Bi: eh 00D © 9 MERCY O 1 Sr UL EE ECL Lo The American Recorder A Journal for Early Music Published Quarterly by The American Recorder Society $2.00Improvising divisions upon a ground M«= OF US ARE DRAWN TO EARLY music because of the freedom it ‘offers the performer to add ornaments, alter chythms, change registers, and im provise entirely new music extem- poraneously. Infact, the vitality of early ‘music depends upon the excitement of spontaneous contribution by the per former During the Baroque period, the popular practice of improvising divisions on grounds led to the publication of treatises, or methods, on the subject and a number of collections of composed divisions. Although methods such as ‘The Division Violst and collections such as The Division Flute contain many ex: amples of divisions composed to ‘grounds, it would be a chame if the only divisions performed were these “frozen improvisations.” Performers need not be restricted to written divisions; rather, ‘these methods and collections can serve as guides enabling performers to im- provise. For the sake of simplicity, 2 division may be thought of asa variation. In The Division Violist, Simpson defines a divi- sion as “breaking the long notes of a theme into shorter notes." He discusses two types: 1) breaking the ground, and 2) descant.? We, as recorder players, will be mostly ‘con- cemed with the latter, which involves playing a melody over the ground. To begin improvising divisions, Simp- son tells us to fist select a ground con- sisting of fairly long notes (Example 1). He then suggests that we write out about a dozen melodic fragments to use ‘with each note of the ground (Example 2), These formulae, upon which im- Provisations are then constructed, are called points of division First; you are to make choice of some round, consisting of semibreves, or minims; or of semibreves and minims for such ought Grounds to be, that are proposed to be played upon at sight. Next, you ought to be provided of ten, or a dozen points of Divi- ‘on; the mote the beter, each consisting of 3 semibeeve, of mini which must be accom modated ¢o the fist note or notes of your William Hullfish ‘round. Being thus prepared, take the easiest ‘ofthe said points, and, by applying it fret to fone note, and then to another, endeavor t0 carry it'on, chrough the whole ground When by practice you can do this, take another point and do the like with it; and so feom one, to another? Example 1. Simpson, The Violist. A ground. SSS Division Example 2. The Division Violist. Points of diision ‘After the points of division are com posed, itis then up to the performer to apply these formulze to each note of the ground Example 3. The Division Violist. Carrying (on. point over a ground: the performer then applies the “point” or melodic formula to the remaining nates ofthe ground, delights provided you do not cloy the ear with too much repetition of the same thing: Which may be avoided by some little vari tion a8 you see T have done in carrying on some of the before going points, Also, you fave iberty to change your point though in the midst of your ground; or mingle one point with another, as. best sball please ‘your faney.* Already, for most of us, a few gaps ex- ist in Simpson's method. Just how does one go about providing “ten, or a dozen points of Division”? In order to find out, Wwe can examine a division written by a Baroque composer. The following exam ple nthe begining of Faroell's Ground from The Division Flute’ Faronells Ground is based on the folia bass (an an- cient Portuguese dance used as a basis foc compositions by Corelli, Vivaldi, Bach, and others), Example 4. Faronell's Grownd. Firs divie “This dawing, or carying on point does rch to eae the sven which as wo farcer tbl, xo lang a he pomt scan tinued, but to pce, and aply sever oes ofthe ground Besides, render the divion ‘more norm and. leo mote eeNote how the first division is only 3 slight variation of one note per measure. Example 5. Skeletal outlme of the folia smeody. 5 ‘The fifth division is also a variant on cone note; however, it is another member of the chord. Example 6. Skeletal outline of the fifth division The eighth division contains one pitch per measure, but the chythm is changed. Example 7. Faronlls Ground. Eighth dlvistn (ace). geritegtts hth Besides exploring the posites ofa single pitch against the bass note, the composer also uses two pitches. Example 8. Faronell’s Ground. Seventh division (excerpt). geteate Eventually, all of the chord tones are brought into play. pepe Example 9, Feronell’s Ground. All chord tomes used (excerpt). bate dtetr ibe ites Rhythmicaly, each division remains faidy consstent, with only 2 slight variation to avoid monotony, Example 10. Faronell's Ground. Rhyth+ mic structure of one division. 