Keyboard Arrangements and Original Compositions

Abstract

between bks. IV and V he inserts nine original organ ¹ compositions (13 pages). He prefaces these with the promise that all the required accidentals have been included ² (from fols. 114–120). Actually, he does omit the necessary flats in alto and bass at mm. 503 and 553 of the “true sixth mode” piece (fols. 116v.–117), as well as the necessary sharp in the tenor at meas. 573. Sharps are needed at mm. 383 (alto) and 534 (tenor) of the “eighth mode” piece (fols. 117v.–118). But he does come remarkably close to redeeming his promise.³ All nine pieces were specifically composed for keyboard, he says at fol. 113v. That this was so can be readily proved by looking at the two lower parts of Ave maris stella (fol. 114), mm. 81, 113–4, 151; of the “eighth mode” piece at meas. 551; of the “fourth mode” at mm. 403, 554; of the “true sixth” at mm. 341, 391–2, 401, 521–3, 582; and of Pange lingua at meas. 201. In each of these places the bass goes lower than Spanish basses were ever required to sing. The distance from bass to tenor is a tenth which must be taken in the left hand alone but which is easily possible because of the short octave. He also prescribes over a dozen unvocal melodic intervals. No less than eight are mandatory augmented seconds (“first mode with touches of the fourth” [fols. 114v.–115], mm. 10–11 and 43–44, altus; “fourth mode” [fols. 115v.–116], mm. 10 and 12, cantus; “true sixth mode” [fols. 116v.–117], mm. 9 and 39, altus; 22, basis; 57, cantus. What is more, he prescribes five arrant chromaticisms (Conditor alme siderum, meas. 10 [altus], “true sixth mode,” mm. 9 [cantus], 19 [altus], Vexilla regis, meas. 27 [altus], Veni Creator, meas. 12 [altus]).