifth the Sacred
Praise of the Virgin Mary.
Together with £the preceding items arej Twenty
Sonatas^" in score, and at the end a guide (norma) in order
to know what hymn is correct for every feast and with what
tone the Antiphon of the Magnificat Canticle will be made.
The whole is presented in a new way for the benefit
of diligent organists.
Opus 13
With Privilege
Printed in Venice by Ricciardo Amadino l60£.
110
To the Very Reverend Father
and my most worthy Patron,
Father Don Carlo Mai* Habbia, Veronese,
Abbot of Saint Mary's in Organo.
Whereas I have finally succeeded in having printed

p
at " The Organ.,1' this my Art of Organ Playing, here is an
announcement (dutifully given). So that I shall come to
the service of V. P. M. R. and because you, Abbot of
Saint Mary's in Organo, are there worthily (degnamente)
in Verona, it has seemed convenient to me to dedicate it
to you, in testimony of the anxious desire that I have to
serve you. Believe, love, command me, V. P. M. R., for
free from every further reverent submission, I pray the
LORD GOD for your every desired contentment. At Santa
Lena in Venice the 20th of October, 160£.
For V. P. M. R.
[FronQ the Most Devoted Servant,
Don Adriano Banchieri, Bolognese.
Ill
Discourse by the Author.
p. 1. At the present time there exists vocal and instru
mental music arranged to practical docility, all of it de
rived from good rules and explained with scholarly intelligence
by the most trustworthy teachers. [For this reasonj I thought
(for what it may £be worthj) to publish (aggiugnere) this,
my Art of Organ Playing, for those who profess to play or
gans, not really to give them rules for polished and schol
arly playing (these being contained already in the Transilvano
of the most adequate Diruta), nor to give rules of counter
point (which have been written clearly by Zarlino, Tigrino,
Artusi, Pontio, and other most excellent musicians of our
time). But I thought, rather, to demonstrate by actual ex
perience how much organists usually need in order to alternate
the choir with the canti fermi for all the feasts and cere
monies of the year. Some momists will boast to me (and with
out doubt) that this invention may not be for use on the
organs. Considering (may the truth be examined) they may
be in error, and since this new harmony has been transposed
and translated from the canto fermo to the figurato, I will
dare say that it is indispensible for every desire of the
organist. In the first place, those whose playing is well-
grounded, seeing themselves in the presence of a fugue pro
duced from the canti fermi, will be able, concerning those
fugues, to explain their learned fantasia. And with the
112
guidance of the tones common to each feast, they will be able
to foresee whatever is neeessary. Secondly, those who play
without knowledge (possesso) of the canto fermo, by having
a bass as a most secure guide and the places for beginning,
and by employing the cadences and their choir finales to
the eight ecclesiastical tones, assuredly will be able, with
the practice of them, to succeed. I will say that with this
Art of Organ Playing many scandals will be prevented which
happen many times. How could one say to the choir: "We
enjoin the Magnificat to f a , sol,la, or fa, sol, fa?" Who
needs to distinguish the first £tone] from sixth, or the
second from eighth? And £ there are] other ^questions]
which for brevity I omit, perceiving that the organist opens
the first book in order to practice whatever is customarily
required for all canto fermo Masses of the year.
p. 2. Now to give a beginning to this Art of Organ Playing
without other musical discourses, Qsince they] are of little
profit to our plan. I wish with brevity and ease to treat
only the manner of replying £on the organ] to alternate
the choir with the canti fermi of the entire year. First,
we will treat the Most Holy Mass.
Three varieties of sung Masses are found approved
in the Roman Missal which are alternated between the choir
and organ for all the feasts and ceremonies of the year.
113
!Ehe first is called the Kyrie of the Madonna, which
is usually sung on all Her feasts and ceremonies, and on
those of Our Lord, and Virgins.
The second is called the Kyrie of Sunday, which serves
for the individual Sundays of the year not occupied by par
ticular feasts and doubles.
The third is called the Kyrie of the Aposties, which
serves for the feasts (essi) of Most Holy Pentecost, and
for the feasts of Martyrs and Confessors.
On the Sundays of Advent and Lent, and the Day of
Holy Innocents (provided that it not be a Sunday), in many
places particular Kyries are used which we will put in as
needed (suo luoco), although for the most part these Sundays
are sung without the Gloria in excels is.
£now that is is ûnderstood that the Masses alter
nating with the organ are of three varieties, it is time to
proceed in an orderly manner into this First Book where
one will hear a bass, the most secure guide on the organ,
with the finales of the choir. In those churches (if there
are some) where it would be the custom to reply for the second
verses, the wise organist could make use of the Q>ass for
the^J first £yerse byj changing (lasciare) the [pitch for theJJ
voice at the finale for the second verse. I advise that
in all of the Masses, repetition of the Introit will serve
for the first Kyrie.
Hit-
Useful Advice Regarding the Guide of the Organ Bass.
Wishing that this Art of Organ Playing may be clear
to all, I will advise those organists who do not have much
knowledge of the middle parts, that the sharps and flats
will be placed from time to time (accidentalmente) in
three ways. First, when they are £z;ivenj before the note
following on the same place, they serve for the said note.
Secondly, if they are placed before and Qi third]] higher
than the note following, they serve for the third, or tenth
higher. Third, if they are placed before and [a thirdJ
lower than the note following, they serve for the sixth or
13th higher, as this example so clearly shows.
---- :--- Te*-° ■v ,--- * ~ '~JfO ^ , a k ®

— J ----- A A - ^ Q --------- — n tt--------- p — .
^ itO r ~ * 0 °=---- °
-tf-
For the note For the 3rd or 10th For the 6 th or 13 th
p. 3* Mass of the Madonna.
[Organ] bass with a most secure guide ending at the
finale verse by verse.
p. 5* The Credo Dominicale follows according to the Roman
custom, advising that it is not always sung, nor in many
churches is it customary [Ifor the organ] to play it. It
115
is placed prudently, however, where it would be used, or where
a reply above the bass played on the organ would be required.
In many places another Credo, Cardinalis. is still sung,
which is used for most of the principal solemnities. And
this we will give following the Mass of the Apostles.
^Credo DominicaleJ
Per the Deo gratias the pitch (voce) of the priest
is taken, if it is feasible, and on that pitch let it
[remain^; [let it be} on [the pitch ofj the first Kyrie
whose order is used in the following Masses. And he who
pays attention from verse to verse will be able to derive
from Qiiese verses^J fugues which imitate the canto fermo.
Kyrie of the Apos ties.
p. 9. Credo Cardinalis
p. 11. Kyrie for Sunday
Having seen up to here the disposition by which the
organist must respond in pitch to the Mass of the Madonna,
and [Mass. of thej Apostles, the third, the [^Mass for J
Sundays, remains, which we would see in an orderly way
with the verses belonging to the organ, and the finales
of the choir.
116
[ihere follow the organ basses to the above Mass.
p. 13• One responds to the Credo Dominicale as previously
(di sopra).
Q h e r e follows the organ bass for the Sanetus of the
Mass for Sunday,jj
Mass for Advent
p. llj.. As QndicatecQ previously (di sopra), it will be
understood that in some churches and particularly those
of the Monks, the undermentioned Kyries for the Sundays of
Advent, Lent, and [the Feast ofj Holy Innocents are custo-
mary. Although the organ must not be played on the afore
mentioned Sundays as everyone is able to see in the Roman
Ceremoniale, Chapter 28, we will put them in, nevertheless,
in case of need. It is indeed proper, according to the
aforementioned Ceremoniale, that [the organj be played on
the third Sunday of Advent, Gaudete. and the fourth Qjunda^Q
of Lent, Laetare.
Qlhere follow the organ basses for the
p. 15. In this Mass, as we have remarked previously (di
sopra), the Gloria, as well as the Credo, does not occur.
Q h e r e follows the organ bass for the Sane tus J
117
p. 15.
Devout Affection to Play and Sing for the
Elevation of the Most Holy Eucharist,
. . . ...
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118
[[There follows the organ bass for the Agnus D e l .’

J
p . 16 In order not to omit anything which may be necessary
for the organist for all the Masses of the year, it is
necessary to know when the three Sequences occur which are
alternated between choir and organ. When the Epistle has
ended, that is, after the Gradual £ and Alleluia, the Sequonce
is sung^. The first is sung (corre) for Easter Day and the
two days followingj the second Qis sungj for the Day of
Pentecost and the two days followingj the third £is sungj
for the day of Corpus Christi and within the Octave. These
we will see here according to the above order.
Sequence for Easter Day and the
two days following.
£ victimae Pas chali J
p. 17 Sequence for the Day of Pentecost
and the two feasts which follow.
£veni Sancte Spiritus ^
p. 18 Sequence for the day of Corpus Christi,
and within the Octave.
£ Lauda Sion SaJLvatorem J

p . 21 To complete this First Book there remains the matter
of responding with the organ to the canto fermo Masses by
making use of the following Eight Sonatas in four-part
119
scores. They will be, by the way, for the Gradual, Offer
tory, Elevation, and Post-communion. These Sonatas are
arranged to play in score and yet easy QnoughHj for one to
initiate the hands.
p« 22• 120
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p. 38* A fixed table for beginning organists concerning
the time when they must play during the canto fermo Masses.
After the choir finishes the Sicut erat of the
Introit, play the Kyriss.
After the Gloria in excels is is intoned, answer
alternatively to this.
At the end of the Epistle, play a short ripieno,
or fugue.
Immediately after the jÂlleluia &nc£J Verse,
respond with the Alleluia (if necessary).
After the Credo is intoned, reply alternatively
(if it is the custom).
The Oremus having been said, play a Motet, or musical
Ricercata until the Priest turns to say Orates frates.
For the Sanetus play twice, very briefly.
Then play for the Elevation, but softly, and something
solemn, moving one to devotion.
After the Pax Pomine, play the Agnus D e i . After
the second Agnus Dei has been repeated by the choir, play
a capriccio, or Aria alia Francese, that may be pleasing,
but musical.
At the Ite Missa Es t, or Bene die amus Domino,
a short ripieno.
I advise those organists, who perhaps are not informed,
that on the organ you must not play airs for dancing, or de-
138
filed and lascivious madrigals, because these fkinds ofj
melodies were forbidden by the Sacred Council of Trent,
in the 22nd session.
A Reminder about the Mass of Holy
Thursday, and Holy Saturday.
On Thursday, after the Gloria in excels is has been
intoned you play a ripieno. On Saturday then, the Gloria
having again been intoned, alternate [jfith the choirj .
After the Epistle do not play; the Credo is not sung; play
for the Offertory, likewise for the Sanetus. Do not sing
the Agnus Dei, but after the Pax Domini play until the
Priest has given Communion. Afterwards the choir* sings
the Vesper connected to the Mass; you do not play until the
Psalm of Praise has been finished. Then play for the
Magnificat, in the Eighth Tone, with a Francesina at the
end, and with the Ite Missa est, Q>lay an] Alleluia; and
that suffices.
End of the First Book
139
p. 39. The Art of Organ Playing
by Adriano Banchieri, Bolognese.
The Second Book
In the course of which one is concerned with the
eight tones belonging to the ecalesiastical canto fermo,
and with the practice of them in the eight Vesper Psalms
[which] alternate with the choir for the various feasts
of the year.
Falsi bordoni^ on the same theme [are included].
Discourse by the Author.
Great praise is indeed merited for the reasons es
tablished by Mr. Gioseffo Zarlino ( Qiiscuss ingj the em
bellishment and richness of harmony) in his Institution!
harmoniche part ij., chapter 13, and confirmed by Oratio
Tigrini in his Compendo part 3, chapter 3» together with
Giovanni Maria Artusi in his Arte del contrapunto, chapter
70, which require that the modes or tones be twelve in num
ber. Everyone will be able to ascertain this from their
scholarly books. But the doctrine of the Monk, Guidone
Aretino, likewise stands the test (martello) since Pietro
Aron returns to it in his Toscanello chapter 8. This has
also been sanctioned by Franchino Gaffurio in his Pratica
Latina part one, chapter 3* Q h e s e authorsjf wish the tones
to be only eight in number. I consider the doctrine of
Iko
Zarlino good, but Guidone*s is not bad [either]. One can
probably say that the twelve £tonesJ serve for compositions
different from the ecclesiastical canti fermi. I would say,
too, that the eight [tones] are those which serve in the
church for the praise of God. Antiphonaries, Graduals, and
other books of canto fermo bear further witness that this
is true, with authority experienced up to the present day.
£[n these books] one Qdoes] not encounter [tones] for the
Magnificat, Psalms, or other figurated Canticles in al
ternation with the canto fermo, which are higher than the
eighth tone. This is also noticed clearly in Qsacred
compositions by] Cipriano,^ Adriano,^ Asola, Chiozzotto,
Lambardo, Pozzo, Quintiano, Viadana, Baccusio, Massaino,
Gastoldi, Belli, and myself also (in my Psalms for five
voices), and many other composers who for brevity I omit,
p. lf.0. Therefore, this being so true, we would put (lasciaremmo)
the twelve tones to one side, and make use (pigliaronsi)
of the eight Ttones] belonging to the ecclesiastical canto
fermo. They are the subject for this new Art of Organ
Playing.
Brief narrative on the origin of the Eight Tones.
Franchino Gaffurio relates in his Pratica, and
other writers confirm this by tradition, that four tones
were discovered by the Greeks, the first inventors of Music.
ll+l
These authentic [tones^ were called by them Dorian, Phrygian,
Lydian, and Mixolydian. But because difficulties were ex
perienced in executing them, four other Qtonesjwere added
by Guidone Aretino, the Plagals, from the Greek word Plagon,
which means '’contrary," that is, "collaterals" added to the
aforementioned Authentics. And these are called Hypodorian
(Sotto Dorio), Hypophrygian (Sotto Frigio), Hypolydian
(Sotto Lidio), and Hypomixolydian (Sotto Misto Lidio).
In our language £the eight tonesj were arranged (con
cer tano) into eight scales adapted then by elevated spirits
for the ecclesiastical canti fermi of the entire year. These
eight tones will be the (nostro) backbone as far as what
will be heard with practicable readiness in the Second Book.
All this is for the benefit of diligent players of the organ,
interpreted and rendered from the aforesaid ecclesiastical
canti fermi under the sure guide of a figured bass. I will
be silent now. Whoever wishes greater information of these
eight tones, let him read the above-mentioned Franchino in
his Pratica, so that he will be left completely satisfied.
I do not want to attend to speculations in this Art of
Organ Playing, but rather Qto attend toj real training which
will be easily understood by all.
Four chords for each of the eight tones which the
organist necessarily must use.
First: The Beginning rchordj, which means to take the
pitch (voce) of the chant.
R ep ro d u ced with p erm ission of th e copyright ow ner. Further reproduction prohibited w ithout p erm ission .
llj-2
Second: Intermediate [chortQ, £placed“|in the middle of
the verses where it is used to make a cadence.
Third: Indifferent CphordÎ for use places^J where a
cadence is needed.
Fourth: Final £chor<Q, from which the choir takes its
pitch (voce) at the cadence.
I advise £the organist] that these chords are ob
served in execution of the following demonstration. Al- ,
though the cadences are given (poste) for the soprano part,
they can, however, be used in other parts, provided that the
chords are the same.
p. lj.1. ^Positions of the cadences for each of the eight tones.j[
p. J4.2 Having made the acquaintance of the aforementioned
four chords necessary for the organists to originate and
answer in the tone of the ecclesiastical canti fermi, their
intonations are now heard, transferred from the fermo to
the figurato, with the finales of the bass part to permit
them £,to beJJ on the singer's pitch. These intonations and
finales will serve for Psalms and Vesper Magnificats, as
they will be seen more clearly in their places.
[intonations and Finales for the Magnificat,
Tones One through Seven.^
p. J4.3 . QIntonation and Finale for the
Magnificat, Eighth Tone.J
R e p r o d u c e d with p erm ission o f th e copyright ow ner. Further reproduction prohibited without perm ission.
Ul-3
p. I4.3 . Useful and Scholarly Meditation by the Author.
The intonations shown above are indeed the real
ones for the organ to play (lasciare) for the pitch (voce)
of the choir. You can, however (for whoever has the intelli
gence for it), transpose the soprano (alte) and bass in the
various chords, as I have heard with the greatest taste in
the most illustrious City of Venice (while I stayed there
several days in the interest of having this work printed)
by the most excellent musicians and organists in the Church
of St. Mark's, Mr. Giovanni Gabrieli and Mr. Paolo Giusto.
Whence, for this purpose, and for practical and scholarly
curiosity, it may be well to see that the eight tones can
have the final chord in the position of D la 30I r e . These
are either unaltered, or use the accidentals of flats and
sharps, as they will be truly transposed below. Having
been practiced they are pleasurable to play, and easy for
the choir; but not having been practiced, let no one set
himself to the task, expecting that he could conform to
the Mantuan poet Obovasselli.
That the eight tones can end on D la sol r e .
First Tone, uneffected.
Second Tone, a Fourth lower.
Third Tone, a Fifth lower.
/•
HUP
Fourth. Tone, a pitch (voce) lower,
p. [pip. Fifth Tone, a pitch (voce) higher.
Sixth Tone, a Third lower.
Seventh Tone, uneffected.
Eighth Tone, a Fourth lower.
Up to this point, I have theoretically included with
practicable docility whatever may be necessary for the wise
organist to permit [jjlaying^ on pitch between the choir and
organ. The practice of all that has been said will now be
well. A n d :for this purpose, proceeding in an orderly way
in this Second Book we will touch on the performance of the
eight Vesper Psalms under the most secure guide of a bass for
playing and (more pleasing) for singing, which will serve for
the various ceremonies, to alternate with the choir. And
on this theme eight falsi bordoni [are included”^ for other
Psalms which one might wish to alternate, in case of need.
Don't be surprised that the following eight Psalms
are not placed in an ordered manner according to the Vesper
custom, for this arises in order to arrange the eight tones.
Yet they serve for the various festivities to alternate with
the canto fermo.
il+5
p. !).£. First Psalm and Tone.
This is used (acorda) to alternate to the choir
for the Feast (giorno) of the Annunciation, and the Feast
(quello) of St. Catherine.
Quaudate Pueri Dominum J
p. I(.6. Second Psalm and Tone.
This is used with the choir for the Feasts of the
Apostles (except SS. Phillip and James) and Martyrs in
Paschal time.
^ Beatus vir J
p. if.8. Third Psalm and Tone.
A fifth lower for the convenience of the choir.
For the Feast (giorno) of Corpus Christi and its Octave,
consistent with the canto fermo.
j^CredidiJ
p. ij-9. Fourth Psalm and Tone.
This is used to alternate to the choir for the
Feast of the Nativity of Our Lord, and the Feasts of St,
Stephan, St. John, Holy Innocents, and St. Sylvester.
P De Profund is~j
R ep ro d u ced with p erm ission o f the copyright ow ner. Further reproduction prohibited w ithout perm ission.
114.6
p. f>0. Fifth Psalm and Tone.
Feast of Corpus Christi, and its octave.
j^Lauda Jerusalem^
p. j?2. Sixth Psalm and Tone.
This is used to alternate to the canto fermo for the
Feasts of the Nativity, Visitation, Conception, and Presenta
tion of the Madonna.
j^Laetatus SunQ
p. Sk Seventh Psalm and Tone.
Feast of Easter Stmday and the two successive feasts;
for the Feast of the Birth of Our Lord with all the suc
cessive feasts; for Sundays of the year; £for the Feasts
ofj St. Lawrence, SS. Phillip and James, St. Martin, and
St. Clement; for the Feasts of Martyrs and Apostles in
Paschal Time.
jjConfitebor tibi DomineJ
p. £6 . Eighth Psalm and Tone.
Feast of Easter Sunday and the two successive days; fcfor
the Feasts of thej Annunciation, Nativity, Presentation,
Visitation and Conception of the Virgin Mary; for the
Feasts of Apostles through the entire year, and Feasts
(quello) of Martyrs in Paschal Time.
llf-7
A bass part for the convenience of the choir.
jjDixit DominumJ
p. 58. Narrative for the eight falsi bordoni which follow,
and the Five Sonatas after them.
Next, it may be well in the aforesaid topic to place
eight falsi bordoni which (in case of need you might wish
to alternate with the other Psalms), Five Sonatas in score
are appended here for the occasion of the five Psalms that
are ordinarily sung at Vespers. And, as is touched upon in
the First Book, such sonatas are arranged therefore to play
in score, and yet easy Qenougi^to initiate the hands. I
will not remain silent on this point, for whoever does not
have secure knowledge of initiating the hands may be helped
by a book, the second volume added to the Transilvano of
Girolamo Diruta, which in a few days will be printed in
Venice by Jacomo Vincenti. That volume (besides being very
useful in its contributions to the organists) instructs
with ease in the simple and reduced initiation of the hands.
Meanwhile, in coming to the final Cadence of this Second
Book we consider the eight falsi bordoni, or else the
Five Sonatas promised,
p. 59. Eight falsi bordoni on the eight tones, played with
the guide of a bass.
llj.8
p* 60* First Sonata, Ingresso d'un Ripieno

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Fourth Sonata, Capriccio Gapriocioso
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Fifth Sonata 156
In Aria Francese, Fuga Per imitatione
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157
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l£8
p. 70 . The Art of Organ Playing
Third Book
In which one arranges (according to the most relia
ble guide and finales) the manner of alternating the hymns
of all f!he ceremonies of the year between the organ and choir.
Discourse by the Author
We read in Ecclesiastes^ that "there is nothing new
under the sun," being able to add further that nothing is
said which probably has not been said before and apply it
to the intention of this Art of Organ Playing. It is a
most noteworthy thing that many have written on the sub
ject of alternating organs to the canti fermi, among these
Aron, Recanetto, Asola, Diruta (and others perhaps of whom
I have no knowledge). These men have indeed written learnedly,
but for what purpose? They teach to alternate the canti
fermi by the same canti fermi, an exercise certainly in
fallible, but only for those that have knowledge of the
said canti feral. I say, therefore, that this Art of Organ
Playing is interpreted and rendered with the most secure
guide of the figured canto fermo. One could say that it
is in the same state as a Latin Book that is understood
only by those who have knowledge of the Latin language.
But, having been translated into the vernacular it is under-
159
stood, not only by those who have a knowledge of the Latin
language, but likewise by those who understand the vernacu
lar. I conclude that all organists have knowledge (some
more, some less) of the canto figurato, but may the truth
be valid, very few of them know about the canto fermo.
Whence, in consequence £of thisj, I believe that this new
invention will be useful; and this may be said to appease
some peculiar wag. Meanwhile, in opening this Third Book
we will convey in a practical fashion the manner of alter
nating the customary hymns for the entire year in order
with the organ.
p. 71. Hymn for the ^ThirdJ Sunday of Advent.
JTCondi tor alma siderum^]
Hymn for the (jFourthJ Sunday of Lent.
£ Ad preces nostras
p. 72. Hymn for all the Sundays of Paschal time.
^ Ad caenam agni jj
Hymn for the Sunday and Feast of Pentecost.
£ Veni Creator
P. 73. Hymn for the Sunday of Holy Trinity.
Hymn for the Sundays of the year
not occupied by double feasts.
^Lucis creator optime^j
p. 714-. Hymn for the Nativity of Our Lord,
the Sunday within the Octave,
Feast of Circumcision, and also
Matins.
^ Christe redemptorj
Hymn for the Feast of St. Stephan in
the pitch of Nativity.
^ Deus tuorum militum~J
p. 75. Hymn for the Feast of St. John in
the pitch of Nativity.
Q Exultet caelumj
Hymn for the Feast of Holy
Innocents in the pitch of Nativity.
Salvete floresJ
p. 7 6 . Hymn for the Feast of the Epiphany
of Our Lord.
^ Hostis HerodesJ
Hymn for the Feast of Holy Cross
in the pitch of Paschal time.
j^Vexila Regis^J
p. 77* Hymn for the Feast of Ascension and'
the Sunday which follows.
jjTesu nostra redempticTJ
Hymn for the Feasts of the
Most Holy Madonna.
Q Ave Maris stella^J
p. 78. Hymn for the Feast of Corpus Christi
and all of the Octave.
^Pange lingua gloriosij
Hymn for the Feast of
St. John the Baptist.
£ u t queans t laxis J
p. 79. Hymn for the Feasts of St. Michael
on May 8, and September 29.
Tibi Christ!
Hymn for the Solemnity of All Saints 0>ay],
and the following Sunday.
Tchiristi redemDtor omnium 1

<-------- J
p. 80. Hymn for St. Peter's Chair,
January 18, and February 22.
r ouodcumque vinclis “J
162
Hymn for the Feast of St. Paul's Conversion.
^l)octor egregie J
p. 8 l. Hymn for the Feast of SS. Peter
and Paul, Apostles.
jÂurea lucej
St. Peter in Chains.
|^Pe trus beatus J
p. 82 Hymn for the Feasts of the Apostles.
Êxultet caelumj
Hymn for the Feasts of Apostles
in Paschal time.
Q Tr»is tes erant
p. 8 3 . Hymn for the Feast of
One Martyr in Paschal time.
j^Deus tuorum militum
Several Martyrs in Paschal time.
Q ftex gloriose Martirum*J
p. 8J4.. Hymn for the Feasts of
One Martyr.
Qoeus tuorum militum~J
163
Hymn for the Feasts of
Several Martyrs.
[ sanctorum meritis ~|
p. 85. Hymn for the Feast of a Confessor Bishop.
and £confessor^J not a Bishop,
Abbots, and Doctors of the Holy Church.
[iste confessorJ
Hymn for the Feast of a Virgin Martyr.
[jesu corona^
p. 86 . Hymn for the Feasts of Virgins,
not Martyrs.
[ Hu ius obtentu Deus
Hymn for the Feasts of the Consecration,
and Dedication of a Church.
[ urbs beata Jerusalem^
p. 8 7 . Hymn for the Night of the Birth,
and other occasions.
A pitch lower (voce bassa) for the
convenience of the choir.
[ T e Deum laudamus^J
1614.
p. 89 . The Art of Organ Playing
Fourth Book
In which the Vesper Canticle (Magnificat) is arranged
[for two partsj, Bass and Soprano, to play and (if agreeable)
to sing on the eight tones of the canto fermo, together with
Four Caprices, and two Ripienos for the Deo Gratias.
Among the vast company of musicians who have woven
a garland of the sweetest harmony fcr the Canticle of the
Most Holy Virgin Mary on the eight tones of the canto fermo,
the most agreeable are those of Morales a J4., and of Vincenzo
Ruffo a 5* One is for the choir £onlyJ, for the observance
of the canto fermo; the other is for organ, for the beauty
of the harmony, both of which (may the truth be valid) are
truly worthy of perpetual memory. And so that some new
organists, in making a comparison between those and the ones
that you will now hear in this Fourth Book, might not en
counter any difficulties, it may appear (essendo) that the
intonations, key3, and finales are different for the most part.
May you know, however, that they are alike, but transposed
in opportune places for docility and convenience. As for
me, if I am conscious of the Third and Eighth Tones alter-’
nating between the organ and canto fermo with their natural
chords, I indulge the voices and Alternate them a fifth or
fourth lower. The harmony is languid, but if one takes a
medium course (strado) who does not know that you hear the
most pleasant melody between the organ and the voices of
the canto fermo? But since I seem to hear the choir intone
the First Magnificat and the organist open the Fourth Book
to alternate to that, I become quiet.
r
166
p* 90* Bass for singing and playing; Soprano for singing

QfagnifloatJ First Tone
r.
P Mag-ni- fi-cat
An - i - ma me
3
Do - mi »-num,
p ‘ ; 5 [st jij <LJ3 # Ji

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167
^ VERSES BELOHQIMG TO THE OROAnJ

anctllay-ggfr: Bcce eninr
ex hoe beataza me dicet annas generationea.
~jy. Depoauit potentea da sede: at exaltaTlfe humiles.

