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Liza Malamut
Trombone, Research, Education
A diminution study by Cosimo Bottegari (1554-1620) based on the cantus (top) line of a madrigal attributed to Leonora Orsina [Orsini]. The unornamented top line is provided as reference, and the diminution etude (the ornamented line) is on the bottom staff.
Diminutions are written-out ornamentations of popular melodies from the Renaissance and early Baroque. The original melody and text (if applicable) are provided above the diminution as a framework for phrasing and breathing. All diminutions and melody lines are transcribed directly from their original sources. Original barring and note values remain intact. A suggested tempo, or “tactus,” is provided, along with an appropriate subdivision according to typical Renaissance and early Baroque standards.
Level: Easy/Intermediate
A diminution study by Francesco Rognoni-Taeggio (b. 2nd half of 16th century; d. in or after 1626) based on the cantus (top) line of an instrumental canzona by Antonio Mortaro da Brescia. The unornamented top line is provided as reference, and the diminution etude (the ornamented line) is on the bottom staff.
Diminutions are written-out ornamentations of popular melodies from the Renaissance and early Baroque. The original melody and text (if applicable) are provided above the diminution as a framework for phrasing and breathing. All diminutions and melody lines are transcribed directly from their original sources. Original barring and note values remain intact. A suggested tempo, or “tactus,” is provided, along with an appropriate subdivision according to typical Renaissance and early Baroque standards.
Level: Advanced
A diminution study by Giovanni Bassano (c.1558-1617) based on the madrigal Nasce la pena mia by Alessandro Striggio. This is a “bastarda” diminution, a special type of composition that combines all lines of a composed multipart piece (in this case, a six-line madrigal) to form a single decorated solo line for study.
Diminutions are written-out ornamentations of popular melodies from the Renaissance and early Baroque. The original melody and text (if applicable) are provided above the diminution as a framework for phrasing and breathing. All diminutions and melody lines are transcribed directly from their original sources. Original barring and note values remain intact. A suggested tempo, or “tactus,” is provided, along with an appropriate subdivision according to typical Renaissance and early Baroque standards.
Level: High Intermediate/Advanced
A diminution study by Giovanni Bassano (c.1558-1617) based on the cantus (top) line of the madrigal by Cipriano de Rore (1515-1565).
Diminutions are written-out ornamentations of popular melodies from the Renaissance and early Baroque. The original melody and text (if applicable) are provided above the diminution as a framework for phrasing and breathing. All diminutions and melody lines are transcribed directly from their original sources. Original barring and note values remain intact. A suggested tempo, or “tactus,” is provided, along with an appropriate subdivision according to typical Renaissance and early Baroque standards.
Level: Intermediate
A diminution study by Giovanni Bassano (c.1558-1617) based on the tenor and bass lines of the 4-part madrigal by Cipriano de Rore (1515-1565). This is a “bastarda” diminution, a special type of composition that combines multiple lines of a composed multipart piece to form a single decorated solo line for study.
Diminutions are written-out ornamentations of popular melodies from the Renaissance and early Baroque. The original melody and text (if applicable) are provided above the diminution as a framework for phrasing and breathing. All diminutions and melody lines are transcribed directly from their original sources. Original barring and note values remain intact. A suggested tempo, or “tactus,” is provided, along with an appropriate subdivision according to typical Renaissance and early Baroque standards.
Level: Intermediate
A diminution study by Giovanni Bassano (c.1558-1617) based on the cantus (top) line of the madrigal by Luca Marenzio (1553-1599).
Diminutions are written-out ornamentations of popular melodies from the Renaissance and early Baroque. The original melody and text (if applicable) are provided above the diminution as a framework for phrasing and breathing. All diminutions and melody lines are transcribed directly from their original sources. Original barring and note values remain intact. A suggested tempo, or “tactus,” is provided, along with an appropriate subdivision according to typical Renaissance and early Baroque standards.
Level: Intermediate