3 ae 74 The American Recorder Divisions changes. also exploit register Example 11. Faronell’s Ground (excerpt) By combining the observations of Fa ronel’s Ground and the suggestions in ‘The Division Violis, we have enough in- formation to construct divisions. First, we need to “make a choice of some Ground, consisting of semibreves, or sminims.” The Division Flee can supply us with a good one, Example 12 Ground.” Anon. oo ee Lacuna “A Division on a ae Not only is this ground composed of Tong notes, but it is short and easy to remember ~a simple I-ii-V-I progres: sion. Before jumping into an improvisa- tion, Simpson makes the following sug gestion: When you are to pay Division toa Ground, ‘would have you frst play over the ground ‘tel for these reasons: 1) That others may hear what notes you divide upon. 2) That ‘youre may be better possessed ofthe ayre Of the ground, incase you know it not befor. 53) That he who pays the ground unto you ‘may better perceive your time, ar measure * I would make one step prior to this fone, and that is to play through the notes of the chords, using the keyboard part as a guide. STEP 1: Play over the notes in the har- ‘mony Example 13. Chord tones of the ground. fae STEP 2: Play the ground itself to set the tempo and become familiar with the bass. Ss Example 14. The ground in treble clef er ? SS) Now, let us compose some points of division, using the keyboard part as a reference. STEP 3: Choose any chord tone and play one note per measure. Use any rhythmic pattern you wish. Example 15, First point of division: one pitch per bass note (small notes indicate what a performer might do in carrying out the point) gi apap STEP 4: Try another chord tone and a different rhythm, Example 16, Second point of division: one pitch per bass mote se STEP 5: Compose a point of division us- ing one pitch per bass note plus the note above or below (or both), Example 17. Third point of division: one pitch pls an upper neighbor. pate STEP 6: Use two chord tones per Example 18. Fourth point of division: two pitches per bass note SS = STEP 7: Use all ofthe chord tones in each measure. Example 19. Fifth point of division: all chord tones against each bass noe, egg i STEP 8: Compose some points of divi sion using combinations of scales and chords and a variety of ehythms Example 20. Sixth point of division: two examples of chord tones and passing tones with @ dotted rhythm. ea SG eSe= === ‘Simpson discusses this process in The Division Viol: “The ground phyed over, you may break tiv to crockets, and quavers, or play slow des cant to , which you please. This done, andYour ground beginning over again; you may then break it into division ofa quicker motion, Giving an some point, or points, as has been shown. When you have prosecuted that manner of play, so long as you please; and showed some command of hand; you may fll tft slower descant, or binding notes, 38 you fee cause; playing also sometimes loud and sometimes soft, t0 express humour or draw ‘After this, you may begin to play some skip- Ping division, or points, trip's, or what your present fancy, or invention shall prompt you to; changing sil fom one vanety to another, for vagety iti, which chiefly pleaseth. In this manner, phying sometimes swift notes, sometimes slow; changing from this, to that sort of division, as may best produce vanity, you may carry on the rest of the ground; and Hf you have anything moce excelent than ther, eserve i for the conclusion. Example 21. Seventh point of division: smiplet: Example 22. Eighth point of division: six- teenth notes ‘Once you have your points of division, go back and try to develop each one ex- temporaneously, Seart simply, with one note per bass note, See how many varia tions on one note you can invent. Go on and try two notes, and so on. In improvising & series of divisions, start simply and build in complexity Vary the tempi, note values, articula- tions, dynamics, and registers. Play some divisions sot, short, and in the low register, others, oud, legato, and in the high register. In other words, don't rely ‘onpitch and rhythm alone—use ll ofthe ‘elements of music to obtain variety ‘As Simpson. suggests, the ground, played as an introduction, will aid in establishing the tempo, It will be helpful if someone can play the ground as you ‘experiment with points of division. A single line instrument auch as