7. Suscepit Israel puerum suum: Recordatus misericordlae suae*
L
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168
Bass for singing and playing] Soprano for singing

p» 92< JlagnificafcjSecond Tone
E H
m Mag- Hi- - fi - oat
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Or Solemn Mag- ni- fi- cat
O s O
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I T l A N S O No I
It* IWkM
169
______________________ [V E K S E S BELONGING T Q J H £ ._ ,Q R g M 3 - -----------
' “ " $uia respexit _an.ciliae.. sra? ™Bcce~an±at:

ex hoc beatam me dicet ozones generatfones.
3. Et misericordia e.ius a
Err— Peposul^ potentes do aedet et-êxaltsTri'ttrmniles . ■— — ■— ■ - —
7. Suscepit Israel pueruxn suum: Recordatus misericordiae suae.
4 > ir
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Bass for singing and playing; soprano for singing ±•
p. 9 k • tMagnificatJ Third Tone
A pitch lower for the convenience of the choir
. « •
m Mag — ni - -fi- cat
An ma
ma, me -
S-^=zA:
(---------------
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171
________ CyEiiSaS BELONGING TO THE OHGAll]]_______________

r ~ .r7 : x r ^ ^ u l a ~ r e a p e j c l t hvral T l l ^ t e a r i c i l l a e s u e ;
E eoe e n lw ~-----------
. SX hoc beatam me dice!; dmhesgenerationes.
3. Et misericordia eius a progenie in progenies timentibu3 eum.
:;..: :zS~- 'Qepoaiiit potantea de aed»i _-e-t êxairtHvit bxumile a . — — -ITT/ ._
7. Suscepit Israel puerum auum: Kecordatus misericordiae suae.
^ o i J 1 J ; J J i | J~ l7 ]i 4 — '^J i'J ^ j
Glo> - - ri - a ! Pa - tri e t * P*i -J liH o et
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172
p. 96* Bass for singing and playings Soprano for singing
y[I-Iagnlficatj
i * ■ ■
Fourth Tone
I
Mag - ni - - -fi - -cat
1 i
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173
.fjfeiiSjS- BSLGKGIltG .IQJCHB -OaCUlTJ-
1. fiu±a respexit Humllltata anclHaa

ex hoc beatam me dicet omnes generationea.
axxeit: Ecce enin . i::
3. Et misericoraia eiu3 a progenia.In .progenies, timantibus aim.
.5. Gepprruit potontcs de sects: at -axsttBvitr-humirfla,.— — — ---
7. Su3Cepit Israel puerum suuin: Kocordatus misericordiae suae.
*r-'© J J• © ; *'o|
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171+
p* Bass for singing, and playing] Soprano for singing

Qfagnifiea^ Fifth Ions
Mag - ni “ fi - oat
An Do ■mi»- num An
me Do J •mi
Do mi Finale
x O
IT1ANSO No.1
IS Sit
175
^VERSES BELONGING TO THE ORGAn J
• a u H H T i t i anal tl«» auft* Baaa arrtnr-----------

— - - m c-KBg Baiitagr-aBi etaat e m n m genar atioaTO. -
3. Et misericordla eius a progenie in progenies timentibus eum.
:g^. : flapoaul t p g tant a a aa aad a ; flp-eTHittnrH; >m»iiiear: -----------

7. Suseepit Israel puerua suun: Becordatus jniserieordiae suae4
•li et spi
A i A j j k - Jb -jcA
^ r.-!1 A r i - &
ri - - tu - - i . Sane - - -to et spi- ri - tu - i
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11 I l f ... *
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Snnc to
4
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176
iging and playing;
Bass for singing playin, Soprano for singing
p. 100*
Q-lagnificatJ Sixth Tone
Hag - ni - - - fi -cat
An - ma me - a Do -ml - -1 -num An
ma
r -num
num
TJ tf' Z $ S $
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Finale
TIANSONal ^
Itt Sb b m I M t a a
__________ C.VSRSES BELONGING TO THE ORGAN __________________
1. qut a r e sp o x ;irt~hva>i 1 kt a t c~a*.al l l a e auf>; to e # • nix*

ex hoc baataSrT"ma dioat omnes generationes
3. Et mlsericordia eius a progenie In progenies timentibua eum.
•5 n^pftpyii-. potantaa da aedei at exaltav it bund l e s . ... ZZ
7. Suscepit Israel puerum suuxn: Recordatus misericordiae suae.
Pa - tri
Pa - tri et
_______ — _____ — *.— . ... —-■-----— 1 —— —■■■■

spi ri Sane -J t o et
tu • Sane ■to e t , spi- ri- tu— -
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spi - - - ri - - 1 - tu - -i Sane - - r -to
Sane - - •r - ~ -to
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178
p* 102• Bass for singing and playing; Soprano for singing
^Magnificalj Seventh Tone
Mag - ni - fi - cat
t -9-
------ 1 9 'S -- 1— Q —
Do - - Jmi - V J -num
Do - - - - - - mi num Finale
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179
- - ....................... & BRSBS P BLOMOIMO J O THE

~ rr^ u n p a a jiffa a t THftHintiflgA A a a iiif l* 4H*r l a a* «» im
ex hoc beatam me dloet omnes generationes.
3» St. mlflflri cordla aim a progeni* In progenia# timentibua aim.
-pertrmrirw rta aaa»T— wmnlTa, — —^

7. Suscepit Israel puerum suum: Becordatus miserieordiae suae.
m m
aio
01o j r i
... 1 1 t ----
j
ri tu i Sane
ri tu Sane spii - ri
j O
i
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¥ Sane - - - - - - - - i - - - - - - -
Sanc - - - - - - - - I - - - - -
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180
^04 Base for singing and playing; Soprano for singing
LMagnificatJ Eighth Tone
A pitch lower for the convenience of the choir
m Mag n i fi -cat Mag - ni - -fi - -cat
J i I x j>; j J J J1 j j
An - - i - -ma 1 me - -a Do - mi -y num An -i - -ma , me - - a j
An - - i - -ma , me - -a Do - mi - num , An - i -ma (
f t J J i J J J. J> j:
% An i- - ma . me -a Do - mi -J - num i
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■ H l l u i M MiIw
181
-OriSA»3-
^ g a j e a p e ^ t ^ iujunilltate a n eiJLlae-aue-: Kcoe enia
ex hoe beatam me dicet omnes genorationes.
•Et miaerieordia aiua

y.r™mn»:rhiYn awm,--------
f>. Oeposuit potentes de sede: et exaltavit humiles.
7„ Suscepii Tarael pvtemm atmm:— Recordatii* miaer icordiae aviae.
^ ^J 1 j J A! »~J3>V -*~o-
Q lO |- - - - ri -a I Pa - - tri et [ Pi li - o l
Qloi - - - - ri -a | Pa - - ------ : -tri et 1 Pi - - li'-o et spi-i
I
j v
spi - Pi
I I I A N S O No. I
I111
182
p. 105. The following four capriceios are to be played aftBr

the Magnificat. JjQiey are] scored in two parts with the
filiing-in at the consent of the organists.
183
p. 106* First Gapriocio
d / a 0 j |f e = r J ^ H J— |-q) J - -*J d J- J.
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189

Fifth Book
In which the four antiphons of the Madonna, Alma
Redemptoris, Ave Regina Caelorum, Regina coeli, and Salve
Regina are arranged.
And at the end [there isj a guide (norma) for organists
which 3hows the usual hymn for all the feasts and doubles, and
on what tone the Antiphon of the Magnificat will be made to
alternate with the canto fermo.
We read in the Holy Book of Genesis, Chapter 1^.,®
that the inventor of the organ was Jubal, although (as we
perceive in the Tarsie, and in ancient pictures) one main
tains that the organ of those times was not of the same type
as the organ in use at the present. And, in the course of
pleasant diversion with the Grand Duke of Tuscany at Pratolino,
special small reeds bound together are noticed. An instru
ment of this kind was played by Pan, who was in love with
the graceful Syrinx. Nevertheless, great praise must be
attributed to the aforementioned Jubal who has given the
invention to posterity, accumulating so much harmonic
sweetness that when it is played by a scholarly and ex
perienced hand at the same time, it gives back such a
190
sweetness that it would transport souls to heavenly con
templation. For this reason, (as David signified in Psalm
150),^ it is placed in the Holy Church of God to praise Him and
bless Him continually. But because many beginners and others
insufficiently experienced in the canti fermi give many
difficulties to the choir by not replying in the tone, may
the truth be valid, this Art of Organ Playing will remove
every abuse. And whenever this is true (as it will be most
time) all honor £be given J to God and to the Most Holy
Queen of Heaven whose praises will be heard by opening the
Fifth and last Book under the customary most sure guide
£of a bassj.
191
P . 113. The first Antiphon, which is used (corrente) from
the First Sunday of Advent up to the Purification of the
Madonna.
[The Antiphon of the Madonna] is customarily alternated
between the choir and organ in two ways. First, [after the]
intonation by the choir, the organ plays [the first] half,
and the choir performs the remainder. Second, we alternate
by verses. Both are placed here to be used according to
the Qnethod] introduced in the churches.
The first manner [of alternation].
Qy_ma Redemptoris j|
p. llij.. [Alma RedemptorisJ
The second manner [of alternation].
From the First Sunday of Advent until
the [Feast] of Purification.
P. 115. [Ave Regina Caelorum]
This second Antiphon is sung from the [Feast]
of Purification until Holy Saturday.
p. 11 6 . [ Regina Caeli^j
This third Antiphon is used from Holy Saturday
until Holy Trinity Sunday.
p. 117. £salve ReginaJ
This fourth Antiphon is sung from Holy Trinity
Sunday until the First Sunday of Advent.
193
p. 118 A GUIDE (NORMA) FOR ORGANISTS
By which one knows the customary hymn for all the
Sundays and double feasts of the entire year, and also
by what tone the Antiphon of the Magnificat will be made
for First and Second Vespers.
Faithfully translated from Ecclesiastical Daybooks.
Hymn First Second

January on page Vespers Vespers
1 Circumcision of Our Lord 71*- 8 2
6 Epiphany of Our Lord 76 8 1
17 St. Anthony Abbot 85 2 8

18 St. Peter's Chair at Rome 80 1 1
20 St. Fabian and Sebastian, Martyrs 81*. 8 6
21 St. Agnes, Virgin and Martyr 85 8 1
25 Conversion of St. Paul 80 7 8

27 St. John Chrysostom, Doctor 85 2 o
February
1 St. Ignatius, Martyr 81*. 8 1
2 Purification of the Madonna 77 1 8

7 St. Romuald, Abbot 85 2 8
22 Chair of St. Peter, Apostle 80 1 1
2i| St. Matthew, Apostle 82 1 1
March
7 St. Thomas^ Doctor 85 2
12 St. Gregory, Pope and Doctor 85 2
19 St. Joseph, Confessor, not a Bishop 85 2
21). St. Benedict, Abbot 85 1
25 Annunciation of the Madonna 77 8
April
2 St. Francis of Paula, Confessor,

not a Bishop 85 2
11 St. Leo, Pope 85 2
25 St. Mark, Apostle and Evangelist 82 2
29 St. Peter, Martyr 8I4. 2
p . 119. May
1 SS. Philip and Janies, Apostles 82 6
2 St. Athanasius, Bishop and Confessor 85 2
3 Finding of the Holy Cross 78 1
6 St. John before the Latin Gate 82 if.
7 St. Stanislaus, Confessor, not

a Bishop 85 2
8 Apparition of St. Michael,

Archangel 79 8
9 St. Gregory, Theologian 85 2
June
11 St. Barnabus, Apostle 82 1
13 St. Anthony of Padua, Confessor,

not a Bishop 85 2
195
2k St. John the Baptist 73 8 7
29 SS. Peter and Paul, Apostles 81 1 1

30 St. Paul, Apostle 82 • • • • 8
July
1 Octave of St. John the Baptist 78 8 9 9 9
2 Visitation of the Virgin Mary 77 1 1

6 Octave of SS. Peter and Paul 82 1 1
114- St. Bcnaventure, Doctor 85 2 2

22 St. Mary Magdalen 86 7 8
25 St. James, Apostle 82 1 1
26 St. Anne, Mother of the Madonna 86 • • • • 7
Augus t
1 St. Peter in Chains 81 1 7
k St. Domenic, Confessor, not a

Bishop 85 2 • • •
5 St. Mary of the Snow 77 1 « « •
6 Transfiguration of Our Lord 76 3 8

10 St. Lawrence, Martyr 814 8 8
15 Assumption of the Madonna 77 1 8
20 St. Bernard, Abbot 85 2 8
22 Octave of the Assumption 77 1 8
2k St. Bartholomew, Apostle 82 1 1
28 St. Augustine, Doctor 85 2 • • •
29 Beheading of St. John the Baptist 814 1 8
p. 120. September
8 Nativity of the Virgin Mary 77 1

10 St. Nicholas of Tolentino
Confessor, not a Bishop 85 2
II4. Exultation of the Holy Cross 76 1
15 Octave of the Nativity of the

Virgin Mary 77 1
21 St. Matthew, Apostle 82 1
29 Dedication of the Church of
St. Michael, the Archangel 79 8
30 St. Jerone, Doctor 85 ....
October
Ip St. Francis, Confessor, not a
Bishop 85 2
5 St. Placidus and Companions,
Martyrs 814.
9 St. Rusticus and Companions,

Martyrs 8I4. 8
18 St. Luke, Evangelist 82 1
28 SS. Simon and Jude, Apostles 82 1
November
1 All Saints Day 79 1

8 Octave of the Same 79 1
9 Dedication of the Arch-Basilica
of Our Savior 86 1
11 St. Martin, Bishop and Confessor 85 2
18 Dedication of the Basilica of
S S . Peter and Paul 86 1
21 Presentation of the Virgin Mary 77 1
23 St. Clement, Martyr 8I4. 8
25 St. Catherine, Virgin andMartyr 85 8

30 St. Andrew, Apostle 82 1
December
7 St. Ambrose, Doctor 85 2
8 Conception of the Virgin Mary 77 1
13 St. Lucy, Virgin and Martyr 85 &
21 St. Thomas, Apostle 82 8
25 Nativity of Our Lord 7U- 8

26 St. Stephen, First Martyr 7^ •••
2? St. John, Evangelist 75
28 Holy Innocents 75
30 St. Sylvester, Pope 85 2
198
p. 121. GENERAL RULES
Now that we have finished all the customary feasts
and doubles from month to month, we will see the movable
feasts, and after those, the Sundays in an orderly way. I
advise that not all the aforesaid feasts are ordered by the
Holy Mother Church. On those Q ’eastsJ which are not ordered
Iby the Holy Mother Churchjj the organ is not played. But
we have placed all of them £hereQ in the event that they
might come on Sunday when the Office is then for the said
Sunday; or they might come on Monday when, in such a case,
the First Vesper is taken fromtthe Second Vesper of Sunday.
The S-nndays of Advent up to the Octave of Epiphany, and the
Sundays of Lent up to the Octave of Easter, however, are
excepted. When Feasts of Saints occur on such Sundays,
(they^J form the Office of that Sunday and the Qfeast of thatj
Saint is omitted if the said Saint is not the title of the
church.
199
MOVABLE FEASTS Hymn First Second

on page Vespers Vespters
Easter Sunday 72 .... 3
Eas ter Monday 72 .... 8
Easter Tuesday 72 .... 8
Ascension of Our Lord 77 8 2
Pentecost Sunday 72 1 1
Whit Monday 72 .... 3
Whit Tuesday 72 .... 6
Corpus Christi Day 78 6 5
The end of the Movable Feasts
200
p. 122. SUNDAYS OP THE ENTIRE YEAR
The First Sunday of Advent is understood to be the
0>undayj nearest the Feast of St. Andrew, as we have al
ready said.
Hymn
First Sunday of Advent 71 Magnificat 8
Second Sunday of Advent Magnificat 8
Third Sunday of Advent, Gaudete Magnificat 8
Sunday within the Octave of Our Lord Magnificat 8
Sunday within the Octave of Epiphany 76 8
Second Sunday after Epiphany 73 1
Third Sunday after Epiphany 1
Fourth, Fifth, and Sixth Sundays

after Epiphany 1
Septuagesima Sunday 73 Magnificat 7
Sexagesima Sunday 6
Quinquagesima Sunday 1
First Sunday of Lent 73 Magnificat 8
Second Sunday of Lent 1
Third Sunday of Lent 8
Fourth Sunday of Lent, Laetare 1
Sunday after Easter 72 Magnificat 8
Second Sunday after Easter 3
Third Sunday after Easter 8
Fourth Sunday after Easter 1
201
Fifth Sunday after Easter 8
Sunday within the Octave of the

Ascension 77 Magnificat 8
Holy Trinity Sunday 73 Magnificat 5

Sunday within the Octave of Corpus
Christi 78 Magnificat 1
Third Sunday after Pentecost 73 Magnificat 6
Fourth, and Fifth Sundays after
Pentecost 1
Sixth Sunday after Pentecost 7

Seventh Sunday after Pentecost 1
Eighth Sunday after Pentecost k
Ninth, and Tenth Sundays after
Pentecost 8
Eleventh Sunday after Pentecost 5

Twelfth Sunday after Pentecost 8
Thirteenth Sunday after Pentecost 2
Fourteenth Sunday after Pentecost 1
Fifteenth Sunday after Pentecost k

Sixteenth Sunday after Pentecost 7
Seventeenth, and Eighteenth Sundays
after Pentecost k
Nineteenth, and Twentieth Sundays
after Pentecost 3
Twenty-first Sunday after Pentecost 6
Twenty-second, Twenty-third, and

Twenty-fourth Sundays after
Pentecost 1
The end of the Sunda y s .
202
p. 12k* Table of V/hat is Arranged
in The Art of Organ Playing.
by Adriano Banchieri.
First Book
Discourse by the Author. 1

Advice by the Author regarding the guide
of the organ bass . 2
Kyrie of the Madonna. a
Kyrie of the Apos ties. 7

Kyrie for Sundays. 11
Kyrie for Advent. Ik
Sequence [for the Feastsjf of Easter.. 16
Sequence for Pentecost. 17

Sequence for Corpus Chri3ti. 18
Credo Cardinalis. 9
Credo Dominicalis. 5
Adoramus te Christe. 15
First Sonata. 22
Second Sonata. 2k
Baird Sonata. 26
Fourth Sonata. 28
Fifth Sonata. 30
Sixth Sonata. 32
Seventh Sonata. 3^
Eighth Sonata. 36
203
A Fixed Table for the beginning organist

concerning the time when they must play
for the canto fermo Masses . 38
(A reminder aboutJJ the Mass of Holy Biurs day
and Holy Saturday. 38
Second Book

Narrative on the Eight Tones . [<.0
Four Chords for the Êight] Tones . I4.O

Positions of the Cadences. )|i
Intonations Qand finales for the Magnificaifj. \\?
The Eight Tones £in the position ofj D, la,

sol, re. I4.3
Laudate Pueri, First Tone. 45
Beatus vir, Second Tone. 1^.6
Credidi, Third Tone. lj.8
De Profund is, Fourth Tone. J4.9
Lauda Jerusalem, Fifth Tone. £0

Laetatur , Sixth Tone. 52
Conf itebor, Seventh Tone . £L|_
Dixit, Eighth Tons. £6

Falsi bordoni forthe Eight Tones. 59
First Sonata. 60
Second Sonata. 62
Third Sonata. 6I4.
Fourth Sonata. 66
Fifth Sonata. 68
201+
Third Book
Conditor alme. 71
Ad preces nostra. 71
Ad caenam agni. 72
Veni Creator. 72
0 lux beata. 73
Lucis creator. 73
Christe redemptor. 7k-

Pens tuorum, Q.n the pitch of J Nativity. 7ij.
Exultet caelum, [[in the pitch ofj Nativity. 75
Salvete flores. 75
Hostis Herodes. 76
p. 12^. Vexilla regis. 76
Jesu nostra. 77
Ave Maris stella. 77
Pange lingua. 78
Ut queant laxis. 78
Tibi Christe. 79
Christe redemptor, 79
Quodcumque vinclis 80
Doc tor egregie. 80
Aurea luce. 8l
Petrus beatus. 8l
Exultet Caelum. 82
20£>
Tri3te3 erant. 82
Peu3 tuorum, Q n the pitch of J Paschal time. 83
Rex Gloriose. 83
Deus tuorum. 8[j.
Sanctorum m eritis. 8 /4.
Iste confessor. 8£
Jesu Corona. 6$
Huius obtenu. 86
Urbs beata, 86
Te Peum laudamus,, 87
Fourth Book
Piscourse by the Author. 89
Magnificat, First Tone. 90
Magnificat, Second Tone. 92
Magnificat, Third Tone. 9i(-
Magnificat, Fourth Tone. 96
Magnificat, Fifth Tone. 98
Magnificat, Sixth Tone. 100
Magnificat, Seventh Tone. 102
Magnificat, Eighth Tone. lOij.
First Capriceio. 106
Second Capriccio, 107
Third Capriccio. 108
Fourth Capriccio. 109
206
Ripieno for the Deo Gratias. 110
Another Ripieno. Ill
Fifth Book
Alma Redemptoris. 113
Ave Regina. 115
Regina caeli. 116
Salve Regina. 117
Table Cof Sundays and Double Feasts for the

entire yearj for organists. 118
207
NOTES
^There are only 13 Sonatas in this 1605 edition of

