Dale Carr | In nomine by John Bull performed by Dale Carr on 25 April, 1987 on a harpsichord by Hendrik Broekman @dalecarr6361 | Uploaded July 2024 | Updated October 2024, 1 hour ago.
In nomine by John Bull {~1562/3-1628}, performed by Dale Carr in the church in Middelbert {Groningen} on 25 April, 1987 on a harpsichord made by Hendrik Broekman in 1975
This work, preserved in the Fitzwilliam Virginal Book, is composed in 11/4 meter, and is the longest of Bull's 12 settings of In nomine. The unusual meter is not entirely unprecedented in English instrumental music of the period, whether for keyboard or for ensemble. The c.f. is placed in the lowest voice, each tone occupying a full measure and implying, generally, a series of root-position harmonies. This in turn leads to some rather unexpected harmonic juxtapositions, since the c.f. does not move in the way bass lines usually do. The 11 beats in the bass are divided into 𝅝 𝅝 𝅗𝅥 𝅘𝅥 as a general rule, but the rhythms of the upper voices are quite varied.
The c.f. has 2 tones that occur only once each: a ‘b’ & an ‘f’. These seem to have a special harmonic character in the piece as a whole.
The final section has a slightly different meter: it’s divided into
𝅗𝅥. 𝅗𝅥. 𝅗𝅥. 𝅗𝅥. 𝅗𝅥.𝅘𝅥. , with a pronounced triple-meter swing contrasting with the more fluid movement that precedes it.
The harpsichord was quilled with bird feathers and tuned in mean-tone.
In nomine by John Bull {~1562/3-1628}, performed by Dale Carr in the church in Middelbert {Groningen} on 25 April, 1987 on a harpsichord made by Hendrik Broekman in 1975
This work, preserved in the Fitzwilliam Virginal Book, is composed in 11/4 meter, and is the longest of Bull's 12 settings of In nomine. The unusual meter is not entirely unprecedented in English instrumental music of the period, whether for keyboard or for ensemble. The c.f. is placed in the lowest voice, each tone occupying a full measure and implying, generally, a series of root-position harmonies. This in turn leads to some rather unexpected harmonic juxtapositions, since the c.f. does not move in the way bass lines usually do. The 11 beats in the bass are divided into 𝅝 𝅝 𝅗𝅥 𝅘𝅥 as a general rule, but the rhythms of the upper voices are quite varied.
The c.f. has 2 tones that occur only once each: a ‘b’ & an ‘f’. These seem to have a special harmonic character in the piece as a whole.
The final section has a slightly different meter: it’s divided into
𝅗𝅥. 𝅗𝅥. 𝅗𝅥. 𝅗𝅥. 𝅗𝅥.𝅘𝅥. , with a pronounced triple-meter swing contrasting with the more fluid movement that precedes it.
The harpsichord was quilled with bird feathers and tuned in mean-tone.
