181: Tim Braithwaite (historical solmisation, improvised vocal counterpoint)
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- Опубликовано: 4 фев 2025
- Tim Braithwaite joins me on the show to discuss 6-note solmisation, singing from historical notation, improvised vocal counterpoint, Renaissance compositional methods, historical pedagogy/performance practices, and more.
Tim Braithwaite is an English countertenor based in the Netherlands. As a performer, Tim enjoys an international concert schedule, appearing both as a soloist as well as with a number of leading ensembles within the field of 'Early Music', including Amsterdam Baroque, Vox Luminis, and De Nederlandse Bachvereniging. In 2023, Tim became the assistant artistic director of Cappella Pratensis, a Netherlands-based vocal ensemble specializing in the performance of Renaissance polyphony from historical notation. The group has been praised in particular for its practical explorations into historical performance practices, in particular traditions of improvised counterpoint. Alongside his performance career, Tim is currently teaching Renaissance counterpoint and historical solmisation at Amsterdam Conservatoire and historical singing at the Royal Conservatoire in The Hague.
www.cacophonyh...
@cappellapratensis8404
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Your channel is a contribution to humanity. The amount of musical knowledge gathered here is top level. Congratulations and thank you for your work, Nikhil. It will attract and instruct many interested, curious, intelligent and talented musicians.
There's a story that Mozart as a young man had heard of Bach but had never heard or seen any of his music. He was visiting a church where the rector had the parts for a Bach liturgical piece. There was no score. Mozart put the parts on the floor and stood on a chair. He put all the parts together in his heard and imagined the piece. From that time, he dedicated himself to the study of Bach.
Almost three hours of solmisation and vocal counterpoint! And it's already midnight... I guess I'm not sleeping tonight. 🤷♂
Great talk as always! As a sugestion a great guest would be Marcel Peres. His approach to historical singing is very interesting, to say the least. Or that guy from the grain the la voix, Björn Schmelzer . Great channel e work, thanks from Brasil!
The mind transforming nature of the music is all about the nature of true counterpoint. The rediscovery of this along with the rethinking of just intonation with the acceptance of all its microtonality sheds light on the music of the future.
wat een leuke vraag! voor mij, als pianist, is dit een ervaring geweest om bij een vriend thuis, midden in de nacht, de beginselen van het biljart te leren: trekken en stoten. Dit was een eyeopener voor mij: het "geheim" van het timbre van de pianoaanslag!
Most of the things we are taught about form in music schools center around instrumental music. Sonatas and preludes evolved out of instrumental fillers in a larger musical setting.
Very interesting lecture.
The hand occupies 10% of the brain.
The TMJ (jaw) occupies 45% of the brain, and is closely associated with the tongue and throat, and by association the vocal chords. So using the hands to help sing is anatomically ingenious.
I use a lot of Applied Kinesiology to treat patients, using muscle testing to evaluate the neuromusculoskeletal system. I have a patient who is a metal worker, but due to an accident he has more metal in his neck than in his warehouse. He was amazed at how much better his neck felt once he started doing keyboard finger exercises.
Brahms was said to have enjoyed playing a game in which he whistled a melodic idea and asked the other musician where the entry for the canon would begin.
In Sir John Hawkin's classic work on the science and practice of music, he has a score from the 17th century in which a canon was written in a circle, so that singers could sit around the table and turn the score in a circular fashion each person following their own part. What an amazing musical culture existed in which entertainment like this was possible!
de spieren van de hand zijn bijzonder: ze zijn zowel over de knokkels als langs de knokkels gebonden met de spieren van de onderarm. Daarom is het zijn eigen antagonist, en heeft het spiergeheugen vat op de hele fijne vingerbeweging, en heeft een eigen daadintelligentie.
The hand would have been used to keep up with lists from ancient times ‘till recent centuries.
Heinrich Schenker, whose theories were popular when I was a student, used Brahm's and Beethoven's "failures" to capture the modes in their compositions meant to be based on the modes to show that the modes were somehow primitive and tonal music was correct, It never occurred to him that he was looking at Renaissance thought through nineteenth century goggles.
funny you bring up Alan Lomax and Shape Note singing... Both Very well known in America to folk musicians.
Has there ever been any studies about the Guidonian hand for singers and it's impact on guitar playing? I never sang in my life so it's not something I understand, but with the centuries of use by singers it must be hard wired into our psyche.
"Medieval gamut is not stricly diatonic" "Not stricly a scale"