L 1Organo suonarino, which are found in Books One and Two.
2
This seems to be a play on words by Banchieri.
"The Organ" presumably refers to the printer's device.
^Franceslna. one of several ways by which Banchieri

refers to the Canzona alia francese.
^Falsi bordohi, according to Banchieri (see p. II4.7 ),

are for other Psalms which one might wish to alternate. The
term is used here to indicate a four-voiced harmonization with
the frequent use of sixth chords or six-four chords above the
bass.
^Cipriano (da Rore?).
Âdriano (Willaert?).
Êcclesiastes 1:9.
^Genesis ij.:21.
^Psalm 150 :J+.
PART III
OPUS Ij.3, TRANSLATION AND TRANSCRIPTION
209
by the Reverend Don Adriano Banehieri
Bolognese
Abbot of Good Merit
Olivetan
In this Third Printing arranged with every diligence,
And divided into Five Books.
A very useful book for the Organist who desires to
alternate to the choir the canti fermi of the entire year
in the churches of the Laity, Orders, Monks, and Confra
ternities according to the custom of the Holy Mother Church.
And at the end after the General Table of all the
works there is added the Sixth Book.
WITH PRIVILEGE
OPUS 1+3
IN VENICE
by Alessandro Vincenti 1622
210
TO THE MATURE JUDGMENT,
To the Prudent Discourse,
And to the Venerable Years
of the
Most Reverend Father Don Prothasio,
Stagiera of Venice,
Abbot General of the Congregation
Olivetano,
The Author
Dedicates the present Book and prays for perpetual
consolations.
211
Prom the Lord Count
Ridolfo Campeggi
to the Author.
Melodious spirit, what
Sweet song is heard
That to yours is equal?
Rot the swan of Eurota,
Not the beautiful siren of the Tyrrhenian Sea
Sang the well known music,
Fashioned the full voice with high harmony,
That voice so sweet and pleasant,
Happy you, who displays
Wondrous proof of the high virtues.
Happy, to be sure, for you in a way

pleasing to others
Bring the melody of Heaven to Earth.
212
The Art of Organ Flaying
by Adriano Banchieri, Bolognese,
Olivetan Monk.
First Book
p. 1. In which is reduced in practice whatever is required in the
Masses alternating between the choir and organ.
Toccata
The musical instrument of the organ is so famous
(nobile) for its antiquity that--directing the mind towards
the initial epoch--we find that the great Chronicler,"
after having explained the creation of the world and of man,
and after entering into the lineage of Adam, states, in
Chapter I4. of the Sacred Book of Genesis, the inventor to
have been the son of Lamech, as is said in the sacred
text:
2
” Jubal pater canentium Cithara., & Organo."
•3
This organ, as Cassidorus-^ well observed, was,
however, composed of rustic reeds: "Organum illud erat

k
quassi thurris diversis fistulis fabricata." It is true
that in the course of time (as we read in the above-
mentioned Chapter 6 )^ while they were celebrating the
Sabbaths of the Hebrew Synagogue, His Serene Highness
213
King David added to the seven musical choirs an organ indeed
different from that of Jubal, the former being played with
the lips, and the latter with the hand:

£
"Et David percutiebat in Organis."
In the Iheatro della vita humana*Chapter 22, we find
that Pope Vitalianus in the year 6f?ii introduced into the
Holy Church the organ invented by the philosopher Cresibio'
(so says Celio Rodigino in Book 9 De rebus antiquorum).
This organ, however, was a machine fashioned according to

g
the design of Vitruvius in Book 3 » Chapter 13, made with
pipes in the manner of the organs presently used in Rome at
Montecavallo and at Pratolino in Tuscany. Such a machine
was called Hydraulica as attested in Pliny's Natural History
Book 7, Chapter 30 > although Giovanni Raviso in the book
entitled Officina Testoris gives it a more accurate name
calling it Navilium strumenturn musicum: seeing that, since
the Hydraulica is played with the force of water, the name
Navilium is more suitable. And this machine was invented
under Mamea Siro in the year 226, 178 years before the
9
organ of Pope Vitalianus. Let Pollidoro Virgilio be silent
in his volume, Book 1, concerning the inventors of things
where he affirms that we do not know the inventor of the
present day organ; for I say, that when some years ago I
was in Arezzo of Tuscany for the Festival of St. Bernard
that among the many favors received from Mr, Giovanni Apollonio,
21k
choirmaster, and from other musicians of the Cathedral, I
saw two old books, one handwritten, and the other printed.
In the first we read, that Guido, a Monk of Aretino, a Monk
of the Benedictine Order, and celebrated musician (as Cardi
nal Thure of Cremata and Arnolfo Vijon a Flemish Monk of
Monte Cassino affirm): we read, I say, that in the year
p. 2. 1018 under the authority of St. Henry, the said Guido com
posed the book of canto fermo entitled Graduale and personally
brought and dedicated this to Pope Benedict VIII from whom
he benignly obtained permission to introduce into the Holy
Church organs played with soles or bellows (soli o mantici)
about which I want to tell. In the second book, the printed
one (which on my testimony Gioseffo Zarlino mentions in
his Suplementi Chapter 3)> entitled Micrologus, Guido writes
thus: 11Antecessores nostri distinetionem vocum sonant,
quam nos Organum vocamus, ille modus durus est, noster
vero dulcis.11^ By saying in this last particle "nos ter"
we see clearly that he has been the inventor of it. The
reason for this can be seen in the regulation of our Patron,
St. Benedict, Chapter 33 , where we read: "Omnibus omnia

11
sint coiJiunia, nex quisquam aliquid meurn esse dicat."
Thus, because of obedience, the monk was unable to say
"modus mens," but by saying "noster" it is probable he was
the inventor, and also introduced the organ.
2l£
Doctor Navarro says, however, in the treatise De
Horis canonic!s, Chapter 17, that org'ns were introduced to
the Divine Offices in the year 1300. This is indeed credi
ble, namely that they were introduced universally at that
time, perhaps for want of organists and organ makers £jjefore
that timej.
Nicola Vincentino in Book 1, Chapter 2,-^ mentions
that Guido invented the musical hand with the six notes
TJt, r e , m i , fa, sol, la, from the initial words of the
first Settenario commonly sung in the Solemnity of the
Precursor, beginning: "Ut queant laxis," etc. Then it
would be unseemly to say that he invented the organ, since
below in the third Settenario, it says: "sed informasti,
genite perempti Organa vocis."^^ The Musical Organ£also
hasj an important relation to the organ of the articulate
voice, a correspondence which is shown in Galeno, Book 3>
Chapter 5>, De Usu partium. Such a relationship is indicated
by Girolamo Diruta at the beginning of his Transilvano where
he compares the bellows to the heart and the lung, and the
pipes to the throat, the keys to the teeth, and the hand of
the player to the tongue: £the player^l by touching £the
keyboard J with graceful movements causes it to talk dis
tinctly, almost like speech.
But since all the arts and sciences are not only in
vented, but also improved by speculative geniuses, thus we
perceive the musical organ to have been brought to perfec-
216
tlon within the past 50 years (dieei lustri). Recently
|such a genius^l has been called an organaro (so called by

Lattantio Firmiano in Book 2: "Organorum fabricatores
dicuntur Organarij” ),^ a distinction very well applied,
but little used by organ players, Such an organaro was
Vincenzo Vulfangh Fiamengo who has constructed two organs,
one in the Cathedral of Orvieto and the other in St. Peter’s
at Ugubbio, a Monastery of the Reverend Olivetan Monks. In
both of them are imitated Covered Flutes. Open Flutes, the
spindle of the Swiss Fifes, kingly Trombones, ear-splitting
(squareiate) Trumpets, Horns, Drums, Nightingales, and what

15
el 3 e? Even human voices (voce humana) with tremolo, and
the said stops imitate the natural voice so much that many
foreign musicians remain in doubt (and I can attest to it
since for two years I was organist ^fchere] under the direc
tion of the Most Reverend Father Don Vittorio del Testa, a
prelate of much merit) as to whether such instruments are
or are not connected to the organ. We add to this Vincenzo
Vulfangh another Qorgan builder], a Vincenzo Colonna, a
Venetian who, living in the City of Bologna at present, is
famous in many cities of Italy in such a profession. But
what should we say concerning Domenico Vanni da Feltri who
for some years appeared in many Italian cities, and who,
within a lagoon of water which represents the two Castles of
the Lido of the Republic of Venice, on the keyboard of
Chorister Harpsichord, caused every instrument--bowed,
217
plucked, or blown--to be heard with a full fundamental
(ripieno organico) of ten feet on the mi, re, ut? Genehrando
Efrodiense affirms that Gilberto, who was later Pope
Sylvester II, in the speculative studies of his youth, through
the liveliness of his talent, built an organ with pipes of
gold; the organ sounded loudly, receiving the wind from
boiling water. Simone Maioli states that a certain Neapolitan
of speculative intellect, created an organ with pipes of
alabaster, Leandro Toscano writes that in Murano an organ
was made with pipes of glass. We might present many other
organs and celebrated organists; but since the choir has
finished the Introit and the organist is opening the First
Book to alternate with the choir for the Mass of the Queen
of Heaven, we conclude the discourse and turn to the beginning
with Her help.
p. 3 . Four kinds of Masses are approved in the Roman
Missal, to alternate with the canto fermo: (1) Mass of
the Madonna, (2) Mass of Sunday, (3) Mass of the Apostles,
(4) Simple Mass, and this [flatter] is sung on the feast days,
on the occasion of processions or other urgent causes. We
add to these the fifth, the Mass of the Angels, which is
performed by tradition in many places on the Night of the
Birth of Our Lord.
Advice regarding the Guides of the Organ bass.
Wishing this Art of Organ Playing to be useful and
easy, even for the beginning organist, and also for those
who have little knowledge about the accidentals of the
middle parts, let them remember for safety that the acci
dentals of the flats and sharps will be located in three
positions:
1. When they areQgiverfJ before the note on the
same place, they serve for the said note.
2. When they are a third higher before the note,
they serve for the third and tenth.
3. When they are a third lower before the note,
they serve for the sixth and thirteenth.
A ------------------------- rt
/Li L ft
---- - ---- a ---- 5 ------ g ----- ------- #~ 0 4 t n— — --- trzr
j T ---- ® -------------- o --------- Inr
v— ------- it _— -W j i------; . ^ ---- ^ cT

----------- ;--- ^ n ~ ------^ . n
' L --- ------ - o ^ ' W i ::a &
----------- p ~ & -------- * 7 3 --- ------- Q ------------ tjfc------------- ± --------
For the note For the 3rd and 10th For the 6 th and 13th
First Mass, of the Madonna.
p. 6 . Second Mass, for Sunday.
p. 8 . Third Mass, of the Apostles.
219
p. 1 0 . Here end the Three Masses based on the Roman Missal.
We consider now the fourth, the Simple Mass, which we can
again alternate with the organ, when it will be approved by
the Superior, on the occasion of processions or other func
tions, where speed might be desired.
p. 11 Simple Mass
P. 13. Mass of the Angels
As we already have said, they sing this one in many
churches on;the Night of the Most Holy Birth, and it succeeds
on account of having much gaiety and devotion at the same
time. Also many Oratories of Confraternities avail them
selves of it when on such a night they sing the Mass.
For whoever would take pleasure in it, we add here also the
verses of the canto fermo alternatively, since this is not
found in the printed Graduals, and [onlyj in few choir
books.
jjThere follow the organ basses
p. 1 8 . ANNOTATIONS
To the above-mentioned Masses alternating between
organ and choir.
220
1. On Holy Thursday, the organ is used only for the
Kyries, and having intoned (imposta) the Gloria in excelsis,
we perform a ripieno and close the books (registri). On
Holy Saturday, the Gloria in excelsis having been intoned,
a ripieno is played and you alternate similarly as in the
other Masses. When the Epistle is finished, do not play,
but for the Offertory, play as usual. Similarly, [play]
at the Sanctus; the Agnus Dei is not sung, but the
organist, after Et cum spiritu tuo, plays until the Priest
has given communion. The Vespers connected with the Mass
is sung in chorus; do not play until the Magnificat, which
will be in the Eighth Tone; later Jplayja short Franzesina, ^
with the Ite Missa est.
2. In the Offices and Mass of the Dead the organ
must not be played (Ceremoniale, Chapter 28.). It is,
however, in custom to play for the funerals ofPrincipal
Prelates or Titled Gentlemen, not as an organ, but for the
devout consolation of the assembled mourners; make use of
the Principal at once, do not play Toccatas or Ricercares,
and QplayJ with the palls covered.
3. Many monastic churches and in particular the
Olivetans themselves, use the Mass of the Angels recorded
above without the Gloria in excelsis on the Sundays of
Advent, Septuagesima, Sexagesima, Quinquagesima and [jhinday^
of Lent. It is true that it is written in the Ceremoniale
221
Romano, Chapter 28, that except for the third Sunday of
Advent and the fourth QjundayJ of Lent, the organ should not
be played. Father Don Severo Sanesio, Abbot of the Camaldolese,
in his calendar for the Decemnium, adds there the three
Sundays before Lent; in many cathedrals and churches, this
frequently is not practiced except on Passion and Palm
Sundays. However, I am in favor of not playing on those
days of sadness referring to the Passion of our Lord.
p. 19. CONCERNING THE SEQUENCES
Which in many churches are performed in alternation
by the choir and the organ:
1. On the day of Easter and the two following days.
2. On the day of Pentecost with the two feasts
following.
3. On the day of Corpus Christi.
We shall initiate them here in an ordered way for
these occasions, as they may occur.
They are performed after the Epistle, having sung
the first verse, the Alleluia and then the second verse.
First Sequence ("for the Feasts ofj Easter.
p. 20. Second Sequence for Pentecost.
222
p. 2%. Third Sequence for Corpus Christi.
p. 23. CONCERNING THE CREDO
The Credo Dominicale follows according to the Roman
custom of the Missal, observing that it is not always sung on
feast days, as can be seen in the calendar placed at the
end. There are various customs of alternating it with the
organ and not alternating. The reason for not alternating,
they say, is that the entire Credo should be heard by the
faithful. It is true, however, that L£his effect] also
succeeds if the verse is recited in an intelligible voice
while the organ plays, or answers by the bass voice for the
following verses on the organ.
In many churches another manner of singing the said
Credo is used; entitled Credo Cardinalis, Q t is]] com
posed (so they say) by St. Bonaventura, and this serves
for the principal solemnities; let's see both of them.
Credo Domlnicale
p. 25. Credo Cardinalis
We will put here the verses of the choir for the
reasons indicated for the Mass of the Angels.
223
p. 28. A fixed table for beginning organists concerning the
time when they must play during the canto fermo Masses.
1. When the Siout erat of the Introit has ended in
the choir, play the Kyries.
2. After the Gloria is intoned, respond alternatively.
3. At the end of the Epistle, play a short Toccata
on the First Tone.
1+. After the Alleluia and Verse, repeat the Alleluia
(in case of need).
5. After the Credo is intoned, CrePlyJ alternatively
(where it is the custom).
6 . When the Qremus has been said, at the Offertory,
play until the Orate Fratres is said.
7. At the Sanctus, play twice, briefly.
8 . Play for the Elevation, having played solemnly
up to the Pater Noster.
9. After the Pax Domini, play the Agnus Dei.
10. After the second Agnus, play until the blessed
sacrament of communion is taken.
At the Ite missa est, respond with a Deo Gratias on
the first Kyrie of each Mass.
END OF THE FIRST BOOK.
22i|.
By Don Adriano Banchieri, Bolognese,
Olivetan Abbot.
Second Book
In which we are concerned with the Eight Tones be
longing to the canto fermo and organ.
To the practice of the eight Vesper Psalms applied
to the various feasts and solemnities of the year £are
addedjf eight falsi bordoni on a like theme.
Toccata
The reason Qfor using the twelve modesJ established
by Gioseffo Zarlino in his Institutioni armoniohe, Part 4»
Chapter 13, and confirmed by Oratio Tigrini, Part 3»
Chapter 3 » ^ is indeed worthy of great praise. They desire
that the modes (or tones) be extended to twelve in number,
six authentic and six plagal, formed on the six tones of
the hand D, E, P, G, A, G, or as is portrayed in the
D i m o s t r a z z i o n i formed in an orderly way on C, D, E, P, G,
A; everyone will be satisfied by their* scholarly books.
But the old doctrine of Guido Aretino also endures for
the choir. That doctrine is supported by Pietro Aron in
his Toscanello, Chapter 8 , where he wants the modes, or
tones, to be eight in number. We can probably say the
225
doctrine of these two celebrated authors is good. The
twelve ^modesj serve entirely for instrumental compositions,
as Ricercatas, Fantasias, Franceset and also Madrigals;
in addition, for deviations (modulationi) different from the
canto fermo. We would say again that the eight Qmodes arej
those which are performed in churches by the choir and organ
to praise the Blessed God with His celestial court. Antiphona-
ries bear undisputed witness that this is the truth, by the
authority experienced up to the present day, since compo
sitions have never transcended this ^distinction^. By ob-

19
serving Cipriano, Asola, Chiozzotto, Baccusio, Quintiano,
Bernardi, and many other old and modern celebrated [composers^
it is then very certain. We would leave the twelve jjnodes]]
and take the eight Qriodesjj according to our intention of
thorough practice for âlternating^ the organ and oanti
fermi.
p. 30. Intonation, cadence, and finale for the First Tone.
Intonation, intermediate finale, and cadence for the
Second Tone.
Intonation, intermediate finale, >and cadence for the
Third Tone.
Intonation, intermediate finale, and cadence for the
Four th Tone.
226
p. 31* Intonation, intermediate finale, and cadence for
the Fifth Tone.
Intonation, intermediate finale, and cadence for
the Sixth Tone.
the Seventh Tone.
the Eighth Tone.
I inform |j:he organist] that such intonations,
intermediate finales and cadences are heard in the soprano

20
an octave higher for all eight tones.
p. 32. ANNOTATION
Having understood with docility how much is necessary
for the organist to allow the choir to sing (voce il choro),
it will be well now to practice what has been said. In order
to proceed in an orderly manner we will touch upon the

21
practice of the eight Vesper Psalms under the most secure
guide of the playable bass, and, if pleasing, for singing
(cantabile). And we will add Qit the end of the Psalmsj[ eight
falsi bordoni for two voices, for other Psalms which we might
wish to alternate. We may be surprised if the Eight Psalms
are not arranged according to the Vesper custom; for j”the
Vesper customj originated in order to arrange the eight
227
tones and also to collate them with the Roman Antiphonal,
so that they may serve by choice for many feasts and solemnities
of the year.
First Psalm and Tone.
Hiis is used for (accorda) the Feast (g i o m o ) of the
Annunciation, and Feast of St. Catherine.
^ Laudate pueri^
p. 3 3 . Second Psalm and Tone.
This is used for Feasts of Apostles outside Paschal
time, Martyrs and Apostles during Paschal time, except for
^the Feast ofj SS. Phillip and James.

jTBeatus virj
p. 314.. Third Psalm and Tone.
For the Feast of Corpus Christi and the Sunday within
(tra) the Octave; transposed a fifth lower for the convenience
of the choir.
^Credidi^J
p. 35 . Fourth Psalm and Tone.
This is used with the canto fermo for the Feasts of
the Nativity, St. Stephan, St. John, Holy Innocents, and St.
Sylvester.
£ D© profundis^
228
p. 36. Fiftn Psalm and Tone.
This is used with the choir for the Feast of Corpus
Christi and the Sunday £within the octave^.
[Lauda Jerusalem J
p. 37. Sixth Psalm and Tone.
This is used with the choir for the £FeastsJJ of the
Nativity, [Immaculate! Conception, and Presentation of the
Queen of Heaven.
[Laetatus sumJJ
p. 39. Seventh Psalm and Tone.
This is used with the choir for the three Feasts of
Easter; all the Feasts of the Nativity of Our Lord; all the
Sundays of the year; [ for the Feasts ofjSt. Lawrence,
SS. Phillip and James and St. Martin, Apostles, and Martyrs
during Paschal time.
[ Confitebor tibij
p. J4.0 . Eighth Tone and Psalm.

m *V
This Tis use dJ m reply to the canto fermo fox* the
three Feasts of Easter (Ressurezzione); the Annunciation,
Nativity, Presentation, and [immaculate^ Conception of the
Virgin Mary; [for Feastsjf of Apostles throughout the year,
and [for FeastsJJ of Martyrs [durin^jFaschal time.
[Dixit DominusJ
A pitch (voce) lower for the
convenience of the choir.
230
Eirht False Bourdons on the Tones,
to Sinn with One or Two Voice:,

p* 42.
and Also the Soprano by the Tenor.
0= 0
o'- i O J
* First T< ne
•
i
3t*±-
l
i
. 1
•~>ri----- 1
m r i
H f r
,)
J j oLfj j;©
0
J *M. * •\
» •
i
i
i
Second Tcne
O 1o bo p 1
I
V f
231
i Third if pleading, a pitch low

\.1Ji>
ft,\• j*«— —y jr
•—^ r ^
-----1—
JTTj jJ ^
i I
v
P*
I
I
•
I j.
^ J c O '
#'
\
/
t -
i * — i
*• J i
■
®
Four til Vonc i
■ i i
i i
o
6) 2 o f
; r M i i O
j 0V — k.\ j = M J j : o
9 : f \* f \ '! f • <V.
/S
232
p. 43.
J
Fifth lone
x .O
J. J~3 »* iJ J Xij_ .
i
r
f i
i
i
i Sixth To tie
4. J X J ^ J j D J T> <i- J; J -0 j j :
y .
is ft
flANSf) Nii1
IS Steve M . * i
- 17
233
f----
I
* o • 1 -
.0
*
;
* t)TO ©~ J J »-
Seventh one I
I
1 i
* -i
.9> j.
i :
9 ;> I O.
\° 1
hi; hi, a I'ono nnd allso a pitch lower 1
■o
By Adriano Banchieri, Bolognese,
Olivetan Abbot.
Third Book
p. M+ • In which by the most secure and definitive (finale)
guide, we arrange (concertansi) the manner of alternating
the Vesper Hymns for aDHthe feasts and solemnities of the
year with the choir.
Toccata
There is nothing new under the sun (said the wise man),
just as that exalted maxim says, "nothing is said, that has
not been said before." To apply Qthe maxiitQ and to quiet
some curious critic, I say that many have written on the
subject of alternating the choir to the canto fermo and organ,
among these writers Aaron, Recanetto, Asola, and Diruta.
However, all these teach in their writings to alternate the
organ to the canti fermi by the same canti fermi, A good
practice, but it has real merit only for those who have
kncwledge of these canti fermi. A Latin book is understood
by those who -understand the said language, but having been
translated into the vernacular, it is universally understood.
Every organist, some more, others less, has a knowledge of the
canto figurato; but few, and many laymen in particular, Qhave
knowledge^] of the fermo. The practice in this my Art of Organ
235
Playing is greatly different from the above-mentioned au
thors, who deserve great praise for having written very
scholarly. However, I do not deserve reproach for having
written such a work to honor God, and to benefit one's neigh
bor. I wish to keep silent about the Third L b ook] in order
not to give the:frogs something to croak about. Let's
leave them in their swamp, and open the Third Book, in
which we alternate the Vesper Hymns between the choir and
organ for all feasts and solemnities of the year.
236
p. 45. ANNOTATION
On the Hymns.
We shall put into practice in this Third Book the
Vespers Hymns alternated between the choir and organ, pro
ceeding according to the order of the Holy Church indicated
in the Ceremoniale Romano, Chapter 28. In all hymns the last
verse must be sung by the choir, For such a result in many
churches, it is customary to sing the first verse in canto
fermo, followed in order by the organ, which plays the Amen.
The discreet organist is cautioned, however, that some hymns
have an even fnumber ofj verses, and others an uneven [.numberj.
Those that have an £even number of versesj have two verses
for the choir at the end. And so that one is not seized by
confusion when performing (tal fiata), £the hymnsjwhich have
an even [[number of J verses will be indicated at the beginning
of every hymn by this , and those which are not so indi
cated, go on according to the intention of the above-mentioned
Ceremoniale. However, in many churches, it is true, one goes
according to custom and tradition; observe that the [[first
verse of the[J hymn having been sung (imposta), the organ
replys to the first verse. In observance of the last verse,
this is delivered by reciting the text in chorus with an
intelligible voice. The thought of the Ceremoniale is ful
filled just as it is when the Gloria is heard by the listeners,
or as in the hymn Pange lingua with the verse Tan turn ergo.
237
and in the Te Deum [the verse] Te ergo; now we will see all
the verses [of the hymns] recorded, part in canto fermo and
others in figurato. And in order to proceed logically, we
take the order of the Ceremoniale, which is customary.
Discreet organists will likewise be able to change the fermo
into figurato, and the figurato into fermo, all the verses
[of each hymn] having the same rhythm, notes and ^number] of
syllables.
p. [|,6. Hymn for the Third Sunday of Advent,

V r-
I Conditor alme siderum]
p. J4.7 . Hymn for the Fourth Sunday of Lent,
jjludi benigne conditorJ
p. L|_8. Hymn for the Sundays of the Year.
j^Lucis creator optime]
p. ij.9. ^ Hymn for the Feasts and Sundays of Paschal time
^ A d caenam agni]
p. 50. j^Hymn for] the Sunday and Feast of Pentecost,
j^Veni creator spiritus]
p. 51. Qiymn for] Holy Trinity Sunday.
£2. J-ux beata Trinitas]
p. 52. [jHymn for] The Nativity of Our Savior, Vespers and Matins;
Sunday within the Octave £of Nativity, and the Feast
(giorno) of Circumcision.
[[Chris te Redemptor J
p. 53. [[Hymn] for the Feast of St. Stephen's Birthday.
j^Deus tuorum militumj
p. 5k- [Hymn] for the Feast of the Nativity of St. John,
* Evangelist and Apostle.
[Êxultet caelum laudibusJ
p. 55. [[Hymn for the Feast of] Holy Innocents, in
[the same] pitch (tuono) [as for] The Nativity.
The organ is not played when Cthe feastj is not on Sunday,
^JSalvete flores martirum ]
p. 56. [Hymn for3 the Epiphany of Our Savior and
the Sunday which follows.
[[[Hostis Herodes [J
p. 57. [[Hymn for the Feast ofl the Holy Cross,
in the pitch of Paschal time.
jTvexilla regis prodeunt ]
239
p. £8. [Hymn for the Feast of^ the Ascension of Our Lord
and the Sunday which follows.
£jesu nostra redemptioJ
p. 59. [Hymn for the FeastJ of the Most Celebrated
Mother of God.
£Ave Maris stella J
p. 60. Qlymn~| for the Rite of All Saints Day, and the Sunday
which follows.
^ Chris te Redemptor omnium J
61. £ Another Rite concerning all Saints Day in

* Monastic Churches on November 13.
[Âvete soli tudinis "J
p. 62. ^ j^HymnJ for the Rite of Corpus Christi and the
▼ Sunday which follows.
£pange Lingua gloriosij
p. 63* ▲. For the feast (festivita) of S S = Peter and Paul.

