CHAPTER 22. MUSIC IN RENAISSANCE PARIS. THE RENAISSANCE IN PARIS.
MUSIC IN RENAISSANCE PARIS
The wavy lines are created by the many small pieces
of movable type being fitted together.
On the right, proof-readers check the text for errors.
The beginning of Tant que vivray written in lute tablature (below) with a modern transcription (above). As often happens in lute transcriptions, the alto line of the original chanson has been removed, and notes of long duration are broken up into quickly moving lines of figural ornamentation (here eighth notes).
The beginning of Claudin’s Tant que vivray arranged for voice and lute as published by Pierre Attaingnant in 1529. Here the soprano voice takes the over the original soprano line of the song while the lute plays a slightly ornamented arrangement of the bottom three voices.
A four-voice Parisian chanson might be performed by many different combinations of instrumentals. In this painting, showing Paris as it was about 1540, a flautist plays the upper voice of a chanson while a lutenist plays an intabulation of the lower voices.
Note the hemiola in bar 4.