a viol, cello, or bassoon on the bass line will do, but if you can obtain the services of a keyboard, lute, or guitar player to fil in the chords, so much the better. After you can handle an easy ground, try a few longer grounds that are har rmonically and rhythmically more ine teresting. The Divisio Fhuce has severe ‘teen grounds with which to work, plusa bonus of seventeen sets of divisions on ‘which to base your improvisations. Obtain a copy of The Division Violist (ever if you only play recorder) and = study. Simpson's suggestions and ex- amples. Examine all of the written divi- sions you ean find,” You might even try some group improvisation. Simpson sug geste that the players can alternate strains, alternate phrases, and even im provise simultaneously. When this # done, both may play another strain together, answering one another, either in whole strains, rin parcels; and ater that, jin together in a thundering stain of ‘quick division, with which they may con chide? ‘The most important thing is, just stick your neck out and try improvising divi- sions. You may find that you like your divisions better than the written ones, ‘As Simpson says: {have known this kind ofextemporary musi sometimes (when performed By hands ac customed to play together) pass ff, with greater applause, then those divinons which fr been most suxiousy composed © At the end of this article, Ihave pro- vided a ground to use,and a written set of divisions to play. You will probably recognize the theme, which was dis- cussed in detail in the February and May 1980 issues of The American Recorder. The Divisions on Browning are transeribed from lute tablature, and although the pitches are exactly the same as the original, a number of octave ‘transpositions were necessary, Because these divisions were originally for the lute, they are “busier” than those taken from The Division Fate, The recorder is capable of sustaining long tones, while the sound of the lute will decay very quickly. Therefore it is necessary for the lute divisions to depend more on register contrasts and pitch variation and less on gradual rhythmic diminution. Neverthe- Jess, itis not until the last division that a steady stream of sixteenth notes is set "after the theme the fst division con- sists of elaborating every other measure with a few omamental passing and neighboring tones. The first division is related to the sixth division, where all the measures are filed in, and is further related to the last division, where the saps are filed in with sixteenth notes. ‘Although the recorder cannot achieve she lange contrasts in register possible on the lute, division number five will serve to show the recorder player some of the ‘things his instrument can do, ‘Adapting divisions for your instru- ‘ment is a good exercise in understanding divisions, your instrument, and the in- strument from which you transcribe. Reworking a pre-existent model has proved to be an excellent teacher for centuries of students Portions of this article appeared in Divi- sions, A Journal for the Art and Practice of Early Musick Chricler Simp, The Dion, Vis (Louden: Jo Payer, 1891921 (A merce fe gl Stat hire: Reeser NA 060, fr 860) Fras The Desi Fie, Ar Muse tie, 1619 ae ed eBoy 11280 Rep wes * he Cr La Foi dos ay be obtained a2 scorn fem Hap Mane Pres, 30 Bae 18 SSN oom, Sep Debecich, Aro Te arpa of th Mui of he Scone onl Bylnnd Cours Sete: ner His Wil, ed. The Ds ‘fer awe atti, 1980 Hola Wil, “The Din Pate” NACWE oe fad 2 428 (Wine, 909) Yowr Our” Dro 1613 (ep 178). Siepeon, Chater The Dison Vist, Laon: Jota Papi 169, Pace Rept. NY. SOURCES OF BROWNING ‘Avon Cambee, Urea Leary ate M4 i Ta Im Thentebebeae”™ dws Beth Ube AML 24-42, Fi6, ew, Enver Seth Ubeary RM 24-62, 4118 Glo Chow Church ee 979-96, ore Byrd, alam Betoh Libary. AS31390, 4143, "The leaesbe eee Betsh Larry Add 29956, £153, Sroener Bruhn. Add 22372 Browing™ Beaah Libary Ad 170306 eh Shecantste ‘Gxt Sa Lary. Me Ma Sch © 2 pe "Bowring (Cee Cheat Chr 984-985, #3, “trewrieg “Tend. Maes Calg: Me. 388, 2.86 Bring Inge, Witam' The Froion Vir Bock, CCL, “The es beers Stoning, Henry. Bh Lis ABH, 31390, £4, ‘rownng dee Wordaxk Cleert Besa Lia” Ad 32.90, 12, CGrtnd Chew Carch ek 984 985, 174 "Beewne Moers Een ‘ew, Ey, Mas Brion vl 9p 1. Byala The Cad Wor of Wie By, vot 17 (Ganson Mose Lenn: Samer and Bahion ght, Wala Th Poe Viral Bok vol, SAL New Yor Brose Br ‘Wooden, Cement Londen Pro Mea En LIM ‘August 1980.75Divisions on Browning Anonymous Alto recorder and continuo transcribed by Williom Hullfish hee ge ee ie 76 ‘The American‘August 1980 7Continuo