*
Note
SS. Peter and Paul have a common feast on June 29,
in which the hymn Aurea luce occurs. Since this hymn has
but four verses, the organ plays j~onlyj secon<^* Two
[additionalfj feasts are held for St. Peter, one on January 18,
and the other on February 22. In a like manner (3imile)
[two additional feasts are heldj for St. Paul, one on January
and the other on June 30* In order for £the hymn] of two verses
[used on these feasts to be performed] according to the usual
custom of a complete [jhymn] four verses, the first verse
is £playecQ on the organ, and the cboir £sings] the second.
These feasts are recorded here in an ordered way, and Cal so the
feast of] August 1, St. Peter in Chains, as you can perceive.
For the Feast of June 29.
Âurea luce ]
p . 61+. For [the Feasts] of January 18, and February 22.
^ Quodcumque vinclls J
For fjbhe Feasts] of January 2£, and June 30.

Ok *2+
’ ^ Doctor EgregieJ
yjj< [For the Feast] of August l,[st. Peter in Chains']
[^Petrus BeatusJ
‘
The second verse will be Sit Trinitati as above for
[the Feast] of June 29, and the organ concludes (as it has
been indicated) with the Amen.
P. 65. ❖ f^For the Feast ofj St. Benedict in the Churches
of Monks on March. 21.
j^Laudibus cives resonentj
p. 66. Qôr the Feast ofjf St. John the Baptist on June 21)..
[ U t queant laxis J
p. 67 . >J< Qi’or the Feasts ofj St. Michael the Archangel
on May 8 and September 29.
j^Tibi Chris ti J
p. 68. Hymn for Q;he FeastJ of St. Mary Magdalen on July 22,
Q|ater superni lumini3J
p. 69 . [For the Feast ofj the Transfiguration of Our Lord
on August 6, in the pitch (tuono)
of Epiphany,
jjauicumque Chris turn tollitis 1
p. 70 . >^< Common of Apostles in Paschal time.
r Tristes erat ApostoliJ

W . ........... ^
p. 71. Common of one Martyr in Paschal time.
^ Deus tuorum militum J
2kZ
p. 72. Common of Several Martyrs in Paschal time.
j^Rex glorlose martirum ^
p. 73* Common of Apostles out of Paschal time.

4* r
| Exultet Caelum laudibus J
p. 7k' Common of One Martyr out of Paschal time.
£Deus tuorum militumj
p. 75. Common for Several Martyrs out of Paschal time,
£*Sanctorium MeritisJ
p. 76 . Common for Several Martyrs out of Paschal time,
Response to the preceding page.
p. 77. Common for Confessor Bishops, and
Doctors and Abbots [who are^ not Bishops.
£ l3te Confessor J
p. 78* Common of Virgins

n
J
p. 79. Common of Martyrs and Widows
C Fortem virili pectore ^
21+3
p. 80. ^Common] for the Dedications, Consecrations,
and Anniversaries of Churches.
£ Urba:Jerusalem J
p. 8l. Note for the Preceeding Hymns.
The wise organist is informed that all the hymns
finish in one of these three final positions: C, D, or E.
When they end on C, the Amen is taken onthe same pitch
(voce); when they end on D, the Amen is taken a pitch be
low (voce sotto); and when they end on E, the Amen is taken
a third above. This observation is, in truth, indispan-
sible to respond to the choir for all the hymns, also for
those exceptional hymns necessary for various religious
orders or titles of particular churches. Here are the
examples Qof the finalesJ in actual practice and compari
son.
Qchere follow the examples of the finales J
END OP THE THIRD BOOK
2hb
By Don Adriano Banchieri, Bolognese,
Olivetan Abbot.
Fourth Book
p. 82. Which concerns a Festal and Non-Festal journal of
all the doubles necessary for the year, from which the or
ganist knows when and how much he must play. And CbhisJ
provides a most secure guide (n o m a ) for determining what
tone is £us ecQ for the Antiphon of the Magnificat Canticle
on all the feasts and Sundays of the year. At the end
(]are placecQ eight Magnificats for the choir, which can also
be sung alternatively with one or two voices.
Toccata
All Holy Days and Feasts of the Lord and His Most Holy
Mother are doubles by appointment. The whole is a result of
the Antiphonaries and Roman Breviary recently recorded and
recognized by the Apostolic Seat. It is, however, to be
observed that for all the doubles recorded in the following
journal, the organ is not played, except for those marked
with one ( ij*) or two ( ) crosses. For the other
(feasts] the organ is not played except for those that occur
on Sunday or on Monday. When £the feast isj on Sunday, on the
said Sunday at Vespers, the Second Vespers of such a double
[is observed/; when (the feast isjj on Monday, the ^Second
2i+5
Vespers ofjf Sunday will be the [First VespersJ of Monday.
Excepted are all the Sundays occurring from the First of
Advent until the Octave of Epiphany, and those from Septua-
gesima until the Octave of Easter, inclusive. For Pentecost
and Holy Trinity, which require a double office on Sunday,
we transfer [the feast]] and play the organ, if sucha double
is not the title of a church, or other custom.
21+6
p. 83 . DIARY OP THE DOUBLES
Necessary
for All the Year
Notes
For those doubles where there is no cross beforehand
(as we have already indicated) the organ is not played be
cause of the conditions seen in the preceeding Toccata.
For the doubles marked with a the organ is played
on the day assigned to them, they being feasts ordered by
the Holy Mother Church.
For those Cfeasts^ marked with two the organ is
played for First Vespers or its Vigil.
By the numbers 1, 2, 3, I4., 5» 8 , 7* 8 , are understood
the tones of the Magnificat, First, Second, Third, Fourth,
Fifth, Sixth, Seventh, and Eighth. Where in place of the
number there are two dots, they signify the First Vesper
of that day will be the Second Vespers of the preceeding
day, and this proceeds consecutively according to the dou
bles .
214-7
First Vesper - F. V.
Second Vesper - S. V.
JANUARY
* 1 Circumcision of Our Savior F. V. 8 S. V. 2

2 Octave of St. Stephen F. V. • • S. V. 2
3 Octave of St. John F. V. • • s. V. 6
k Octave of Holy Innocents F. V. • • s. V. 2
6 Epiphany of Our Savior F. V. 8 s. V. 1
* 17 St. Anthony, Abbot F. V. 2 s. V. 1
18 St. Peter’s Chair at Rome F. V. • • s. V. 1
* 20 SS. Fabian, and Sebastial F. V. 8 s. V. 1

21 St. Agnes, Virgin and Martyr F. V. • • s. V. 1
25 Conversion of St. Paul F. V. 7 s. V. 8
27 St. John Chrysostom, Confessor
and Bishop F. V. ? s. V. 2
FEBRUARY
2 Purification of the Madonna F. V. 2 S. V. 8

22 St. Peter's Chair at Antioch F. V. 2 S. V. l
214- St. Matthias, Apostle F. V. 1 S. V. i
2I4.8
MARCH
7 St. Thomas, Doctor P. V. 2 S. V. 2
12 St. Gregory, Pope P. V. 2 S. V. 2
4* 19 St. Joseph, Confessor, not

Pontiff P. V. S. V. 8
«§»£» 21 St. Benedict, in the

Monastic Churches P. V. 1 S. V. 1
25 Annunciation of the Madonna P. V. 8 S. V. 7
APRIL
11 St. Leo, Pope F. V. 2 S. V. 2
4* 2£ St. Mark, Evangelist P. V. 2 S. V. 8
MAY
>J< 1 SS. Phillip and John P. V. S. V. 7
St. Athanasius, Bishop

and Confessor P. V. S. V. 1
3 Holy Cross P. V. S. V. 2
6 St. John before the Latin Gate F. V. 1+ S. V. k.
8 St. Michael, Archangel F. V. 8 S. V. 1
9 St. Gregory Naziansen, Doctor P. V. s. v. 8
JUNE
II St. Barnabas, Apostle P. V. 1 S. V. 1
III St. Basil, Doctor P. V. 2 S. V. 2
214-9
* * 21+ Nativity of St. John the Baptist P. V. 8 S. V. 7
29 SS. Peter and Paul P. V. 1 S. V. 1
30 Commemoration of St. Paul P. V. .. S. V. 7
JULY
i Octave of St. John the Baptist P. V. •• S. V. 1
* 2 Visitation of the Madonna P. V. 8 S. V. 8
6 Octave of SS. Poter and Paul P. V. 1 S. V. 1
ll+ St. Bonaventura, Doctor P. V. 2 S. V. 2
22 St. Mary Magdalen P. V. 7 S. V. 8
* 25 St. James, Apostle P. V. 1 S. V. 1
26 St. Anne, Widow P. V. •• S. V. 7
AUGUST
X St. Peter in Chains P. V. 1 S. V. 7
1+ St. Dominic, Confessor,

not Pontiff P. V. 2 S. V. 1
* 5 St. Mary of the Snow P. V. •• S. V. 3
6 Transfiguration of Our Savior P. V. •• S. V. 8
* 10 St. Lawrence, Martyr P. V. 8 S. V. 8

JvA 15 Assumption of the Madonna P. V. 1 S. V. 8
T V
17 Octave of St. Lawrence, Martyr P. V. 8 S. V. 8
20 St. Bernard, Abbot P. V. 2 S. V. 8
22 Octave of the Assumption Fr V. 1 S. V. 8
4* 21+ St. Bartholomew P. V. 1 S. V. l
28 St. Augustine, Doctor F. V. 2 S. V. 1
29 Beheading of St. John the Baptist F. V. •• S. V. 8
SEPTEMBER
* 8 Nativity of the Madonna F. V. 1 3 . V. 1
11+ Exaltation of the Cross F. V. 1 S. V. 1
15 Octave of the Nativity F. V. •• S. V. 1
* 21 St. Matthew, Apostle F. V. 1 S. V. 1
♦ 29 St. Michael, Archangel F. V. 8 S. V. 1
30 St. Jerome, Doctor F. V. •• S. V. :2
OCTOBER
1+ St. Francis, Confessor,

not Pontiff F. V. 2 S. V. 8
18 St. Luke, Evangelist F. V. 1 s. V. 1
* 28 SS. Simon and Jude F. V. 1 s. V. 1
NOVEMBER
1 All Saints F. V. 1 S. V. 6
8 Octave of the same F. V. 1 S. V. 1
9 Dedication of a Church F. V. • • s. V. 6
* 11 St. Martin, Confessor,

not Pontiff F. V. 2 s. V. 1
18 Dedication of a Oht1T’ch F. V. 1 s. V. 6
* 21 Presentation of the Virgin Mary F. V. 1 s. V. 1
♦ 25 St. Catherine, Virgin and Martyr P. V. 8 S. V. 7
* 30 St. Andrew, Apostle P. V. 1 S. V. 1
DECEMBER
7 St. Ambrose, Doctor P. V. 2 S. V. 1
* 8 Conception of the Madonna F. V. • • s. V. 1
* 13 St. Lucy, Virgin and Martyr P. V. 1 s. V. 7

* 21 St. Thomas, Apostle P. V. 8 s. V. 8
25 Nativity of Our Savior P. V. 8 s. V. 1
* 26 St. Stephen, Protomartyr P. V. • « s. V. 8
* 27 St. John, Evangelist P. V. • • s. V. 6
* 28 Holy Innocents, on Sunday P. V. • • s. V. 2
'V 31 St. Sylvester, Pope P. V. 2 s. V. 8
252
p. 86. COMMON [FEASTS]
For the occasions of Protectors of Towns, Titles
of Churches, Groups (Corgi) of Saints, or other needs where
there would not be a proper office.
Common of Several Martyrs and One

Martyr in Paschal Time F. V. 2 S. V 8
Common of £severa]J Martyrs
throughout the Year F. V. 8 S. V 6
Common of One Martyr
throughout the Year F. V. 8 S. V 1
Common of Virgins F. V. 8 S. V 7
Common of Widows F. V. 1 S. V 8
MOVABLE FEASTS
[jPor thesej we omit the double, if necessary.
* * Easter Sunday F. V. •• S. V. 3
* Easter Monday F. V. 9• S. V. 8
* Easter Tuesday F. V. •• S. V. 8
<f»4» Ascension of Our Lord F. V. 6 s. V. 2
Pentecost F. V. 1 s. V. 1
4* Monday in Pentecost Week F. V. •9 s. V. 3
4 Tuesday in Pentecost Week F. V. 99 s. V. 6
* Holy Trinity Sunday F. V. 99 s. V. k
* * Corpus Christi F. V. 6 s. V. ->
253
SUNDAYS OF THE YEAR

Note
On all Sundays of the year, Paschal and Non-Paschal,
the organ is played for the last Psalm if there are not
double Antiphons (and if it is the custom of the place to

play [the organf). If, however, a Holy Double occurs on a
determined Sunday, or on Monday, the organ is played on such
an occurrence for all the necessary (scorendo) Psalms through

the Antiphons of such a double office. For the Sundays of
Advent, [the organ] is played [>n the] Third ^Sunday], and
for those of Lent on the Fourth [sundaj^, this being cited

in the Ceremoniale, Chapter 28. For the Masses still re
maining, according to the custom of the more popular churches,

on two Sundays, Passion [>undayj| and Palm |j3undayJ, the organ
is not played at all.
First Sunday of Advent Magnificat 8

Second Sunday of Advent 8
Third Sunday of Advent 8

Fourth Sunday of Advent 2
Sunday between the Octave of [The
Nativity ol^ Our Savior Magnificat 8
Sunday between the Octave of Epiphany 8
Second Sunday after Epiphany 1
Third Sunday after Epiphany 1
Fourth Sunday after Epiphany 1
2511-
Fifth Sunday after Epiphany 1
p. 87 . Sixth Sunday after Epiphany 1
Septuagesima Sunday Magnificat 7
Sexagesima Sunday 6
Quinquagesima Sunday 1
First Sunday of Lent Magnificat 8

Second Sunday of Lent 1
Third Sunday of Lent 8
Fourth Sunday of Lent 1
Low Sunday Magnificat 8

Second Sunday after Easter 3
Third Sunday after Easter Q
Fourth Sunday after Easter 1
Fifth Sunday after Easter 8

Sunday within the Octave of Ascension Magnificat 8
Sunday within the Octave of Corpus Christi 1
Third Sunday after Pentecost Magnificat 6
Fourth and Fifth Sundays after Pentecost 1
Sixth Sunday after Pentecost 7
Seventh Sunday after Pentecost 1
Eighth Sunday after Pentecost I4.
Ninth, Tenth Sundays after Pentecost 8

Eleventh Sunday after Pentecost Magnificat 5
Twelfth Sunday after Pentecost 8
Thirteenth Sunday after Pentecost 2
255
Fourteenth Sunday after Pentecost 1
Fifteenth Sunday after Pentecost
Sixteenth Sunday after Pentecost 7
Seventeenth and Eighteenth Sundays

after Pentecost Magnificat 1|
Nineteenth and Twentieth Sundays

after Pentecost If.
Twenty-first Sunday after Pentecost 6
Twenty-second Sunday after Pentecost 1
Twenty-third Sunday after Pentecost 1
Twenty-fourth Sunday after Pentecost Magnificat 1
2% 6
p. 88*
£iiaj~n i fi c a t3 Pi i’s t T one
Soprano, oi- u'onor .mcl Das:

Intonation
: w '•
P Mag - ni- - Ti- cat or ni- - fi- cat
II
Os O
--------- .... J I ) J •' J 1:

An - i- - m a , me - a Do - 1- - - - -mi - -I niu:i All - - -ma
An - i- - m a ( me - - -a j Do - - -miJ mum ..n - - -ma
i
i
m u f !f
r
•C? # J
me Do i- - - - mi - - •nun
ric- ■a i Jo - - -num
a f t !S T & S & •J jsro^!
;v \ ;r ( t o
J b J ; J- .q : ;& o
o I
I o I
\ \ r \
IIlAN^C n.
IISSut«
257
Ctf.-. .j/w ii vU,-.Cli:G T O 'ii . OiiO -.h J
1. j,uia reapoxlfc'huiiiil£fcai&~~ancxlZaa^bag:: -Scce~-ehTnr-~Ii— ~

ox h o c .’boortoju i&o' ai'owfOBJixos doîHtxdiicif 7-7-::"i~;.T'r:rrir
3. db niaurioorciiu oius a pro.'- vnio in pro," --nie:; timontibus eum.
5. t>ejosulf potent os do 3 ado.: ef. oxaltavit burn-i.igg-, -----

V. ni\~ccnit i m e l prternrrTrnun: rtocorrtafnB irr^sei’icordlutr »u a e 7‘
f
O 1
t
1
j JU J !y ■T O ,lnj
I
i ; a\ #J>!
---r-
Glo' - ri - a ,
i ■tri ot • ■* — - li et
o ,o 1
S>: !
i
f f •' 'f \°
r rr t.e_;
J J- > J j J J-pJ I J J I J J. j> > .t;
:l -rx - -oi d .10- ot ;oi- iM. tu - i I

i
xO • i a
f P p •
\ \ 1 \* \
O ' ;C -
I o
f r
"5^ •
'■ J
rii ic Lice■■•nd :.'o.io
258
p. 90*
ilntonation
Do nun
Do niai
o
J^pJ ©\! o J J J.rjj
i i
i i i
i
•— 0
if! f \* \*\' if
0
o
bf : r u i
j #a
Jo
ilANio n.»: «£r*

13Su*( M*4fce*
2£9
’. i■ 't . i; • 3. r- ■
o;: c b t .. c : gener- • -n . . '
2. r ; _ ' D i v . s a rrc.: :r.ie in Î’C.-.onier tlner.titros cunv

' j ■■r; :-: -: 11 v5.t '.iiLiil.
s;” o r it : rraol zv::~: “sccrctaT'ar nis?ricprd±ae •suae-?;
j j j J J J | .t"} .L—J .1 j J J | .1 J. Jb.yJ:j

ii *- o ec, G>'i -r*i - tu - 1 I
I i
9k
(fT
J
J J- JV J j j if O
O'.V:c £'.\ - 1 ba c — V
9 k
\*
ib
p. 92 260
[j'lagnificatil Third Tone
Soprano or Tenor in Tone and a b rss Voice if pleasing

ntonation
YI»
P Mag - ni - fi-cat
*
£
Mar-ni - fi -cat :iian;-ni - -fi-cat or Mag-ni-
Hi
fi-cat
m n
0*0
■t • i ii-,
1 , | i -mai me - a | Do - - - r - - mi-1 nujn
An -i - ma . no - a Do - ni - num I .m - i -ma me- - a tDo - mdl-nua
V&-T T !T=ft*=f‘
-=ff=*r-m m r 1^ - tit d *
,4)
4^ J— tj JT} J;
I I
I I
;..o.
L i__
• - n i 0 ;:
g L i° i -y
t t f f 5
T I A N S O N a I
I*9»*
Q VE-.SZS BELONGING TO THE OriGAN^ 261
1. '4ula respexit humilitate anciliae 3ug: Ecce enim
ex hoc beatam me dicet omnes g e n o r ataonea.
rz_^ — £ t- tala a p i a oi»dia "a Tue— a-^pgbgeni a in progenies t intentiûe » v » r
i>. Oeposuit potent os de sede: et exaltavit hurailes.
1. ;
o-T*} J
_
' J i J I .OfT l J —W J i J
r- 1----------------- J--------- 1----------- »-
t !•
Gloi- - ri- a* ra - tri a t 1 Pi- - - lii- o etj
IitANs<; I
IS 4b ~
~.. a.<
262
p. 94
^Magnific ''jjFourth Tone
(Intonation
Mag - ilnr-ni-
nura
rae- mu n
r f
- rai1- - -num
Do - - - - - - - - - - -mi - - J - - num
Sjf\
r . : jf:
r f r
-- tji -* ■f f f
TEANSO No.I
ISS«
2t
263
t y , 3. V , 3:iLi.HGIKG TO TH3 ORG .il J
..via resnexit humilitate ancillae auj: xcce enim

ox :ioc be ’.tan me dicet omven c :.nern.tiones.
.. ^ rTivTori'C ■ari3rjg5iii:e~.lii:i^cCTa3r£z:
5. lJ iviov.uit net -'.lito r de sede: et exalt.wit bundles.
Y^rsccrrit irrrtel ptigrurr romn: iiaccrrdalrnswtTXT
& P
i et spi - ri-tu-i
et st>i> x*i -tu-i Sane -
fl :f w m
— i----------------- r
<* y <
Sane — to ! et sn i
to 1 et s -i- ri - tu - i
l.
m Q ;-.r— ~ A :
f f f f P1
IIANSO Nol
11S(«*iMmKw
p. 96 .
261+
£ Liapnificatj Fifth Tone
Intonation
Pi Mar- ni - fi- cat or

0=0
Wap - ni-fi - cat
41
i i J!T /#«\; J:ni1!- inum

S J .»!
...i : t :
an - i - -rataj me = - - a | Do - - ni *- mi tin - i-raa me
An ■ I-i - ma no I- -a Do - -J- - - mi num An*!- ma niep - - - a
4 . J ! T
$ j --- 1 i
a Do p - - - n i - n u m
Do - ____ J
f f l f t ! o
O- I o i n i
T Ui
L H . / 3 | J P J* ■j j
r-r
IRANSO Nu i
It 9 u » t M« i w i
265
^VERSES BELONGING TO THE OUGAli ]
1. ■iuia re3poxit humilitate ancillae sug: Ecce enim

ox hoc b eatiim m p, dicet cvmoa. ~ +-’' " a a
'i. Et. etesj &. pr5S Gn i ^ tT^xjrg^wnifr»:
5. Eorosuit potentes do sede: et exaltavit hurfiil&s.
-.7. 3u3copH; Igraol pugrurr~3trtnTrt -Heeortiatrct^wia^riôrdiao »u a et-

.
_-o • J J A A i A J 4 1
Glq -ri a i ra tri -li - o et spi --"i -tu- i 1
I -li o ,^l api-ri- tu-}
3 ! ° ;f Tj
f
i-ar*rr &
Sane — — — 1 _ — — — « — - -j — — — — — — — j— — — - j- — to
x Sane p
fyrl' '
p* 98 266
[j-Iannif ico.tj 3i::th Tone
Intonation
*> II
Mas ni- - fi -cat or 'i - c t
0=0
t e -j i } \ i |
* an - - i -
/in .. _ 1 — madI
m me -
m o _ n
a
Jo I- - - - m i ,- urn
,-)r> L — — _ > ■>•> . - . L _
an - - i - '.id ne - - - -a • Jo - in.-,- nun ...nr - -i - nc
i
P U .C f -f f ; f f j f fi ^ \* f >o
X
X
j j-f-J j
me J- a Jo - - -* - ■i - - - Ml 7 nun
a i Jo - - - - - L t- -nun
i i " T
r i
i
r u ;o x i ' i I.
&
j j— ^ tf
•o
m f \ Ui°
: S 'J v S' 1 4 4 J
I
I
X ___ (
* ~o 4-
x T
T I A N S O No. 1
1>*•
V
i
267
£v j. ::: xc x.: ■■-G - i J
1, ,ui*\ sc.r.•■>o;r> t hu.’ .ilit •to •'.'ic II' e m g : x.cce enim
■ " " ~fty lyi'f*. T)rS yh'ra r3ft~~iffT7jtKV 'hnvrieih .Id.-OratiO-ies» ---------- --------------
Tit’ nIs«ricor<*i ■’ oxus" a v'f*ov'e ;ie ’In ">ro:rcriido i i x :tibus eum.
Jc"...-.uit ot. t do sede; ei exnltavit runil e s . '
7«. luabc-It T ~p-.mvVim~mair-rf; .Icccrdnfc'.rrr ralfSQl*iC~0'3fdia.s fiU&d __ ...
J J J i J L t._____ l \ I Li: x:r

I -•••a*’ r»’
, - 7
Glo - r -a \ ia - tri 't Fi li ( et I
I Glo -ri - a 1 Pa - - -tri ot ( Fi- li j- et
m
% if r rif f ^ if
3pi - ri - tu - - -j - - - - - - - -,- - -i Sane - to et .

