Chiavette (original) (raw)
Chiavette (plural of Italian: chiavetta, [kjaˈvetta] "little clefs") is a system of standard combinations of clefs used in polyphonic music of the 16th through 18th centuries, differing from the usual chiavi naturali (the combination of soprano, alto, tenor, and bass clefs.) Typically, these clefs place each staff line a third lower than usual. (A second possible set of clefs, in contrabasso, places each staff line a third higher; this is less common outside of Franco-Flemish compositions.)
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| dbo:abstract | Chiavette (plural of Italian: chiavetta, [kjaˈvetta] "little clefs") is a system of standard combinations of clefs used in polyphonic music of the 16th through 18th centuries, differing from the usual chiavi naturali (the combination of soprano, alto, tenor, and bass clefs.) Typically, these clefs place each staff line a third lower than usual. (A second possible set of clefs, in contrabasso, places each staff line a third higher; this is less common outside of Franco-Flemish compositions.) The first author to mention a standard set of high clefs is Silvestro Ganassi dal Fontego, in his 1543 Regula Rubertina, chapter 22, which instructs the musician to transpose such music down a fifth.Other theorists, such as Adriano Banchieri (1601) and Picerli (1631), indicate to transpose down a fifth if there is no key signature, and a fourth if there is a flat indicated. By mid-century, Italian commentators only mention a transposition down a fourth, and still later the practice seems to have been to transpose downward by a third to account for the high pitch of Italian organs. The Austrian theorist Johann Baptist Samber (1707), meanwhile, gave as his rule to transpose downward by a fourth if the bass is notated in F3, but a fifth if it is notated in C4. The practice of transposition does not seem to have been universal; Thomas Morley implies that music ought to be sung in the key in which it was written while Michael Praetorius indicates the choice to transpose or not depends on the ensemble. Banchieri (1609) indicates that instrumental music should be read at pitch, in the higher clefs, while singers use the chiavi naturali at the written pitch. This set of higher clefs was only given the name chiavette in the eighteenth century, by Girolamo Chiti (1718), by which time the practice itself had largely disappeared; by the mid-seventeenth century, most composers had adopted more flexible notational practices. It continued to linger in Rome, however, and was used at the papal chapel into the nineteenth century. Performance of pieces written in chiavette approximately a fourth lower than notated often results in a more consistent set of ranges across a given collection, although this is not always reflected in modern performing editions and recordings. (en) Les Chiavettes, ou clef transpositrices, sont un système de combinaisons standard de clefs utilisées en musique polyphonique entre le XVIe et le XVIIIe siècles.Elles permettent, par rapport aux clef usuelles chiavi naturali (ut 1, ut3, ut4 et fa4), un décalage, soit vers le bas (typiquement, sol2, ut2, ut3 et fa3), soit vers le haut (ut3, ut4, fa3 et fa5). Le plus ancien auteur à mentionner un jeu de clefs hautes est Silvestro Ganassi dal Fontego, dans son Regula Rubertina de 1543, au chapitre 22, qui donne instruction aux musiciens de transposer cette musique d'une quinte vers le bas. D'autres théoriciens, tels qu'Adriano Banchieri (1601) et Picerli (1631), indiquent de transposer à la quinte inférieure s'il n'y a rien à la clef et à la quarte inférieur s'il y a un bémol. Vers le milieu du XVIIe, mes commentateurs italiens ne mentionnent plus que la transposition à la quarte et plus tard encore, la pratique semble avoir été de transposer à la tierce afin de prendre en compte le diapason élevé des orgues italiens. Le théoricien autrichien Johann Baptist Samber (1707) cependant donne pour règle de transposer à la quarte inférieure si la basse est notée en fa3 mais à la quinte si elle est en ut4. Cette pratique ne semble pas avoir été universelle : Thomas Morley stipule que la musique doit être chantée dans la clef indiquée tandis que Michael Praetorius indique le choix de transposer ou non selon l'ensemble. Banchieri (1609) indique que la musique instrumentale doit être lue en clefs transpositrices tandis que les chanteurs utilisent les chiavi naturali à la hauteur indiquée. Le nom de chiavette n'est apparu qu'au XVIIIe chez Girolamo Chiti (1718) alors que cette pratique avait pratiquement disparu ; vers le milieu du XVIIe, de nombreux compositeurs avaient adopté des pratiques de notation plus souples, sauf à la chapelle papale de Rome qui continuait à les utiliser au XIX°. L'exécution des œuvres environ à la quatre inférieure permet souvent d'obtenir des résultats plus homogènes en termes de tessitures, quoique cela ne soit pas toujours le cas dans les enregistrements modernes. (fr) |
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| rdfs:comment | Chiavette (plural of Italian: chiavetta, [kjaˈvetta] "little clefs") is a system of standard combinations of clefs used in polyphonic music of the 16th through 18th centuries, differing from the usual chiavi naturali (the combination of soprano, alto, tenor, and bass clefs.) Typically, these clefs place each staff line a third lower than usual. (A second possible set of clefs, in contrabasso, places each staff line a third higher; this is less common outside of Franco-Flemish compositions.) (en) Les Chiavettes, ou clef transpositrices, sont un système de combinaisons standard de clefs utilisées en musique polyphonique entre le XVIe et le XVIIIe siècles.Elles permettent, par rapport aux clef usuelles chiavi naturali (ut 1, ut3, ut4 et fa4), un décalage, soit vers le bas (typiquement, sol2, ut2, ut3 et fa3), soit vers le haut (ut3, ut4, fa3 et fa5). Le plus ancien auteur à mentionner un jeu de clefs hautes est Silvestro Ganassi dal Fontego, dans son Regula Rubertina de 1543, au chapitre 22, qui donne instruction aux musiciens de transposer cette musique d'une quinte vers le bas. (fr) |
| rdfs:label | Chiavette (de) Chiavette (en) Chiavette (fr) |
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