ST.’i - - - -ri tu - - -i , Sane - - - - - -to et
I ' I I
T
s>b ? A-:. If . f if \‘~f f i f
V I
o» *
p>»
ri tu to
tu to
.©
IIIAN SI) .N
1?Jmi.M
268
p. 100*
£Magnifica'Q Seventh Tone
Intonation
* * * II
Mag - ni - - fi - cat or Mag - ni - -fi - cat
0= 0
ZJl : • ~:r
-— j -6 - : j J- : Jt J i ' 0 r
$ An - i — mat me - - V a . Do - - - - - I- - - mi »- num i
An - i - rad me - - ¥ - - a . D o - - - - - I -- - mi f num An i - ma I
I . . | I;:-.-:::--.-.::.-.. 4 .. * '•
m t
a
An ma me Do ■mi -num
me- mi -num
- ! o
tto
I o
T K A N i O N a l
It 9w*» 1
269
^v e r s e s belonging to the o r g a n ]]
1. «juia respexit humilitate ancillae sue: Ecce enim
EC '7713aflrToorHXa 'ellia- a. progan ia-In .proêniaa tTiaan.

t lbua~¥tB£
5. Eeposuit potontes de sede: et ;xaltavit humilea.
T.
> J. •** <*

•tu I Sane
)- -tu- i * Sane
i
Ik p •
i f
T f IS' S r
o
to
uO
9 :t
1 V*
•f.A t.v> i <*«i
270
Cl-ia. nii’icaJ-liimhth Tone
Intonation
Mag-ni - - -ii-cat iiag-ni-fi-cat ii&g-mi- fi- cat or li. 1-

1.
0=0
** ji j J j i ; cl r
I---------------- r
An - i- maj me - a Do - m i (- num An- i - ma 1 me - - a
An - i- maj me - a Do - ni|- num 1 nn-i - na *
i n <
me mi1
me Do mi
J
X
&
.1_____
ITKANSO Ha I
IU Imn Mifcai
271
, . -Jo j ,J_,0. .'rjiiC - x’O T H : i O ftG a llJ
.uia re" exit hunilitate ancillae su^: iicce enim

ex h o c b o at an me dicot omp.es --'r.oratio.aes.
3v lit m i seri-cordia -pitta--a -pyogen i e--in -pt
5. Jeoosuit notentes do sede: et exaltavit humiles.
7. ûeoenit i s r a e l B u e u u w suu«: he-oordafcus
1
Gloi - - ri - a ' Pa - - tri et 1 Pi _r
1
~rr>- o
1 tri 1 o et api-}
Gloi - - ri - a 1 Pa et Fi - li *-
1 j 1
:t> -f f j 0 Jtir.
3 r f iT
li
r
f
r
J J j. j ;J t -e-c
I et spi- ri tu 4 1 Sano-
ri- tu- - i 13anc-« - - -to I et mi - ri - - tu-* - i Sanoa —
I
t '
f H - f —
!f —
JO
to
to
IeANSO N<»I
II Sur. iUHmt
p. 101^. Suitable Practice When the Eight Tones
May End on D. sol r e ;
Magnificat Anima Me a Dominum.
First Tone - Unaffected
Second Tone - For a fourth below
Third Tone - For a fifth below
Fourth Tone - A pitch (voce) lower
Fifth Tone - A pitch above
Sixth Tone - For a third lower
Seventh Tone - Unaffected
Eighth Tone - For a fourth below
273
by Adriano Banchieri, Bolognese,
Olivetan Abbot.
Fifth Book
In which we practice whatever is required to alter
nate £the organ and choirj for the Offices of the Brother
hoods and Oratories.
Toccata
Music, and also the organ, is introduced into churches
not only to praise God, but likewise to entice the faithful
to devotion on feast days. One observes (veggasi) in St.
Augustine, Book 2 of the Confessions: "Consuetudo canedi

23
probat Ecclesia si e animus ad effectum pietatis assurgat."
Such music and an organ are shown in the Old Testament Book
of Kings Chapter 6 [[where one readsj: "Et erat cum David
septem chori, & ipse percutiebat in organisti & totis viribus
saltabat ante Dominum."2^ The Organist then must learn to
assume a beautiful and pleasurable manner of playing, en
ticing the faithful £to devotion^ with new, lively, and
musical fugues, however, keeping respect for the Sacred
Council of Trent, Session 22 £which saysj: "Ab Ecclesija
vero Musicas eas ubi 3ive cantu, sive Organo lascivum,

oC.
aut irapurum aliquid miseratur." ^ We must understand by
"coarse words," Ballate, Moresche , and similarly played
27k
pieces; Corrado Bruno says in Book 1, Chapter 3: "Organo

26
Diaboli Deo odibilia." Consequently, let organists be
ware not to be among those denoted in Job, Chapter 21
[where one reads}: ”Fili mundanorum gaudent ad sonitum
Organi,”^ and instead of stimulating the faithful to de
votion, move them to worldly luxuries and pleasures. I
should not omit telling of a fine retort that the author
heard with his own ears from the mouth of Mr. Gioseffo
Guami in the Duomo of Lucca. One organist (a most remark
able man in liveliness of the hand) who was desirous of
being heard play, passed by. Mr. Gioseffo heard that he
was being sought out for his advice. The organist said,
"What do you, Mr. Gioseffo, say about the velocity of the
hands?” Mr. Gioseffo replied: [You} are more than an
organist because you are both an organist and a simpleton
at the same time.”
p. 1 0 6 . The Hymn of St. Ambrose and St. Augustine, [which}
is sung in the Brotherhoods on feast days before the Anti-
phons (Laudi) of the Madonna, and also universally on
Christmas Night.
Annotation
An antiphon of the Third Tone, [which is} still sung
at the present by Ambrosian Ecclesiastics, gives evidence
(testimonio) that the two doctors of the Holy Church were
2.75
the composers of the following hymn. Franchino Gaffurio
remarks (veggasi) in his Pratica musicae, Book 3» Chapter 13,
"Baptizat Augustinum Sacerdos Ambrosius, ambo, statim modu-

28
lantur *Te Deum laudamus,1" etc. This mysterious hymn is
one of the ^mostjj ingenious canti fermi introduced into the
Holy Mother Church. The hymn is composed of three tones,
the Eighth, Third, and Fourth, and although they make some
modulations, £ these modulationsj) occur (entrano), however,
in such a tasteful manner that the modulations are presented
smoothly (soave) and singably.
Notice
The first verse after the intonation is to be played by the
organ, so that the verse Te ergo quesumus is sung by the
choir. The Ceremoniale Romano directs this in Chapter 28
deferring to the customary practices.
Deum laudamusJ
p. 110. ANNOTATION
At the conclusion (finito) of the hymn Te Deum,
the five Psalms £ which comprisej the Antiphons (Laudi)
of the Madonna are sung. The organ is played at the end of
every Psalm as it is played at Vespers of a double office.
When th8 Chapter has been said (cantato), the following
276
hymn 0 glorioaa Domina is played, then the Benedictus canti
cle [is performed ], alternated like the Magnificat according
to the usual Tone. And at the end, a Sonata is played as
after the prayer for the Deo Gratias.
p. 111 . Hymn of Praise for the Queen of Heaven.
0 gloriosa Domina
p. 112. 277
Pr o m the First Sunday of A d v e n t u» to Christmas Kve
the ;intiphon Sniritus Sanctua is used.
First Benedictus on the Bi.r-hth Tone

Intonation Canto or Tenor and Bass
Be-ne- dic-tu3 Do-mi-nus De-ua Is-ra-el Be-ne-dic-tus Do-mi-nus De-ua Ia-ra-<

0 -o
j ± A 4;ji .\ m j j l - j j; ji f A 1 •> j •Vi
■iui- a vis- i tav-it et; fe----- - _ _* -cit Re* -demp-tion-
«£ui- a via- i - cav-it ot, fe- - - - - -jcit lte-demp-ti-J on- - -era
i
»
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J cH-J .0 \]
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[ v GiSKS I3..L0 fO iiiG TO THK ORG .llJ
Sicut locutus st »or o?i sanctorum:

Jui a seculo 3unt propheturum eius
1Kt1°n d 3°'~~C°rd^ Xm Patr*b u r i -
:Att'.: slag; -tlnorg'JlaTisusî^nlii^coPucCS^fer-ûCT liheratT

• SorvlTumiH-m i i — --- - ~
attu puer profeta altis imi vocaboris
ir-oibia enim ante facicm Domini parare vias eius
Ter vis cara. .mTsap.icai'dia Uei iio*£ri" .■
' In ~ouitms vlaitaviT:~rioa~~oni • ---------
J J J J J J ! j y } :2 J - f V i; J ; X
Glo- ri- a ~T
Ta -tri ct * J<’i ; lii-
lii - o I et soi-
Glo- ri- a Ta -tri et* :''i - - - - r- li - - *■ o et spit- ri- tu i
I - » * -
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f ;bo
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9k i
On. the Gay o £ fcho Gnaunci-.tion on ilarch 2 5 , the sewe enfciehon i» naed.
... ..
Frau th® Nativity of Our Lord up to Purification
til® Antiphon Mirabil® mlaterium is used.
279
P. ill*.. 3®oond Benedietua on th® Eighth Ton®
Canto or Tenor and Bass
Intonation
$ ~nr
B®- n®- dic-tua
.®. ,®
Do-mi-nua De-ua la -ra- ®1
B®- n®- dic-tua Do-mi-nus De-ua la -ra- el

0=0
$ Qui-a
Qui-a, via - i - taf-vit et fe
via-i-.-ta - - - vit - - - - - - - et fe --
cit
cit
8e -demp-ti
He -demp-ti
zp r r-rfsl it t a \r r
T
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-on- pie bis au *■ <- e
-on-em pi® - bis | au u -e
lO
9 ; ■V f f C J -: f
z:
te
E g
t cH oeviA«T
280
[ViirtSEG B.iL< .V : j?C ’VIE C iG " J
Sicixt locuLusVc3Ti^-erl‘b3V'l:iLa.ct6i,u a J - ~ ~ V V
'Xuf a se'culo'sunt ftroph«tarvtm blua ' : .vvvv. .. -- -—
*.d '"'iciondm nl'S'epicordi nm 'c«in'patribcrs nostria:' .. .
±*t nc.-ior^ri t'-’taienti s-vncti
ot si :o ti:KiT’e de n.'nu iniriicorun nontvorun liberrti
Scrvixaus iiii. .viivivvu
- t t u paw ? p r o f e t x . . a l t i s r i r i : :v o e',.t>.ert5.:_:"..:..;.... ". ~~ — -------
•tT e io is - "Rr.irt ••urtc t~ civm -^crtint' 'p a r r r e - v i-s rr-e itta ---------
ici* viscera .d.sericcm.:e ->ei no-t:*i
in o.'ibur, v.isite.vit nos orinnr ex alto:
J .V .V; J •' J ; J J iif J •' •*j } ■ ■ J' J-

- 1
Glo - ri- ia tri et* Fi li,- et apai -ri - tu - i
Glo -r.i-a ra- tri ot
>: vi ^ I" et 3pi* -ri - tu - i
r rt f t \'
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:vi o
ti f r T I<r -T
I
arincj - - - - - - j
a .me - - I to .
!8\N'.II N o I ^
IX Stawr r
^
281
p. 116.
-fiSOm. PuSJincatioji up to Eaatar- (except the day of the

Annunciation) and from the octave of Pentecost up to
Advent, the -;hitiphon Beata Dei is used.
Third Benadictua on. the Hra.tTone

Canto or Tenor and Bass
tonati
'• ".• .. e A* •
Be - ne- dic-tus Do-mi - nus De - us Is-ra-el
m • • • e"A* • 0 0 e
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282
[VERSES BELONGING TO T H E ORGA n J
Sicut locutus est oar oa sanctorum:

<iui a s-nulo sunt pxtptaebaruri eius
A d r a c i e n d i m jniaerlcordiam cvua patribua nosfcrisi
Et memorarl testament! sul" sanctl
Ut sine timore de manu inimicorum no'-trorum lib rati
Serviamus illi.
Et tu puer profeta altissini vocaboris
Praibis enim ante faclem Domini parare vias eius
Per viscora misericordie t>ei nostrl
In nuibus visitavi. t nos oriens ex alto:
1
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m o - ri - a 1 ;a - trii - - - et
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283
^ > # A
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Jane — — — — — — — -j — - - — i— to
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Il A N ' O N<»
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26k
p. 118.
Prom faster Until Pentecost

the ^ntiplio aepiina Caeli is used.
Fourth Banedictus on the îxth Tone

Canto or Tenor arid Bass
, P Intonation
♦ • • • • • • -
•
• r * m
Be - ne- dic- tus Do- mi - nus Do- us Is - ra - ©1
• • • • 9 • # m
• r * ft ••
19 V
6-0
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I
fjui vis tav it et 1
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IE
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dowp - ti - on - em • ole - bis i
I
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I V. \ N S v i N u i
if %•»*
N.
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285
:j j j i a 4 J J !
io ,O
I
o
fff I T? i
IO
Sicut locutus est per os sanctorum:

ûi a seculo sunt prophetaruia eius
Ad raciendam mlsoricordiaa cua putrihus nostrisi
Et menorari t n-tamonti sui n-.mcti
ut 3ine tiraore de :nanu inimicoruni nr trorun liborati
Sarviamus illi.
Et tu puor prorota altissimi vocaboria
Preibi3 enlm -nte xaoiem Dciaini pui’are vias eius
Per viscera misaricoadie dei noutri
In quibus visitavlt nos ori ,na ex alto:
286
spi - ri - - tu - i i Sanc- to et api -ri tu -i Sane l-

spi - - -tu - ■ I Sane -
i
m + t f I
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to
tr.
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p. 120. First Antiphon (Lode) of the Queen of Heaven
for Vespers, Compline, and Lauds.
[This is sung] from the First Sunday of Advent
to the Feast of Purification.
Âlma Redemptoris MaterJ
p. 121. Second Antiphon of the Mother of God.
jjChis is sung] from the [Feast] of Purification
to Easter.
£Ave Regina CaelorunQ
p. 122. Third Antiphon of the Most Holy Virgin Mary.
[This is sung] from Easter Sunday to the [Feast]
of Pentecost inclusive.
[ Regina Caelij
p. 123. Fourth Antiphon of the Advocate of Wretched Sinners
[This is sung] from the Saturday of Holy Trinity
to Advent.
[ Salve ReginaJ
288
p. 12 l ± . Tuning the Viole da Gamba to the Organ or Spinet.
First Viola, Basso
1 Bass on G. Gravissimo 2 Bordone on C Gravissimo
3 Tenor on F Grave if. Me zana on A Grave
5 Mezanella on D Grave 6 Canto on G Acuto
Second and Third Viola
1 Bass on D Gravissimo 2 Bordone on G Grave
3 Tenor on C Grave q. Mezana on E Grave
5 Mezanella on A Acuto 6 Canto on A Acuto
Fourth Viola
1 Bass on G Grave 2 Bordone on C Grave
3 Tenor on F Chorista I4. Mezana on A Acuto
5 Mezanella on D Acuto 6 Canto on A Sopr1acuto
Bass m
Tenor and Alto 1
Canto
m 1SL
1 2 3 li 5 6
289
p. 12*. Tuning the Violette da braceio with Organ or Spinet
First Violetta
1 Bass on G Grave
2 Tenor on D Grave
3 Mezana on A Acuto
ij. Canto on E Acuto
Second and Third Violetta
1 Bass on D Grave
2 Tenor on G Acuto
3 Mezana on D Acuto
I4. Canto on A Sopr»acuto
Third Violin in Concert, and Solo
1 Bass on G Acuto
2 Tenor on D Acuto
3 Mezana on A Sopr1acuto
k Canto on E Acutissimo
Bass
— o
Tenor and Alto
Canto
~= — o ----------
1 2 3 k
290
p. 126. APPENDIX
To
The Art of Orpan Playing
Adriano Banchieri, Bolognese
Olivetan Abbot of Good Merit.
Opus 3
Where the new organist practices in two parts, high
and low, an easy manner of playing the Fantasia.
IN VENICE
3y Alessandro Vincenti 1622
-91
p* 127* •i'is;• for Sunday
Jella Joroenica)
,o= o f n - J X Q
After the Introit. First vyrie
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Third Kyrie ,
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292
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Et in teri'a pax (
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295
$
3L <*L A
=# ri ai i^fll J &
Qui tolhis peccata mundi puscipe, with Trem'olo
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Amen
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Sanctus
^ . rrr,.^ i= (t f . 61
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p. 133*
Sonata Grave uith Principal 299
for the Elevation
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p. 135. Blzaria on the First Tone for the Gradual
301
I
viith Flute at the Octave
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TlANSONal
ISSt. «*•-
p. 136. - Biz aria on the Pirr.t Tone
At the fourth for the flute 12th
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p. 137. 303
Fantasia on t.ac Seventh and î:hth i'ones
Fugn by Imitation
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p. 139. Fantasia on the Eleventh and Twelfth Tones 306
In a manner corresponding to a Fuga
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309
p. lip.. Table of Contents
of The Art of Organ Playing
by The Reverend Don Adriano Banchieri,
Bolognese,
First Book
Toccata on the Inventors of the Organ. 1
Advice Regarding the Guide of the QOrgan} Bass. 2

First Mass, of the Madonna. 3
Second Mass, of Sunday. 6
Third Mass, of the Apostles. 8
Fourth Mass, Simple 11

Mass of the Angels, with the fermo. 13
Annotations to the above-mentioned Masses. 18
First Sequence for Easter 19
Second Sequence for Pentecost. 20
Third Sequence for Corpus Christi. 21
Credo Dominicale. 23
Credo Cardinali3, with the fermo. 25

A Fixed Table for the Beginning Organist concerning
the time when they must play during the canto fermo
Masses. 28
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
310
Second Book
Toccata on the Eight Tones. 29
Intonations, Cadences, and finales forthe Eight Tones. 30
Annotations on the Eight Psalms. 32
p. ll|.2. First Psalm and Tone, Laudate pueri. 32
Second Psalm and Tone, Beatus vir. 33
Third Psalm and Tone, Credidi. 3k

Fourth Psalm and Tone, De_ profundis. 35
Fifth Psalm and Tone, Lauda Jerusalem 36
Sixth Psalm and Tone. Laatatus. 37
Seventh Psalm and Tone, Confitebor tibi. 39
Eighth Psalm and Tone, Dixit. JLj.0
Eight falsi bordoni on the Eight Tones a. 2. JLp2
Third Book
Toccata on The Art of Organ Playing. I4J4.
Annotations on the Hymn 3 . k5

Conditor alme siderum, with the fermo.
[Hymn for the Third Sunday ofj Advent. I4.6
Audi benigne conditor. Qiymn for the

Fourth Sunday" ofJ Lent. kl
Luo is Creator. ^Hymn f o r j the Sundays of the Year. I4.8
Ad caenam. [[Hymn f o r j Easter. 1^9
Veni Creator. [Hymn for the Feast o f j Pentecost. 50
£ lux beata. [Hymn forj Trinity Sunday 5l
Christe Redemptor. plymn for the Feast ofJ The Nativity.
Dens tuorum. ptymn for the Feast of] St. Stephen.
Exultet caelum. Olymn for the Feast ofj St. John.
Salve te flores . Olymn forj Holy Innocents £in the

pitch ofj The Nativity.
Hosti3 Herodes. Qlymn for the B’east ofj Epiphany.
Vexilla regis. Qlyran for the Fea3t ofj Holy Cross

£in the pitch ofj Paschal time.
Jesu nostra. plymn for the Feast of] Ascension.
Ave Haris Stella. {Hymn for the Feast ofj the Madonna.
Chris te Redemptor. [Hymn for the Feast ofj All

SaintsDay.
Avete solitudinis. (Hymn for] All Saints Day in

Monastic Churches.
Pange Lingua. (Hymn for the Feast of] Corpus Christi.
Annotation
Aurea luce.. (Hymn for the Feast Ofj SS. Peter and Paul.
Quodcumque vinclis. {Hymn for the Feast of]

St. Peter in Chains.
Petrus Beatus. (pymn for the Feast ofj St. Peter*s Chair.
Doc tor egregie. (Hymn for the] Commemoration, and

C onversion of St. Paul.
Laudibus cives. p y m n for the Fe&3t ofj St. Benedict

in Monastic Churches.
Ut queant laxis. plymn for the Feast p St. John

the Bap tis t.
Tibi Chri3te. [Hymn for the Feast of] St. Michael

the Archangel.
Peter superni. Qiymn for the Feast ofj St. Mary

Magdalen.
with permission of the copyright owner. Further reproduction prohibited without permission.
312
Quioumque Christum. [Hymn for the Feast ofj

Transfiguration. 69
Tristes erant. [Hymn for the CommonJ of Saints within

Paschal time7 70
Deus tuorum, Qiymn for the Common ofj One Martyr

within Paschal time. 71
Rex glorlose. [Hymn for the Common of SeveraiQ

Martyrs within Paschal time. 72
Exultet caelum. [Hymn for the Common ofj Apostles

out of Paschal time. 73
p. 11+3. Deus tuorum. [Hymn for the Common, ofj One Martyr out
of Paschal' time. 7k
Sane torum meritis. [Hymn for the Common o fj
Several Martyrs out of Paschal time. 75
Iste Confessor. [Hymn for the Common ofj Confessors. 77

/
Jesu Corona. [Hymn for the Common ofj Virgins. 78
For tern virili. (Hymn for the Common ofj Martyrs, and
Widows. 79
Urbs Jerusalem. Qlymn forj the Dedication of a Church 80
Annotation for the Proceeding Hymns. 81
Fourth Book
Toccata about the. Journal of Holy Double Offices. 82
Journal of Necessary Doubles. 83

Masses of January. 83
Masses of February. 83
Masses of March. 81+
Masses of April. 81+
Masses of May ^ 81+
313
Masses of June. Qk
Masses of July. Qk
Masses of August. 8I4-
Masses of September. 85
Masses of October. 85
Masses of November. 85
Masses of December. 85
Common of the Saints. 86
Movable Feasts. 86
Sundays of the Year. 86
Magnificat, First Tone. 88
Magnificat, Second Tone. 90
Magnificat, Third Tone. 92
Magnificat, Fourth Tone. 914-

Magnificat, Fifth Tone. 96
Magnificat, Sixth Tone. 98
Magnificat, Seventh Tone. 100
Magnificat, Eighth Tone. 102
That the Eight Tones might end on D sol r e . IOI4.
Fifth Book
Toccata for Virtuous Organists. 105
Die Hymn Te Deum with the canto fermo. 106
0 Gloriosa Domina, a Hymn of Praises for the

Virgin Mary. Ill
33ij-
First Benedictus, Eighth Tone, a 2. 112
p. II4J4.. Second Benedic tus, Eighth Tone, a 2. III4.
Third Benedictus, First Tone, a 2. 116
Fourth Benedictus„ Sixth Tone, a 2. 118
First Antiphon (Lode), Alma Redemptoris. 120
Second Antiphon (Lode), Ave Regina Caelorum. 121
Third Antiphon (Lode), Regina Caeli. 122
Fourth Antiphon (Lode), Salve Regina. 123
The Tuning of the Viole da Gamba. 121;
The Tuning of the Violette da Braceio. 125
Appendix. 126
Mass for Sunday, a 2. 127
Sonata Grave. 133
Bizaria on the First Tone. 135
Bizaria on the First Tone at the Fourth. 136

Fantasia on the Seventh and Eighth Tones. 137
Fantasia on the Twelfth and Eleventh Modes. 139
End of the Table of Contents.
315
THE AUTHOR
The prudent reader should not be surprised if this
third printing lacks scores which were printed in the
Second QjSdition}. This emanates entirely [[from the desirej
not to increase (ampliare) the contents since, in the opinion
of the professors, the first printing succeeded with greater
satisfaction. ^PollowingJ this model, we will print for
convenience, if it pleases God, a book of Franceses,
Ricercatas, and Correntes a 2, 3> and l\. Cto bej played as a
basso continuo on the organ or spinet. Meanwhile, enjoy
the present work composed to the honor of God and let all
perfections assign themselves to His Divine Majesty through
whom you live in contentment.
316
p. il|5. The Art of Organ Playing
Sixth Book
Q n Which] Are Added
POUR SONATAS
To be harmonized by the organ.
And, if desired, a high instrument and also a low
one may be added, and at the end, Three Motets for a solo
voice Qfith an organ bas^j.
Opus I4.3
by the Reverend Don Adriano Banchieri, Bolognese,
In Venice
By Alessandro Vincenti 1622
317
p. 146,
First Sonata
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326
First Motat
p. 154. Tonor or Soprano
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p. 160. Table £pf Contents for the Sixth Book].
First Sonata.
Second Sonata.
Third Sonata.
Fourth Sonata,
Motets for Solo Voice.
First Motet, Tenor or Soprano (canto).
Second Motet, Tenor or Soprano.
Third Motet, Tenor or Soprano.
The End.
336
N O T E S
In virtually the same discourse in the 1611 edition

Banchieri writes "the great Chronicler Moses."
^Genesis 4:21, "Jubal is the father of singing with

the Cithara and the Organ."
^Banchieri is referring here to Cassiodorus1 Exposition

on Psalm l£0, and Ins ti tut ions s musicae, Chapter 6. See
ProtscEer, Geschichte des Orgelspiels vol. 1, p. If? for refer
ences to these and other early writings which contain informa
tion about the organ.
4"That organ was made as turrets, divided separately."
^"Above-mentioned" does not refer to the Book of Genesis,

but to The Holy Bible, and in particular to II Kings 6:12.
^"And David was striking on the organ."
^Banchieri is following tradition here. Protscher in

Geschichte des Orgelspiels, vol. 1, p. 16, relates that
Platina himself has indicated the tradition referring to
Pope Vitalianus introducing the organ into the church is
spurious.
Cresibus (Ktesibus) was the son of a barber. He
was born at Alexandria in the 3rd Century B. C., and is
generally credited with the invention of the Hydraulis.
8
Vitruvius, Pollio, a Roman architect and military
engineer who supposedly flourished at the time of Julius
Caesar, Hi3 Ten Books on Architecture is the source of
Banchieri’s reference here” It is, however, not Book III,
but Book X where the description of the Hydraulis is found.
See Vitruvius, The Ten Books on Architecture, trans. Morris
Hicky Morgan, Dover Publications, N. ¥., I960.
^Banchieri has apparently made a mistake in the number

used here. It is possible that he is referring here to the
organ with bellows being invented in the year 4°4»
■^"Our ancestors made sounds with a distinct voice

which we are calling an organ; the style was harsh, ours
indeed soft."
337
"To all everything should be common, and not any

one should say that something is mine or take anything for
granted." For a complete translation of this eh&i&te:?,
see St. Benedict, Rule for Monasteries, trans. Leonard J.
Doyle, The Liturgical Press, Collegeville, Minn., 1948.
■^The reference here is to Vincentino's L 1Antica

musica ridotta alia moderna prattica.
"But y 0U have made the organ from the voice."
^^Makers of organs are called organ players."
1*5
^The "voce humana" on Italian organs of this period
were not the same as the voix humaine on the French organs.
It was of the principal classification in sound and timed
slightly sharp. When coupled with the true principal, a
soft undulation of sound is produced similar in quality to
that produced by the voix celeste on modern organs. See
Tagliavini, Luigi, "Role Liturgique de L'Organiste Jusqu*
A L'Bpoque Classique1" in Acts du Trolsi&me Cpngrks Inter
national de Musique Sacree" Edition du CongresT Paris,
19F7:
^ T h i s is one of several different terms Banchieri

uses in referring to the Canzona alia francese.
•'■^The similar discourse in the 1611 edition cites

Tigrini1s II. Gompendio della Musica. Undoubtedly the
reference here is to the same treatise.
■^Zarlino, Gioseffo, Dimonstrationi Harmoniche.
^■9prohably da Rore. Banchieri refers to him by this

name in the other edition.
pn
^Banchieri gives these intonations and cadences for
the tenor.
^ T h e Psalms used at Vespers are selected from Psalms

109 to ll±7 inclusive, psalm 118 excepted.
PP
Êcclesias tes 1:9.
^jh’The CUSfcom fOJt. singing in the church attests that

the companionship of the soul rises to the performances of
affection."
^"11 Kings 6:12, "And there were with David seven
choirs, and he himself was striking on the organ and with
all his strength was performing before the Lord."
2^"T o depart from the church's true music, whether

by song, or the lascivious organ, or anything filthy is a
pity."
26
"The instrument of the devil is sadness to God."
^ J o b 21:12, "The sons of the world rejoice to the

sound of the organs."
OQ
^ " T h e priest Ambrose baptized Augustine, both imme
diately singing Te Deum Laudamus."
PART IV
OPUS 25, PARTIAL TRANSLATION, AND TRANSCRIPTION
314-0
toy the R. D. Adriano Banchieri
Olivetan Monk.
Third Book
In which, toy the most sure guide and finales, one is con-
cerned with the manner of alternating the choir and organ
to tho Vesper Hymns for all the feasts and solemnities of
the year.
p. 27. Discourse and Devout Curiosity of the Author.
Lorenzo Surio, in giving an account of the life and
martyrdom of St. Cecilia, a devout woman for virtuous musi
cians and organists, relates that when she was given in
marriage to Valeriano (who was later made a saint) there
were concerted refrains, according to the custom of those
times, while they celebrated her marriage. But the Virgin
Saint, disdaining those worldly melodies, turned toward
heaven and sang sacred hymns and cordial praises to her most
sweet spouse Jesus Christ.'*’ On account of this the Santa
Madre Church on November 22 of each year sings for her feast,
these words: "Contantibus Organis Cecilia Virgo Soli Deo
decantabat dicens; Fiat cor meum, & corpus meum imaculatum,

Q
ut non confundar." We do not read that she played a
musical organ in Metafraste,^ Voraggine,^- and other authors,
31* 0-
a3 she is portrayed in infinite pictures, but rather she is
depicted using the voice (possessing in the Vesper Hymn of
St. John the Baptist £the wordsj ‘Organo vocis*)» And it
is a most clear fact £that she did not play the organj con
sidering that at that time, organs played by water and bellows
were not made. £As ij have stated in the first discourse,
the. first ones, £played with waterj, were introduced £ into
the churchj in the year under Pope Vitalianus and
Emperor Constance III, and the second ones, £*played with
bellows, were introducedj under Pope Benedict VIII and St.
Henry in the year 1018. St. Cecilia lived in the year 223
during the£reign of J the Pontiff St. Urban who reigned
agreeably (comodo) (although Cardinal Barronio in the
Martyrology says that Marco Aurelio Severo Allessandro
was reigning). It i3 true, however, that musicians and
organists hold her in particular devotion; and where and when
she came into the picture is a curious thing and worthy of
being known. And since I have actually inquired into her
life, it has certainty and credibility. Therefore, I be
lieve, and hope, that perhaps others to whom £this devotion^
is not evident will fall into this pious and devoted trust.
In the year of our salvation, 1513* under Pope Leon X and the
most unconquerable King Charles V (as Giorgio Vasari alias
d' Arezzo-^ certifies in the Vita de gli Pittori Illustri
Part 3») the most celebrated Raffaello di Urbino lived.
Among the ingenious pictures that he fashioned was £one ofJ
this glorious Saint, and being astonishing in inventions,
placed in both her hands an organ, shattered and turned to
wards the center of the earth, and under her feet Viols,
Lutes, Citharas, and other various musical instruments
[whichJ were trampled and shattered. Then above her head
he painted an astonishing inserted vision (annodazione)^
of glory by the angels who were playing the same instru
ments with expressive sweet melody. For this reason she
scorns the former instruments, and with pitious eyes
turns toward the latter ones. All breathless she seems
to say, "Go away, music, songs, and you worldly pleasures of
the great ancient source, seeing that I desire only to be
assigned to the Most Holy Music of Heaven among those chosen
musicians and organists, who continually play ‘Holy, Holy,
Holy1 before my betrothed Jesus." 0 how well Raffaello
invented such a subject, since the organ is that instru
ment, which among all the structural instruments holds
first place (seggio). Dionigio Cartusiano says, "organum
primum locum tenet quia manet in Ecclesia Cristi militantis
ut laudes Divinae exprimitur."7 ©ie aforesaid original pic
ture from the actual hand of Raffaello is located in my
native Bologna, in the Church of San Giovanni on Monte
Canonici Lateranensi, and held in greatest honor.
Giovanni Antonio da Vercelll, alias Sodoma, the
celebrated painter who lived at the same time, finding
himself once more in the city of Siena at the magnificent
monastery of the Reverend Fathers of Mont* Oliveto for the
occasion of painting the life of our Father, St. Benedict,
in water colors, having spread his fame by drawing, also
thought to paint a picture of St. Cecilia, but by a differ
ent Indention; that is, with the organ eagerly played by her,
and with a joyful face in the company of an Angel. It seems
that both concert the aforesaid melodies in ectasy with
celestial glory. With this approval, the Sienese musicians
and organists plan each year for a devout tradition on
November 22, the day devoted to the honor of the said St.
Cecilia by the Santa Madre Church. They choose to devoutly
conduct a Solemn Mass in the Cathedral. In similar pious
devotion the musicians and organists of Ferrara £gather]J
at Santa Maria del Vado and the Cremonese in the Cathedral.
And in Milan, where this year, to my greatest liking, I
found myself present, in the rotunda of San Lorenzo a most
solemn music for eight choirs £was performedj. It abounded
in instruments and voices to such an extent, there were in
deed no less than sixty, that in the ripieni paradise seemed
to open up (so to speak). Truly the number of singers and
players was so large, those who were in charge resolved to
hold it in another place; and they competed in a similar
fashion with eight choirs in Santa Maria della Scala. There
were not only lay musicians and organists, but many Priests,
Monks, and Friars, and every choir had a Regal for greater
fullness (riempimento) . For this pious and devoted compe
3hk
tition, musicians have to be employed and in particular
organists, to play the organs on such a day. And since
for the most part (as if it were not true) rivalries arise
among musicians (di l o r o ) , produced sufficiently b y envy,
by applause of wo r l d l y praises, and often through greed
of four soldi, to honor their devout Saint so agreeably and
devoutly on such a day, I w o u l d endeavor to be able to ini
tiate (i m p r i m e r e ) w i t h every affection that pious custom
JamongJ the Bolognese musicians and organists. Go d is im
mortal, and who ought to be h o nored more by them since the
origin of such devotion is found, as we have said, in Bologna.
If up to here I have been imprudent, I w o u l d like for my
ill-contested words to act in such a way that a leader would
be chosen for such a day and everyone, concordantly and de
votedly, at the aforesaid church and altar of San Giovanni
on Monte fCanoniciJj w o uld solemnize such a feast. A n d if
the musicians would remain over £ they could b e J employed
in the Augustinian Church of San Jacomo where one finds
relics of the said Saint, h e l d in highest veneration. May
it please His divine M a jesty that I m i ght see the effects of
£this discourse^, so that together w i t h all of His devoted
ones we will be made worthy to enjoy that everlasting melody
arranged by the m usical hierarchy in paradise.
b y the R. D. Adriano Banchieri,
Olivetan Monk.
Book Pour
In w h i c h one practices the Magnificat Canticle on
the eight tones, the Antiphons of the Virgin Mary, the Hymn
of SS. Ambrose and Augustine, the Hymns of Matins and
Lauds, Canticle of Zacharia, and all general and particular
things in order to alternate £the choir and organ] in the
Co n f r a t e r n i t e s .
3i|.6
p. 42* i?ir"t Tone
And this first as well as the otii r- you c n (if .0 v)
Intonation • ain6 w^ h two voices.
. . IK •
nag -ni - - f i - c ’.t on :.a-- - ni - - fi -Oat
i: J ^ ^ '° J J .\
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an - i- m a i me - - - -a i Jo - - mi- nun nn-i - ma j me -
Do
Do
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at •■nlsoricorfiia-alTis- ar nro^'niB- in pro-antes- timenllbus ouw."
v. J:"osuit ;ot>? '.tea de ode: et exalt ivit nuxailes.
7. ::^wsccpitrisrael-'piiQnim ;surasj_ :JtecortotusTn
i i... .
o t \\
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J- ^ J i i j J- * .<! j j p J # 3i ii
Sane- - - - - L -to ot • spi- ri - tu-i I S m e - - - - - - i— _ _ _ _ _ _ _ V u
Sane- - - - - L -to et I sni- ri - tu-i i .Sane - - _ - _ i _ - _ - _ _ _ i _ t o
I _ 1 M . M tfc° *« 1---
i -.-Ztzzzl:
0 : - ;
i A N VI) N o ;
" v,.., Vl^w
H
p. 43. Magnificat. Second Tone
Intonation
_a a_
&
§ p i=
• " - ““ J or Mag-ni- - fi-cat Mag-ni-fi - cat
i— .
A— 4
An + i - ma me-a Do i- - - ml I- -nun An -i - ma 1 ne -
i I I An- i-ma
mi-1 - nuit
nun Pinale
Consonante Bordone
0 r O -------
T "
■-T-* -t- I
i 1
j
i i 1
____
-Tf--4-
f ( \
T 1 A N S O N o •
IIf 9 m M i M
3k9
V i t t S K S B E L O N G I N G T O T i l ! ' ; O u G -II
------- JLr quia seapexSr* anoi-lia© suî itooa « n i » ---- -

”” '.'77.'7777 . ax laocll'fruTibati-'nto' clicat- -oranas g~nar» tionesV • -."77.77 7 --
3. bt ."nisui’icordiM eius a proponie in progenies timentibus eum.
5. “'epoouit potontos do--s©d©:_-■« t oxultavit hum-ilos,
7“77177 l 7 . " uus6ep££:'Israel pucrumllsuuni; " llecdrdaiuti rii&crldoi'illas 'MJSLS^. .
Glo -ri- a i P'1 - tri ct I li i - o et i >i - ri - tu - i

I
I9> f i.r. t \‘ ; f- -f ( 1
J J : J ■J. .1 : j j
■J ;
£
Sane- - - - - -to Sane- to
I
!
I
I
t
I
p. 44. 350
ma; nific . t, Third Tone
A bass voice for the convenience of the choir
Intonation
•
$ CMag-ni - -fi- catlTTfog-ni-fi-catT*^ . ..

‘ I
I
,
Solemn “ Fiative or -:a;-ni - fi-cat maf-m -ri - cat
t C°.\ - I , J il-.jL i J ^
I 1 .m - l* - - mfi
i i me - a j1 Jo-
^ - 1 - '-mlV
iin
an - i-
x- ma '
* me -a u o - ni
Do nx hnura
Fnum , ^.in.n-- - x
j i - ni .ec - a i “u-un
Do-mi!,
^ >f f tif -f if?’..f!
num
r.um Finale
Consonant© fordone
T IANS O Na I
351
verses Belonging to the organ
1. Quia respexlt humilitate ancillae su^: Eeoa enim
----- :
— :------ ■BE mf 4 ^ « A V , r M o IT p M g a t H * 'Tg-^ngaillNH f.1— IltltlBl 'SIM.-- llll
5. Deposuit pofcentes de sede: et exaltavit humilea.
------------------
eti spi-ri
Bpi-ri - tu>-
eti spi-ri - tu|-
Sane -to eti spi - ri - tu*- - - - i S a n 6 - to

._1~ ____
I ’ 8 A > >< * Ni»

!I?
p. 45. 3S2
Magnificat, Fourth Tona
.Intonation
-fi-eat
D o - mi»- nun}
i me - i- a mif num
' O
r —— r a
1 -w
X
— i—
Do- mi-hum An,-i -
*f 9
-i j-j i_______
y .
__j
Do - - - -mi -. -num Do-i - - mi - - -num
m i .-num Fin;.le
Consonante Boi’done
in % i
»- •»
o J.UI ! M . — i—
i
r
l
» -
'Mif m IO
T R A N S O N<x 1
11 la
VSiSS8 BffieHGIHG
1. Qpia respexit humilitate ancillae su^.: ficce enim

ex hoc b eatam me dicet omnes generationes.
-5. --Et miaerifrordia eiua a progenie -in progonioa timentibus ewnT--'
Denasuit" notentes de socle: et exaltavit humilos. :
7. Suscepit Israel puerum suum: Reoordatus misericordiae aaae.
J ! J' J; J j!
I ------ 1--
i
L ---- - - -
! ,1
w .... W
)
Glo ri Pa,- tri et i Pi -lit- o et spi| -ri-tu-i sjn
I i I )
\ x b : : t - . - J.
-» --
19* i
..t |_f O
.1
-i:o ©t spiral tu-i '.j: - to
i
i
9 : f \* I
: \1 i a
\°
r
... r ,
3$k
| p. 46. . i L , i ‘’ i f t i l J c : . c
Intonation
m Mag -ni- fi -cat or

*• '
*ar- ni- x’i-c.-t
* II
4a 0
m An - i - ma | me a
ilj
i Do - - - ini-num An - i - m a 1
J .'Ii
me-a
J <L>
i 1 An -i - m a 1 me - _ - a f Do - -
Hi
■mi Pinal<
O
Gonsonante Bordone
T K A N I O ttm.1
M &ca» Mi Bin
355
V , ,.G VO JT , 0 :d .d
1. j-.la i*' :•-1 t •n’.-ii'i ifcuto anc .1 'no auq,: i'<6ce enin
ex <«oo b-.ei'.-MH me dioet o s m a s ‘-eneratioaes, -••
3. .io rice •' i - i

nt -’ ur. r nror nie in pror-enier, timentibus eum.
[’■. Jo -osuit it-'-.it/'-" io rode: ot exaltavit hurriles.
7. Suocoiilt Israel uuci’uxa'.suuai: Rcoordfttua. iaxaurlcQTllae ffU.3.6* T T
L o—hJ J J ;jr o * J J i *'• ^ «Q: .J; J .1 .v

r \-
Glo l ri: a
f .
i in
. .
tri et i
^Fi-
----- ?---------
ll
: et 3pi
Glo ri a 1 in tri et i Fi li
)
l
9; t f
■i--- - i•
it ..::.i ijv : J'
j.
4; J- J< j »-
I o
i
!4
ri - - t u - i Sane - - - c _ _ - - i- to et spdj -ri -tu - i i
et Goi-ri - tu -i 3 ano -to et spi| -ri -tu - i ,
»....& ___
----- i_ f .* r * ?I
*•— 4 j i T
: ® t :.t t : t :|:::t
• - - S a n$- to
Sa n e - -j- to
r
t
| ^ S H | II A N S O Nu I
H B H I It Me*— ♦:.,v
356
p. 47 • Magnificat, Sixth Tone
Intonation
m
Mag -ni- fi -cat or mag-ni- fi-cat
O rs o
i •’ J J;
i-~_:
% An i - mat me-a Do,- -mi -J -num I An
.... J
(- - i - ma I
An i - ma> me - - - a t Do - - mip num An-i - - -i-ma ( me _ _ _ _ l
I ™
f \ f . i f -• t f f .-- :f; f m f f
fbor_
!
j r J .\ j r
' me - a i D o - - :- - — mi - T - nun
a >D o -------- -!------------- 1 -------- b’inalo
Oonsonante Bordcma
rf------
-p— —
-■n - i\Rt ff* ' )| —
*f If
t ifVj I■■n—
—. _ o .... - J ji J1 J1 fi : J1 jr 1
in^ &— .
! i • 1 1
i i • . t
» - j : ---------- 1
_ y-} *mf'"f ""? ! ° ' 1 »-
-----
^^ f ^ -M ; —= ^ J--------------1
-------------1
l= f t - j J I -I 1 1 r f E E -----i—1--- ----- V
3 cl i B----
------- • ! ' ” 1
. *
----- j--------------- ------ JjJ
!---------
n::" P*--- ---- ^_I_H---- + ; . -------------1
----- \ » 14..... ....... i ~0 ^ ....... - .
HM
■ MBtianio »i
I m IUm
b ♦M
M -
allt*
i
3£7
VERSES BELONGING TO THE ORGAN
1. Quia respexit humilitate ancillae sue: Ecce enira

ex hoc beatam me dicet omnes generatfbne3.
-T;-'fit T?iiflfii>l-
Bordia alus1 a progenia In progenlaa tiirantibua eun.
7. Suacepit Israel puerum auum: Recordatus misericordiae suae.
a j o» ti i
___ 4 . . _ 7 Q. J. j :j j !J ji
Glo1 -ri - Fa I
f tri et Ei 4-
1 a ! Glo
i i ri -a Fa - - - a tri
t i
«P
... + _ ©
i ©
W'l> ~ ..:x . -» - - i.U : £
J> J X)
s l-ri -tu - - -
i n j ji !j y j ’- j
e i
_ I- Sue -to I e i.
J !J
sv.i *i - tu - - I
'
s - - ri - - - -tu. - - - i to Cti
I I
I I
f f Ii rex I
* j j J j :
Sa .!C - i
3 ir.- - i. co
9:t> f r \* cxi
p • 48 • 358
ila-nii'ic * Sev.nth Tone
Intonation
Y ^ t t : . w > • " ’ 'II

• Mag. - ni - - fi-cat or I-iac - ni- - -fi-cat
i
4 »
I i | J J
• .. -
•' j
i
AnJ - i - ma 1 we - - - ■} a ■ Do - - - -J n i - - - - *?iun /m - -i
A n - - f - i - m a j me - - - -j - - -a j Do — — — —( — -ni i -num J
%
h> •* i J- J J j 'J J j °* •* )■| J j ; *-d 7
- . - - - - ' i- - mai n e .......... i- -- a . Do- - - 7 - - -mi r- - num
An-J i- - ma] me - - - - -1 - a . Do - - - T mi- - - j- - num Pinal
cFi ~ 7 fi ;° ; 0 ;0 : 0 0
Consonants Bordens
| T * A NS O N» I
359
V;. 3 -iS GKLO .Gii.G 1!10 i’HP 0 G .N
1. iuia re:pe::it hunilitate ancillae ou^: £cce enin

or hoc beatam me di.cot"-pianos ^pnerationos .- - .
3. s it misoricordia oius a —popoai® in progenies timentibuo eum.
ri. Uep03-u.it .-•otentes do r.e .e: at exaltavit husulor,.
7. ûscerit Israel puerum suum: _nocordattts mi3--P toor*aiao- su&e.
- I
-I
.
: I. o iJ A io j et
i:
I Glo
, ni - -j1 ri - '-a * Pa - tri I Pi - -lit - - o et sp^
Glopri - a | Fa - - -tri eti Fi- -li _ u - -o et sp}
.1
I I
a m m f t
1
- J -to et sp^ -ri - tu
rr
ri - tu 1 1 Sane
ri tu - i j Sane - J to ot soi -ri - tu Sane
O
»- to
€>
T B A K t O No. I
<►-
IIt N n Mi Bin
p. 49 360
Harniiicat, Ki.r-hth I'one
«J).Intonation ..._ — ■— •_ _* •_
P . o
' Solonn Festive - - ft- oat Mag-ni-fi- oat
0=0
ic ^ i J J j. j ; j .A .1 4-
X
. I maj me - - - a J
An - i na J ne a Do ml' r
1-num An - i
Aa - i ma 1 me a Do m i ,-num 1 A n -i - m a ,
-------- j_------------ y-
t S t rrr-f^
n um
n um
ConBonant>» Bondone
___~ I T ~^~j| ''q| i O '
1 ' »
1 • 1 .
C D - * # —.............. Jus ® ■ 1
^ f A If t S ' °
|n B T IA N S O Not 1
♦*
w i i a—
361
VEiiSES BELONGING TO THE ORGAN
1 . Quia respexit humilitate anoillae sue: Ecce enim .

ex hoc beatam me dicet omnes generationes.
-----------------
----- ----- — .. ....JJt
S--
„. HIJ.BOX Xl/Ul DiUH *X pi’UÔAiJ-O J-ll pi'Vg"11 gMlUt
5. Deposuit potentes de sede: et exaltavit humiles.
~ “ hr ~ "usoeuit Israel uueruin uuuui: Reeordatus raisericordiae suae.
------------- --------
-ri -a | Pa t r i a t, F i • li
-ri -a i Pa i - t r i et i Pi li-o et spi
f fir
; j ■j j
°J S'V: -rn. S inc
- t u - Sane- - - t o 3n i - r i - Sane
8h f f5 ... t - i f f
J J j
to
to
9 :t>
362
£rhere follow the organ basses for the remaining items
in Book PourjJ
363
by the R. D. Adriano Banchieri,
Olivetan Monk.
Fifth Book
In which one practices the style of playing above the bassi
continui, and we see many Sonatas in score, to play for the
needs of the Masses, and Vesper canto fermo.
As I already have said in the preceding Discourse to
the Fourth Book, I found myself again last year in Milan for
the occasion of having an Olivetan Service Book printed at the
request of our Most Reverend Father General, for use by the
clerics and novices of our religion. I say that, finding m y
self again in that most noble city, among the many satisfactions
I enjoyed there was that to my greatest delight, I heard a harp
sichord called a lute harpsichord. From the sound of it, there
truly appeared to be a great similarity between this instrument
and the lute. For which reason, while enjoying |[an instrument^
of such manufacture. and hearing such harmony, I judged that by
removing some (molti) keys in the acuto and adding some in the
grave. it would be an instrument which would have the manner of a
chitarrone as to the sound and harmony. Having considered
such a thought, I found a player of the chitarrone and de
rived its harmony from those heavy strings that follow through
the musical scale. And with his help I made a keyboard
different than ordinary which remains in this manner simi
lar to the chitarrone. I begin in the grave, ut, re, mi,
fa, sol, la, commencing on C, D, E, F, G, and A, and this for
the formation of the twelve tones, six Authentic, and six
Plagal, practiced by the most excellent musician Gioseffo
Zarlino in his Dimostrazzioni.Armoniche Book 1, Discussion 5
and Definition 8 . The above-mentioned Ut, re, m l , fa, sol,
la, follow through the white keys, and having passed along
the first string or key C ut, between the D, and E, there
is a black key which in the contrabass forms the chord of
E ►, fa. Added then to the letters and keys P and G, are
two black keys, the sharp accidentals, that make eight
[keysj in the contrabass. Then we proceed as on the ordinary
keyboard, and arrive at the chord, or key, of E la mi, sopr ^ c u t o ,
according to the order of the musical hand contrived by Guido
Aretino, and approved by every musical method. Having
arranged such a keyboard of ij.0 keys (21}. white and 16 black),
I found, again in Milan, the master who had made the afore
said lute harpsichord. His name is Michel de Hodes, a
Frenchman, for many years a resident in Milan, who is
most ingenious at such matters. He was pleased at my
opinion, and at my requisition made this instrument which
I have brought to my native Bologna. This instrument
succeeds admirably; harmonious in the grave £register^
it creates the effect of a chitarrone, and in the acuto
365
register it resembles a harp. Whence, by having the shape of
a harpsichord and the concord of the chitarrone, it is called
by me, by the mixed name, ARPITARRONE, which JprovidesJ a
sweet, singing (corista) [soundJ and succeeds admirably in
harmony- (for whoever plays the contrabasses well). And,
because this has been my idea, I have completed a small
treatise on it, printed in Milan by the noble Filippo Lomazzo,
and this is placed at the end of the basso sequente of my
new concerti printed under the title of Secondi Nuovi Pensieri,
dedicated to the most Excellent and Illustrious Marquis,
Lord Don Alfonso d ’Este. So that all may see the dispo
sition of the keyboard of this new instrument it seems well
to me, to have it printed on the following page. All praise
to God, and to the industry of the most diligent master named
above in building it with its disposition and proportionate
dimension, who have arranged it with perfection.
p e 5$. A Description
Of a New Instrument
Called the Arpitarrone.
Dedicated to the Most Illustrious and Excellent
Marquis, Don Alfonso Da Este.
It is arranged and invented from the six musical letters
C, D, E, F, G, A, of the excellent musician Gioseffo Zarlino,
and the musical hand of the Reverend Don Guido, a Monk of Arezzo.
[A creation^ of the Reverend Don Adriano Banchieri,
Bolognese, Olivetan Monk, it vras industriously built in Milan
by the magnificent Michel de Hodes, a Frenchman, already living
in Milan for many years at Cinque vie.
It is a harmonious instrument which corresponds to the
modern harmony of human voices.
And it is divided into four registers (ordini). grave,
acuto. sopr1acuto. and acutissimo with I4.0 keys, 2i|. white and
16 black, at a range appropriate to the extremes of the voices.
1. Grave Disposition - C 1, D 2, E 3 Sc i|, P $ & 6,

G 7 S c 8 , A 9, [BJI7& A 10 S c 1 1 .
2. Acuto Disposition - C 3. & 2, D 3 , E [j. & 5, F6 Sc 7,

G 8 S c 9, A 10, 11 & 12.
3. Sopr 1acuto Disposition - C 1 & 2, D 3, E ij. S c 5>

F 6 S c 7 , G 8 S c 9 , A 10, [Bj^Sc k 11 S c 12.
!}.. Acutissimo Disposition - C 1 S c 2, D 3 , E ![. Sc 5»
P 6 , ana there ends the musical hand.
367
The division of the Four Orders by means of C natural
and musically appropriate for well-ordered harmony.
1. Grave
tE9= E _ | j
b * =
r t * -*• t -*- « # ♦ 1 « ♦ 1 °
1 * 3 4 3 6 7 8 9 10 11
2. Acuto
|9‘
12 13 14 15 16 17 18 19 20 21 22 23
3. Sopr1acuto
*
1A ♦- if 1 3V*il =I
24 25 26 27 28 29 30 31 32 33 34 35
!{.. Acutissimo
/ 36 37
I 38° i > °39 40
I il
Added beyond the hand.
368
Musical Conversation
p. 59* between the Reverend Father Don Adriano Banchieri, Bolognese,
and a friend of his who desires to play securely from a
basso continuo on the organ in every style.
FRIEND: “Some days ago I met you, Reverend Father,
coming out after church (Predica) at San Fedele £herej in
Milan, and so accompanied you on the street in conversa
tion. I asked you if you were willing to do me a favor by
giving me some brief rules in general, and easy material,
for playing in harmony from the bassi continui that nowadays
are performed by composers and modern organists on the organ.
You replied that you were a very busy man, half-wasted away.
However, if I were to leave you alone for four or six days,
then you would consider giving me complete satisfaction
with great facility and intelligence. Because yesterday
the sixth day came due (spiro), and in order not to appear
to abuse your courteous and helpful response promised to

•
me, I came to your Monastery of San Vittore to notify you
of that common maxim 'that every promise is an obligation.'"
BANCHIERI; "What you say to me is true, although
the subject is not sufficiently known by me to speak com
pletely upon such material as you seek from me. Nonetheless,
in order to attend to the promise to you, I will compel myself
to give you some (quello) greater information, £as much]J as
it will be possible for me to do."
369
FRIEND: "The Reverend Father speaks with much
modesty. As a £holy3 man he is obliged to give more than
what he possesses. I say consequently that I prepare m y
self to listen to you with every attention."
BANCHIERI: "You may know that, among the modern
composers, Lodovico Viadana, Francesco Bianciardi, Agostino
Agazzari, and perhaps others of whom I do not know, have
talked about, and briefly touched upon some short rules
(regolette) on the matter of playing in concert above the
bassi continui, applied to their compositions. However,
seeing the diversity £among them 3 it may be well to treat
all of them individually."®
FRIEND: "It is true and I tell you, I myself have
been surprised by it, since in taking these bassi continui
for their end £purposeJof playing them in harmony on the
organ we see much variety £in their appearance}. And, in
particular, I have noted some four varieties in illustrious
authors, and all different in the manner I would signify:
"First, some divide the bass£or use barlinesj and
others do not divide it.
"Secondly, some place accidentals of and & below
or above the notes, and others do not J^so^plac® them.
"Thirdly, some place arithmetical numbers tinder the
notes, such as (di) 3> 10* 6, and 13 , and others do not
make use of them.
370
"Lastly, some put in the consonant and dissonant
numbers, ij. 3* 11 10, 7 6, 11+. and 13. Why so much variety?"
BANCHIERI: "It is not well (as the farmers say)
’to put the cart before the oxen.’ But desiring that you
know the method that one must follow in playing the basso
continuo with full mastery (con ogni sicuro possesso),
it may be well to practice and master first the necessary
rules and then to understand in suitable practice of the
examples the diversities that you mention about these
basses which, although they may seem diverse methods, are
not so but increased subleties that have at the present time
arranged this ba3so continuo into a sure model representing
the score of the whole concerto. For this reason (di mod o ),
whoever was the inventor of it not only merits praise, but
likewise whoever has reduced it into so easy and sure a
possession occasioned by ^;he addition] of the accidentals#
and , and afterwards the consonant and dissonant numbers
and likewise, divided it."
FRIEND: "Tell me the rules first and then the
variations, for I will listen to everything attentively,
and if in the talking which the Reverend Father will do, I
interrupt him, let it not be blamed on bad training, but
on the desire to understand everything with sure mastery."
BANCHIERI: "For the beginning organist, who desires
to play on the organ in harmony from the basso continuo, we
presuppose that he knows by experience the system of notation
for the arrangement of the hands. Similarly, how to read
and sing securely the bass clef of F fa ut with the B flat
[as wellQ as with the kf quadro with their mutations, both
as they ascend and descend. In the practice of them, re
member to exercise first with the fingers from key to key,
and then to accompany £yourJvoice in harmony, quite (cosi)
simply."
FRIEND: "Show me kindly what this key duplication of
B flat and tj quadro with the mutations means.
BANCHIERI: "Here are both for suitable practice."
p. 60. Practice in the F clef fa ut with the B flat.
a -:r:î
® 3 Zq L —
la sol fa id la 1 aei fa la S9 & tfe ed re
0 ^
fa ra ad fa ad re at
372
Practice in the F clef fa ut with the tjquadro.
& *
n ■! fa Ml r*
"Having done such an exercise from key to key with
the fingers and voice, one will now he able to take a
basso continuo printed with whole notes, broken ^notesj,
rests, Qiotes mo\'ing byj steps (continue ), and £notes
moving bjJ leaps, and with the said bass practice the same
with the fingers and voice. With the right foot, practice
the highly necessary beating £of time^/ as the excellent

10
Don Agostino of Pisa, Doctor of Law, affirms in one of
his brief statements on the musical beat printed at present
in Rome. When such easy practice is perfectly mastered
(assicurato), one will Q h e n j be able to practice the
accompaniments which follow, first for two voices, and after
ward in three- and four £parts] in perfect harmony."
FRIEND: "And how does one conceive these accom
paniments?"
373
BANCHIERI: "You know that above every note of the
basso continuo to be played in harmony, you seek two con
sonances, the one perfect, which will be the fifth, and the
other imperfect, which will be the third, or their dupli
cates the twelfth and tenth, adding to them the octave, or
its duplicate the fifteenth, for accompaniment and filling-
in. Now we see such accompaniments for two, for three11 and
four voices, to be practiced in an orderly manner."
Accompaniments for two voices for B flat.
J J
i j.
|5>> a * 'a *
©
3 3 3 5 3
I*3 3 5 3 3 5
an
» -----© - JO -
© o
% o «►J © o
LS* o . :_±.
-*■ J J d
<*
,
° <>
S>>
m
5 3 10 3 5 8
0
0
371 +
Accompaniments for two voices for the ^ quadro,
_CL
m 12
■
10
~t
3
t
8
:
— €h
r~
3 5 3 8
OL ' — “ 'jo
m io:
■
3 3 3 5 8 8
SgE
375
P* 51. Accompaniments for three voices for- B flat, and
added to it the octave for the fourth part and filling-in.
J J
-Br G
il 10 10 10 8 10 8 10 8
Ste.:A:
30 8 12 10+
-O---
V " <? -r
^ sake 5
ja.
8 5 5
©
O
m ~cr
O
8 10 8
* 5 8 o
5
XL
3 5
+
+ 8 in the original + 5 in the original
376
Accompaniments for three voices for the quadro,
and added to it the octave, for filling-in.
0 •)
J J ©
10 12 12 17
o o
8 12
-O mo O
3 8
° i
•
'osi*
+ 8 in the original
377
BANCHIERI: " This is the basso continuo of which I
speak with the accompaniments of the-fifth, third and
octave or their duplicates and triplicates that one must
practice step by step. First, the bass alone, then with
the tenor in two voices, adding alto and soprano, and they
serve as an example and test (giudicio) for whoever practices

fV Ah AaW mM •
tt
FRIEND: "Before we pass on (pardon me if I interrupt)
I have noted that the Reverend Father in the examples for
the B flat, both (cosi) in ascending as in descending,
has omitted the chord of E la., and in that o f ^ quadro,
the chord with the tf , why?"
BANCHIERI: "Understand that for the aforesaid two
keys above, the flat as well as the quadro, for that of the
flat above the key E and for that of quadro on the If key,
in the said two situations, one must remember their position,
that they do not have a perfect fifth. Whence, their fifth
being false (as the populace says), or a diminished fifth
(as the expert musicians say), for the said two chords or
keys of E, and tj in molle and quadro, in place of the
fifth there must be the sixth, so that the accompaniments
will be the third, sixth, and octave, or (as it has been
indicated) their duplicates or triplicates."
378
FRIEND: "I .remain very much cheered. Show me the
example of it ithep, to continue the discourse already begun
by you."
BANCHIERI: "Here is the example:
p. 62.
For the key of E with B flat, and on the 0 0 iy,
/A w n /s n a « 4 ^ a n /3 a ^ a \ 4«V\ a < P •{ ^
V J .A V U l i o O l A U i JL 1 A O u u a u V X \ U O l / U X X O 1 J .X U 1X •
♦
o ♦
8
S' o
10 13 8 10 13
---- -
©
-0- o o
6 8 10 sr
T 8 10
•*“ Q
O ♦
O
3 6 8 3 6 8
O O O
Ik o | © o
"Now that we have the white (naturali) keys with
the accompaniments, it follows to put into practice trie
accidentals caused by the it and ^ . First simply, then
with the accompaniments."
379
A simple bass for B flat with the accidental keys,
and those likewise for the tj quadro.
* Q
II
FRIEND: "Tell me now the effects of these accidental
keys in the bass and show me their accompaniments."
BANCHIERI: "All these accidentals change the note
from a white key to a black LêyJ, except for those colored
ones, which £would”J give an unfavorable effect as in the
chord of B fa, with hj mi.
"Therefore we will have for a general rule, that all
the notes raised (accidentate) in the bass by # accidentals,
always require the sixth in place of the fifth in the accom
paniments. I will let you observe that with the said notes,
the octave will never be given (naturally playing as skilled
organist-3 know how to do), but in place of the sharpened
(accidentata) octave one will take the third, sixth and
tenth. In the accidentals for the flats, then, one will
take the fifth when (havendola) it is natural, and
yourj pleasure, the sixth, Jaccording^J to the taste of
the composer.
380
Accompaniments for the accidentally £alterecQ notes,

1P
in the F clef with the flat, as for the if quadro.
£ 0 V ' 1° L O %
-3* kV
J J O 9
13 10 6 8 10 10 8 10 13 10 10
O
4r J O O *
6
O
10 6 10 3 6 6 13 6 6
a O
O O
$ f f t
% 0
O O
6 3 3 6 6 3 6 6 3 3 3 6
b♦ iPo TO
O
#0 1 ll #0
"Having practiced these accidentally [altered^ accom
paniments above the bass with the fingers and voice, we must
then perform a new routine when such accidentals may occur
(scorrino) in the middle parts, or acuto. And these are
contrived by the leaps that the bass part makes, descend
ing in three positions by the leap of a fifth, and in
another three positions, ascending by the leap of a fourth.
p. 63. FRIEND: "Listen to me, please. Before I see the
example of these three leaps of descending fifths, and
ascending fourths, in order for me to better understand,
show me what the effects of these accidentals are in the
middle part, or acuta, and for what they are placed."
381
BANCHIERI: "These accidentals, in the leaps that we
will see, appear for the third or tenth when one changes from
minor to major and on the contrary from major to minor, and
this originate^ as the experienced musicians know, due
(dovendo) to proceeding from an imperfect consonance to the
perfect, related to the octave or unison. I say that for
this purpose little is apparent; I will treat this subject
particularly in my Seconda Cartelia, concerning the princi
ples of Counterpoint, which in brief, with Divine help, I
will carry out, as already promised.
FRIEND: "Show me, then, these major thirds and tenths
changed into the minor, and from minor into the major,"
BANCHIERI: "Here they are: understand by a minor
third, that which is formed by a tone [with] a semitone follow
ing, and by a major third, that which is formed by two suc
cessive tones, which are Ut re, Re mi; Fa sol» and Sol l a .
By a semitone then, you must tinderstand two successive
sounds, one perfect, and the second imperfect. The imper
fect £noteJ we make perfect by an accidental, which will
be each interval of Mi fa as here:
Example for knowing the tones and semitones,
382
Example for knowing the minor thirds and tenths,
changed by accidentals into major.
bo o o
o o
$ & V J>ST O o —~~
3 10 10 10 3 10 10 3 10 TF
10 T 10 3
A o o o o
w o
o o
& o ©
Minor thirds and tenths.
o
H ° #* o
' ^ tjs- o o
o o bo bo
o o o o
m ° o ° o .
Minor thirds and tenths changed into major.
"And in order to appease some curious critic, know
that such accidentals create the same alterations in the
sixth. However, in a concerto1^ for two or three voices,
although the vocal bass may make a sixth with the acuto,
modern organists and composers together (the intelligent
one3 for the mo.it part), in such an event, put a fifth
below the vocal bas3 in the basso continuo, whence, we
seek cognizance only of the tenth between the instrumental
383
bass, (basso sonabile), and vocal soprano. The part of the
vocal bass will be a middle CpartU and on that account we
seek no cognizance of the altered sixths.
Example of how to avoid sixths in the basso continuo.
mo - -re lan - gu - co
mo - -re lan gu - co
11The middle part will make a sixth with the soprano
and both voices having the fifth below them in the basso
continuo, £it is enough”) for the organist to have only
cognizance of the tenth, and no further [recognition^
of the sixth; a rule (avertimento) of much importance for
facility and useful in practice."
FRIEND: "I have understood marvelously and I be
lieve i ; may be a rule of the greatest importance for
whoever composes these bassi continui to make everything
easy for the beginning (novello) organist. Now I desire
for you to show me when the organist should alter the parts
above the basso continuo for the leaps you indicited to me,
which are three descending a fifth, and three ascending a
fourth."
3814.
BANCHIERI: "Here they are distinctly in all the
positions and arranged in an ordered way. I inform you that
in a key with a flat there are two more leaps, one descending
by a fifth, and one ascending by a fourth, but they give a
contrary effect, because from a black key we change to a
white [keyj.
p. 6 1±, Example of the three leaps of a fifth, and fourth,
and of two more for the flat key.
&0 ° * 0 0
0 0
# 0 0
¥
TjP-©* 0 0
3 3 10 10 10 10 17
3
© ©
0 0 © 0 0 0 O
9^ © ^5 0
— .. © * 0 ©
if o -©•
y J- # 0 °
3 3 10 3
10
0 O
O
© 0 %
FRIEND
and fourth, it may be superfluous to indicate the accidentals
and members which many modern composers and organists place
beneath the bassi continui."
BANCHIERI: "You would be in great error to believe
this. On the contrary, when such accidentals and numbers
are admirably placed, first by indicating the numbers 3 and
10 one avoids two octaves which can occur (scorrer) between
the voice and the note (jil tasto) played. Moreover, the com
poser of today is free in his composition to accommodate the
words, inoorder that £peopleJJ may sing in a modern manner
with tenderness, by sometimes avoiding the cadence; so that
in performing the basso continuo without accidentals, the
experienced organist, [thoughj well grounded in his playing,
could cause dissonances. It is therefore necessary (where
it occurs) to indicate the 3, and 10, and when the
leaps of a fifth and fourth already indicated, have neither
accidentals nor numbers, the organist will be able to avoid
a bad encounter and, by fusingj his ear, perform in such a
manner that the concerto passes off gracefully. And al
though some modern composers have shown the opinion that
accidentals in the bassi continui seem superfluous, pre
supposing Lhat organ players have some knowledge of them,
let them know, however, that they are in error, both for the
reasons adduced and because the majority of organists of the
present day observe that common proverb that says, ’Every
Gaul .does not know the languagef* And finally there is the
mind of the composer, £which isJJ free in avoiding the acci
dental in leaps of a fifth and fourth.
386
The free mind of the composer in seme times avoiding
the full cadence.
J 4 .J J iJ ei
i
i
•
i
.o
"And this is, briefly, as much as I can tell you on
the subject of playing above a basso continuo in harmony
on the organ."
FRIEND: "I remain infinitely consoled; I only desire
that you tell me in an orderly way the four varieties of bassi
continui already named at the beginning, which I will repeat
for greater understanding:
1. "Some divide the basso continuo, and some do not
divide it.
2. "Some put in the accidentals £ and and others
do not put them in.

3. "Some put in the consonant (sonarl) numbers 3, 6,
10, and 13, and others do not use them.
I}.. "Finally, some put in the consonant and dissonant
numbers together, ip 3 > H 10, 7 8, llj. 13. How about this?"
387
BANCHIERI: "Concerning these four varieties sought
out by you, I will briefly give you complete satisfaction.
1. "Those who divide the bassjjpr use barlinesj
create and operate with much judgment. Because, by net
seeing the words and by hearing (for the most part) a differ
ent harmony from the vocal parts, the organist, although
experienced, will easily be able to lose the beat. I add,
moreover, that the said divided bass gives much light in
the cadence, and success is more certain than when it is
not divided.
2. "The flats and sharps fit very well and are
necessary, and whoever was the inventor of them merits no
little praise for the reasons and practical examples under
stood above.
3. "Greater praise is merited by whoever added to
the :#rand ^ the numbers 3 and 10.
if. "The greatest praise then, and without comparison,
we owe to whoever added to the consonant numbers the dissonant
ones. Thins, having treated them in sufficiency above, here
is a recapitulation of your every desire and this is that
basso continuo which, having all these conditions, represents
a trustworthy epitome of the entire score. And because ex
amples [makaja greater impression (muovono) than words, here
is an example for greater clarity.
388
p. 65.
£ o
""1-- o ô
;?
4 3 li 10 10 li 10
- «*
J
1
** J ! ©
i
1
o
i 1
i
r f i*o o
t Y?"
10
"The lower [line] is the basso continuo, and the
part above shows the two effects of the accidentals k and#
with the consonant and dissonant numbers, so that you will
be satisfied when you have seen a similar example in the key
with a flat with different accidentals:
J j $J J
- J! j j £ o J
i
i
i a
o ; I
\° ? i *
f i \*o
o ■C ?
11 ' f li ]
10 11 10
0 .)
■U j i i
J JJ i
#6
10
f i*f
#r 10
f '
11 10
O
389
"And for greater understanding, without omitting
something of import since, it remains for me to say that some
modern composers, for greater security, indicate the fifths
and sixths, sevenths and sixths, and such, which in harshness
and ties follow £each other}, as here:
A ArA A - A ^ A j i
e
3 6 4 3 4 3
FRIEND: "I thank the Reverend Father very much and
ask you, as the final cadence of our discourse, to indicate
to me some brief method to which one must adhere in putting
them.(i.e., bassi oontinuij into practice, after one will
have the indicated fundamentals."
BANCHIERI: "You may demand too much in this last
(request]. I myself do not know enough, professing more
(for my diversion) to be a composer, than an organist.
However, I will tell you in discursive manner my opinion
(as tqjf this new manner of playing the basso continuo. I
390
do not censure it, but I do not praise it because new or
ganists may cease to study the Ricercata in four voices,
and Fantasia of illustrious men in the profession, seeing that
nowadays many [on the strength^ of a few stretches of the
hand (con quatro sparpagliate di mano), and playing from a
basso continuo, deem themselves trustworthy organists. But
it is not true, seeing that trustworthy organists are those
who can play a well executed (tirate) counterpoint in which
we may hear all four parts. In concert you must get used to
a steadiness in the beat, to playing slowly, not to eclipse
with tirades (tirate) and whims (grillorie) the effects
and the passages placed in the songs of the singer, to employ
judgment in setting the registers for the quantity and
quality of the voices. And on this point, I will not forget
to mention that singers do not make trills inopportunely,
nor do they change the harmony (this is the rule among the
moderns); and when more than one sings, do not overcome them
on the organ, nor do as geese do, for whoever wishes rain
shouts louder. Make use of wisdom and the ear, and consider
the nature of the concert, disposition of the place, and
finally, remain vigilant in the count of rests, do not be
elsewhere with your mind. And wait for your associates
(as the populace says at the inn) in order that it does not
happen to performers (concertatori) similarly as happened
once to certain singers whom Diogenes Cinico heard- While
they were singing he would laugh. Questioned about the
cause of such laughter, he replied that they sing with their
mouths, but inside they are badly composed in their souls.
Finally, let organists remember to praise others and not
praise themselves, seeing that we can easily belittle the
reputation of an associate, or fall into vainglory, actions
of much censure. In the opinion of intelligent D> ersons^J,
the organ is placed in the church to praise God. Read the
book entitled Dies canicularis by Simone Maioli, Bishop of
the Cathedral, wherein these words will be found: 'Orgena
primum locum tenent, in ijs enim plusquam in reliquis rausicis
instrumentis versata est humana industria in excoleda Religions.
And may this suffice. Go contented, so the Lord may grant you
every blessing (bene), etc."
p. 66. Remarks (Cartella) and Rules
To safely study
All the Musical Keys on the basic keyboard of 28 keys.
[jPhe keyboard]] is divided into four dispositions of
seven [jiotes], fourteen 0 ce5raII for unaltered (naturali)
[notes], which serve for the harmony of the choir, and another
fourteen Ck®ys for] altered (accidentali) Qiotes], to trans
pose the said harmonies to the style and agreement of in
struments and voices in concert. And [this division] is
useful for the accommodation (a comodita) of the canti
fermi.
I call to your attention that there are four keys,
two £witfc]alterations and two unaltered, that are read in
the same manner as the unaffected ones, yet with the in
dicated and colored mutations.
A. 1 and 2 signify Accidentals, and N. 3 and [j.
signify Naturals as follows:
393
O -0r C <tq:
+ .Bl
A. 1 & 2 ». 3 & 4 ut la ut
^ a
-O-fT
m
A. 5 & 6 n.7 & e ut ra la at Alalia
*
m
A. 9 & 10 *?• 11 & 12 ut ra la
* J I # o">'
at
15
A. 17 & 18
o O ♦ OL f -"tt..*.:.
I5v*' “ i£ 5>l
A. 21 & 22 N'. 23 & 24 ut ra la at
***— • * = > t- . 4 .o. ♦ . 4 * 4 .
VL-O-
15»: \ 9 \ ao
A. 25 & 26 N« 27 & 28 ut ra la
& ° O O
ut
p. 67.
First Concerto
With. Soprano or Tenor on the Organ
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Second Concerto 397
With Soprano or Tenor on the Organ
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<Vith Soprano or Tenor on the Organ

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jTKANSO N» I
First Toccata on the Third Tone Authentic
for tho Elevation of the Most Holy Eucharist
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ITSANSO Hi I
k-39
p. 91, Second Toe, ata on the Fifth Tone Plngal
for bhe Elevation of the Most Holy Hucharlst
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W3
Rales and Practice for Arranging
the Fingers on the Basic Keyboard.
p. 96. The Qiumber ofj intervals or distances in both hands
are eight; four simple ones, and as many compound and filled-
in (pieni) ones:
1. Unison 2. Second 3* Third If.. Fourth
5. Fifth 6. Sixth 7» Seventh 8. Octave.
One understands by the simple intervals, those that
are performed by not filling-in the middle.
Right Hand
^Simple Intervals]]
For a unison in the right hand, when ascending by
stepwise (grado) [movement]«, we begin vr:lLh the third finger
(understanding in both hands by the first finger £one means]]
the thumb), change to the fourth, then resume with the third
to the fourth until the end of the ascent (tirara). On the
descent, we begin with the third £fingerj, change to the
second, then resume from the third to the second.
-j 1 1 Jj J J J J j j jjj
3 4 3 4 3 4 3 4 3 2 3 2 3 2 3
W)
For a second, take the lower key with the second
finger and the higher Ck®y3 with the fourth, resolve to
a third with the second finger, [jdien resolve to a unison
with the third fingerj.
For a major and minor third, take the lower key with
the second finger and the higher key with the fourth finger.
For a fourtli, keep the order for the [interval of
a 3 third.
Examples for the Simple Intervals 0
2 2 3 2 2 2 2
^Compound Intervals]]
For the open fifth, take the lower key with the second
finger and the higher key with the fifth finger; the middle
QioteJ is fillea-in with the fourth finger.
For the open sixth, IntakeJ the lower key with the
second finger, the higher key with the fifth finger; Q f
the middlejis filled-in take the middle jjaote withjf the
third or fourth finger.
k$0
The seventh in the right hand is not used. For
the octave, take it with the outermost fingers of the
hand; if the middle Q s filled-in] use the third finger,
although such an octave is little performed.
Êxamples for the Compound Intervals.]
O
5
12-
-
o i
3
© O
2 2 2
Left Hand
Qsimple Intervals]
For a descending unison, begin with the third finger,
follow with the fourth, resuming with the third to the
fourth. In the ascent O 36®*1}] with the third £fingerj,
follow with the second, resuming with the third Tto second].
r r f f r r f fit f f f r f r «
3 4 3 4 3 2 3 2 3 2 3
k $ l
For a second, take the lower key with the fourth
fingeij the higher key with the second finger, resolve to a
third with the fourth finger, £jfchen resolve to a unison with
the third fingerj.^
For a major and minor third, take the lower key with
the fourth finger and the higher key with the second finger.
For a fourth, keep the order for the Cinterval of
thejthird.
[[Examples for the Simple Intervals
o O a.
2 2 2
0
Q O
cr
2 1 3 4 4
^Compound Intervals^
For the open fifth, take the lower key with the fifth
finger and higher key with the second finger; if the middle is
filled-in, use (pone) the fourth finger.
For the open sixth, Qtake] the lower key [[with the[J
fifth finger, and on the higher key Qise[] the second finger;
if it is filled-in, fill-in the middle with the fourth finger.
£ ”orJJ fell© seventh, £take^| the lower key £withj the
fifth finger, on the higher key [use 3 t-he thumb, resolve
to a sixth with the second finger, and end with the outer
most fingers.
£ PorJ the octave, use the outermost fingers; if it
i3 filled-in, between the upper and middle £notesJ, use
the second finger for the interval of a fourth.
[[Examples for the Compound Intervals.J
5 5 5 5 5 5 5
And this little enlightenment suffices, in my opinion,
for whoever practices; they are the actual beginnings and
safe changes, and comfortable for the hands.
kS3
p. 98. Rules for Tuning Harpsichords
to Play Alone or in Concert.
An Announcement for the Memory.
Pour Consonances, the fifth, octave, fourth, and m a jor
third, are sought.
For the White Keys
For the Black Keys
By means of the fifth and fourth which constitute the
octave, we attend to the white keys. By means of the major
third, we attend to the black keys.
The keybo a r d is divided into four registers which
are: 1. Grave, 2. Acuto, 3. S o p r 1a c u t o , Ip. Acutissimo.
By applying seven letters for each order w i t h their
re-employment (r e s u m i t a ),
F G A C D E
constitutes a perfect keybo a r d of ij_5 keys, as skilled
QnusiciansJ know, beginning on C gravissimo according to
k5k
the conviction of Gioseffo Zarlino for the natural formationi
of the twelve modes. We will begin, however, on P. grave,
or acuto, that being the tuning pitch for experienced choir
masters and the organ.
These are the total £ number J of white keys - 26j
natural black flat keys - ij.; accidental black flat keys - 3;
sharps in the chords C. F. G. - 9; Ut re mi, one white and
two black - 3. The total of all keys on the modern keyboard
Tuning the White £KeysJ.
£ P r o m J P acuto, the timing pitch, we tune by the octave
with P. grave.
Then we tune as follows:
1. P grave by a fifth with C grave, then by a fourth
with P acuto.
2* C grave by a fifth with G acuto, then by a fourth
with C acuto.
3c G acuto by an octave with G grave, then by a fifth
with D grave.
I).. D grave by a fifth with A acuto, then by a fourth
with D acuto.
5. A acuto by an octave with A grave, then by a fifth
with E grave.
6. E grave by a fifth with jj acuto, then by a fourth
with E acuto.
7. fcj acuto by an octave with kf grave.
U55
[Example for Tuning the Grave Regis ter /I
2 3
4 5 6 7
This ends a disposition not found between two fifths,
nor perfect fourths. One pursues jjaere] a new manner tpf
tuningJ.
The grave category tuned, we tune the acuto, sopr1acuto,
and acutissimo with ease, from octave to octave:
1. F acuto, by an octave with F sopr1acuto, then by
an octave with F acutissimo.
2. G acuto, by an octave with G sopr1acuto, then by
an octave with G acutissimo.
3. A acuto, by an octave with A sopr1acuto, then by
an octave with A acutissimo.
ij.. tj acuto, by an o stave with sopr1acuto,
then by an octave with acutiss imo.
5. C acuto, by an octave with C sopr1acuto, then
by an octave with C acutiss imo.
6. D acutb, by an octave with D sopr1acuto, then by
an octave with D acutiss imo,
7. E acuto, by an octave with E sopr1acuto, then by
an octave with E acutissimo.
1*56
£ Examples for Tuning the A c u t o , S o p r 1a c u t o , and
Acutissimo Registers .J
• o o o
5 6 7
"5"
Tuning the Black £KeysJ.
[[There J are fire black keys for each disposition, two
flats--one natural, and (as musicians know) the other an
accidental on E--and three sharps as we have seen in the above
example. We tune all five in major thirds, the flats descend
ing, and the sharps by ascending. So naturally, by the hand
of the Reverend Guido Aretino, and the three keys, Ut, re, mi
invented by Zarlino, a harpsichord will be musically tuned. I
do not forget to mention that two conditions are wished for:
(1) knowledge of the musical orders, (2) a g o o d ear, because
without the latter, music is w o r t h nothing.
[[Examples for Tuning the Black Keys.J
Since the three keys Ut, r e , m i , indicated above are
gravissimi, they are tuned b y octaves with C, D, E, g r a v i ,
and this means greater distinctness and u n d e r s t a n d i n g .
k$8
A FIXED TABLE FOR NEW ORGANISTS
p. 99. Of when and how they must play for the Canto fermo of Vespers.
1. In the calendar or guide (norma) placed following this
(cQzi di dietro), where there is a star before the cross,
as here, «■ +, the organ is played at the First Vespers
even though (benche) on workdays.
2. If the Vesper is sung with pomp, the full organ is played
at the emergence of the prie3t from the Sacristy until he
has incensed the altar.
3. After each Pslam, £when] t*16 Sicut erat has ended, play
briefly or long, according to the need.
k. For the hymn, play according to annotation placed on
page 2 8 . ^
5. For the Magnificat, alternate the first or second verse
according to the custom. It is proper that the first
verse should be sung by the choir, so that the Q e x t ofj
the Gloria Patri may be heard, as ordained in the
Ceremonials, chapter 28. However, if it is £playedj by
the organ, the verse cannot be sung with music.
6. After the Magnificat, play a musical Franzesa, ^ or some
thing els$, as;you like.
7. After the Benedicamus, ftplayj as we have indicated above
concerning the Mass.
i|59
I inform y o u that if the Vesper is not sung w ith pomp,
you m u s t not pla y [the organ]except after the Dixit D o m l n u s .
And w h e n double feasts are not required on Sundays of the year,
or Monday, on the said Sundays do n o t play the organ, except
after the last Psalm; and b y these Sundays, we understand those
placed after the Calendar [of Double FeastsJ, excluding those
[Sundays^ between the octave of movable or fixed feasts, w h e n
we play for the entire yesper.
460
N O T E S
Le g e n d records that St. Cecilia vowed virginity to

God and considered herself betrothed to Jesus Christ.
Banchieri repeats here the frequently used passage f r o m
the Acts of St. C e c i l i a . This passage relates that ” . . .
Cecilia was sTnging in her h e art a hymn of love for Jesus
. . . .” Thus it appears Banchieri, as others, has not
p a i d due attention to the w o rding of the phrase. See
Englebert, Omer, The Lives of the S a i n t s , E n glish trans
lation by Christopher and Anne Fremantle, Collier Books,
New York, 1964> PP* 491-492.
2”With the organ Cecilia, a virgin to God alone, was

singing: ’He is my heart, and my body immaculate, for that
I shall not be confounded.1"
^Metafraste, unable to identify.
^-Voraggine (Voragine), Jacobus de (1230-1298),

Archbishop of Genoa and author of The Golden L e g e n d , one of
the most popular religious books of the Middle Ages. It is
a collection of the legendary lives of the greater saints of
the medieval church.
^Vasari, Giorgio (l5ll-I5>74) > Italian painter, archi

tect and art writer. A native of Arezzo, he is author of
The Lives of Painters, Sculptors and Architects.
^The device of the "inserted vision" was first in

troduced into painting by Raphael. He received the idea for
this from the Byzantine mosaic technique. I am indebted
to Mr. Robert Stapp, Professor of Art at Campbellsville
College, Campbellsville, Kentucky, for this information.
^"The organ holds first place since it stays in tne

church of Christ, serving as a soldier as divine praises
are expressed."
Q
Banchieri, unfortunately, does not carry out this
intention as the composers are not again mentioned by name.
9The black diamond-shaped notes indicate where the

mutations from one hexachord to another occur.
461
Don Agostino of Pisa (Agostini, Paolo, 1593-1629)>

Italian organist and composer. In 1626 he became maestro
di eappella at the Vatican.
■^Banchieri does not provide an example of the accom

paniment for four voices, but heads the acconâniment a tre
voci. By using the octave for filling-in Banchieri makes it
four-part.
1p
Banchieri uses both # and ij to contradict the use
of the flat in the signature.
13
Concerto is used in this sense to mean a concerted
or accompanied piece, as opposed to the a eappella style.
l^-M'The organ holds first place, for in these, more

than in the remaining musical instruments, human industry
has turned to the improvement of religion.”
15
"^The fingerings in Banchieri’s example, however, are
the reverse of his explanation. The reader will notice ob
vious errors in Banchieri’s fingerings for both the right and
left hands especially in the example for seconds and thirds.:
t6
This annotation for the hyrjns being the same as
the one in the 1622 edition, p. 236, the reader is referred
to the translation of that edition.
17
'Franzesa is Banchieri’s term for Canzona alia
francese.
PART V
REALIZATION OP THE KYRIE
PROM
THE. MASS OP THE APOSTLES
OPUS 25
ij.63
Hass of the Apostles
.1. Kyrie
. Kyrj.e, i-'upha
i
£ o'J * 4 J j! j j
*
S f ♦ ” ! ”
I ’
, f 'id i^* J 1 * -i*!
i
•
i
i
9 f'f r tji 1^
»
i
1
1
1
-
p.
14.61).
m j. Christ©, Pugha
a f i i
ti T
Kyrie
a
P P P ^ 8
- - - :- f :f
-.z z j z u zzz : ! — .z ~ i v.
r
t .
-t- s
f i
i
■*f' u
T p. p.
1 1 A N « 0 No I
IS >ifc»
1+65
r- ftyrie, I'Vp-.ha
f J J
i i
1 — •
*■_ i~ r
4 *
L
i
f i * *
*zr !i ±
f
I
' *-
3>: f r
f
r*r
IRANSO N.- 1
It
B IB L IO G R A P H Y
14-67
B I B L I O G R A P H Y
Primary Sources
Banchieri, Adriano, L 1Organo suonarino . . . Opera terza

decima, R. Amadino, Venetia, 1605.
__________ L 1Organo suonarino . . . Opera ventesima quinta,

R. Amadino, Venetia, 1611.
_____ _____ L 1Organo suonarino . . . Opera XXXXIII, Alessandro

Vincenti, Venetia, 1622.
Secondary Sources
Allorto, Ricardo, "Adriano Banchieri," in Enciclopedla della

Musica, G. Ricordi & Co., Milano, 1963. '
Ambros, A. W., Geschichte der Musik, vols. 3 and i|, P. E. C.

Leuckart, Leipzig, !88l.
Apel, Willi, "Early History of the Organ," in Speculum,

vol. 23, 194-8.
___________ Harvard Dictionary of Music, Harvard University

Press, Cambridge, Mass.? 1958.'
Arnold, P. T., The Art of Accompaniment from a Thorough-

Bass as Practiced in the XVIIth and XVIIIth Centuries,
2 vols., Dover Publications. Inc., New York, 1965.
Baker, Theodore, Biographical Dictionary of Musicians,

5th ed.,with 1965 Supplement. Revised by Nicholas
Slonimsky, G. Sehirmer, New York, 1965.
Bessoler. Heinrich, Die Musik des Mitteialters und der

Renaissance, Akademische Verlagsgesellschaft Athenaion,
Potsdam, 1931-3k'
Bienenfeld, Elsa, "liber ein bestimmtes Problem der Programmusik,"
in Seitschrift der Internationalen Musikgesellschaft,
vol.“8, 19o 8-07.
ij.68
Bukofzer, Manfred P., Music in the Baroque Bra, W. W. Norton

& Co.* Inc., New York, 19l{-7.
B u m s , Joseph, "Pine Old Italian Organ Suggests Idea for
Design," in The Diapason* (Feb..l9ol).
Capaccioli, E., "Precisazioni biografi.ihe sii Adriano Banchieri,"

in Rivis tn music ale Italiana, (Oct.-Dec. 190>h-).
The Catholic Encyclopedia, 15 vols., Robert Appleton Co.,

New York, 193o.
Einstein, Alfred, The Italian Madrigal, vol. 2, Princeton
University Press, Princeton, N. J., 19i+9•
Eitner, Robert, Quellen-Lexikon* 2nd ed., vol. 1, Akademische

Druck-U. Yerlagsanstalt, Graz, 1959.
Encyclopedia Britannica, 9th ed., J. M. Stoddart, Philadelphia,

1SB 9T “
Englehart, Omar, The Lives of the Saint 3 , translated by
Christopher & Anne Freemantle, Collier Books, New York,
I 96I4..
p/tis, P. J., Biographie universelle des musiciens, vol. 1,

Librarie de Pirmin Didot Frkres, Fils et cie, Paris,
i860.
Protscher, Gotthold, Geschichte des Qrgelspiels u n d der
Orgelkomposition, 2 vols., Merseburger, Berlin, 1959.
Grove, Sir George (Eric Blom, ed,), Dictionary of Music and

Musicians, 5th ed., St. Martin's Press, Inc., New
York, I960.
Haas, Robert, Auf ftihrungspraxis der Musik, Akademische
Verlagsgesellschaft Athenaion, Potsdam, 1931.
___________ Die Musik des Barocks, Akademische Verlagsgesell

schaf t Athenaion, Potsdam, 1928.
nawkins, Sir John, A General History of the Science and

Practice of Music, 2 Vols., Dover Publications, Inc.,
New York, 19^JT“
The Hexaglot Bible, vols. 2 and 3, Funk & Wagnalls Co., New
York, 1901.
Holy Bible, Douay Bible House, New York, 1938.
Hopkins, Edward J., & Rimbault,, Edward P., The Organ, Robert
Cooks & Co., London, 1877•
Hytek, Sister M., Theophane, 0. S. P., "Aspects of Style in

the Performance of Organ Literature: (16th, 17th &
18th Centuries)," Developing Teaching Skills in Music,
Catholic University of America, Washington, D. C.7
I960.
Julian, John, A Dictionary of Hymnology, 2 vols., Dover
Publications, Inc., New York, 1957*
Klein, John. Music for the Organ, Associated Music Publishers,

Inc., New York, 19^8.
Liber Usualis, Desclee Co., New York, 1956.
Lunelli, Renato, Per Qrgelbau in Italian. Rheingold-Verlag,

Mainz, 1956.
New Catholic Encyclopedia, McGraw-Hill, New York, 1967.
Newman, William S., The Sonata in the Baroque Era, University

of N. C. Press, Chapel Hill, N. C., 19597"
O'Connell, J. B., Sacred Music and Liturgy, The Newman Press,

Westminster, Md., 1959.
Praetorius, Michael, SyntagmaMusicum. English translation

by Harold BlumeTi.fsId. 2nd cd«« Barenreater, New York,
Raugel, Felix, Les Organistes, Henri Laurens, Paris, 1923.
Redlich, Hans, "Adriano Banchieri," in Die Musik in Geschichte

und Gegenwart, vol. 1, Kassel & Basel, B&renreiter,
TW9.
Reese, Gustave, Pourscore Classics of Music Literature,
Liberal Arts Press, New York, 1957".
___________ Music in the Renaissance, W. W, Norton & Co., New

York, 195if.
1+70
Riemann, Hugo, Musik Lexikon, vol. 7> B. Schott’s Sohn©,

Mainz, 1959 *
Ritter, A. G., Zur Geschlchte des Orgelsplels, Max Hesses
Verlag, Leipzig, 168)4..
Sachs, Curt, The History of Musical Instruments, W. W. Norton

& Co., Inc., New York, 191+0.
Beal Lexikon der Musikinstrumente, Julius Bard,

Berlin, 1913.
St. Benedict, Rule for Monasteries, translated by Leonard J.
Doyle, The Liturgical Press, Collegeville. Minn., 191+8.
Sartori, Claudio, Bibliograpfia della Muaica Strussntale

Italians 3 tampa u& m Itaxia fino al 1700, Leo S.
Olschki, Firenze, 1952"!
Schering, Arnold 11Zur Alternatixa-Ox-gelaiesse,” in Zeitschrift

fur Husikwissenschaft, v o l , %, 1935 .
Schmidl, Carlo, Dizionario Universale dei Muslcisti, 2 vols,*

Casa Editrice Sonzogno, Milano, 1928-29.
Summer, William Leslie, The Organ, Philosophical Library,

New York, 1952.
Tagliavini, Luigi, "Role Liturgique de L*Organist© Jusqu’

A L ’Epoque Classique," in Actes du Troisi&me Congrks
International de Musique Sacrê , Edition duCongrls,
Paris, 1957.
Thompson, Oscar (ed), The International Cyclopedia of Music

and Musicians, 9th ed., Dodd, Mead « Company, New
York, 1961+.
Vitruvius, Follio, The Ten Books on Architecture, translated

by Morris Hicky Morgan, Dover Publications, New York,
I960.
471
V i t a
Donald Earl Marcase was born December 28, 1925, in
Pittsburgh, Pennsylvania. He attended the public schools
of Munhall, Pennsylvania, and in 1943 was graduated from
Munhall H i g h School. The 3ame year he entered Cincinnati
Conservatory of Music from which he received the B. Mus.
degree in 1947 and the M. Mus. degree in 1948*
He has been a member of the faculties of the follow
ing schools: Cardington Public Schools, Cardington, Ohio;
Northwest Mississippi Junior College, Senatobia, Mississippi;
Waynesburg College, Waynesburg, Pennsylvania; Wilkes College,
W ilkes - B a r r e , Pennsylvania. At present he is Professor of
Music and Chairman of the Department of Fine Arts at Camp-
bellsville College, Campbellsville, Kentucky.
He is m arried to the former Sonya Elinor Wood of
Philadelphia, Mississippi, and the couple has two children,
Donra and David.

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70-26,938

MARCASE, Donald Earl, 1925-

Indiana University, Ph.D., 1970

University Microfilms, A XEROXC om pany, Ann Arbor, M ichigan

ALL RIGHTS RESERVED

MARCASE, Donald Earl,

Indiana University, Ph.D., I0'??

University Microfilm*. A m C om pany , Asm Arbor. M ichigan

TRANSLATION, TRANSCRIPTION AND COMMENTARY

DONALD EARL MARCASE

Submitted to the faculty of the Graduate School

Indiana University, in partial fulfillment of the require­

ments for the Doctor of Philosophy degree.

Adriano Banchieri1s L*Organo suonarino is one of

the most significant musical treatises published in the

early seventeenth century. Frequent references are made

to this work, largely in connection with the important

material it contains regarding the early development and

harmonization of the figured bass. However, there is

also much important material contained in this treatise on

a variety of musical subjects which has been almost totally

neglected. The treatise is, moreover, of a practical

nature and as such contains much organ music, of which

the larger portions rema. n unpublished and unknown. In

addition there have arisen some erroneous ideas about the

contents of the various editions, each of which differs from

This study has, therefore, a threefold purpose.

First the author is making available in an English trans­

lation a body of information which he hopes will shed some

additional light on the musical thought and performance

practice of the early seventeenth century. Secondly,

there is the aim of clarifying some of the erroneous ideas

which have arisen concerning the contents of the various,

widely different editions of this treatise. Thirdly, this

study makes available, in a modern transcription, a complete

edition of the organ pieces contained in L »Organo suonarino

along with a number of short two-part works for voices and

in that they are embryonic examples of the fugues, ricercatas,

capriccios, toccatas, fantasias and sonatas of the middle

and late Baroque.

The present study deals with what may be ^considered

Opus 13 and Opus I4.3 are presented in a complete transla­

tion, together with a transcription of all the musical

works in two or more parts. In order to avoid undue repe­

tition, only those parts of Opus 25 which are not contained

scribed and is included in the order in which it appears in

the original, as is the case with the other two editions.

The different editions have numerous items of Gregorian

Chant provided with partly figured organ basses. Only one

example of this early figured bass, the Kyrie of the Mass

of the Apostles from Opus 25, has been harmonized and is

included. This particular Kyrie was chosen because of the

use of the term "fugha" which appears frequently in this

ing to the rules set forth by Banchieri in his Musical

Conversation about the harmonization of basso continuo.

In translating from one language to another, diffi­

culties inevitably arise with regard to the exact meaning

by Banchieri’s use of spellings which are now antiquated and

by his rather involved literary style. Where problems re­

garding the exact meaning of certain words arise, the original

word is given in parentheses. Banchieri’s mode of expression

has necessitated frequent textual additions in order to give

completeness and clarity in keeping with'the style of modern

Indiana University, in partial fulfillment of the require

First the author is making available in an English trans

Opus 13 and Opus I4.3 are presented in a complete transla

works in two or more parts. In order to avoid undue repe

In translating from one language to another, diffi

by his rather involved literary style. Where problems re

the author’s translations rather than to the original edi

Christopher Kleinhenz, a graduate assistant in the Depart

theorist, poet, pedagogue, and cultured gentleman. Be