#Polyphonic music library plus

The single most prominent feature in sixteenth-century polyphony, evident in nearly every musical genre, is “pervading imitation,” a style of composition in which one voice follows another, singing the same melodic motif or fragment, but normally starting on a different pitch. Thus, a music print from the sixteenth century normally included between four and eight oblong partbooks, each one labeled by range, e.g., “Cantus,” “Altus,” “Tenor,” “Bassus,” with additional voices identified as “Quintus,” “Sextus,” etc.

Instead of the large “choirbook format” of fifteenth-century music books that an entire choir could sing from, the printed books were small and limited to individual voice parts. Following the lead of Ottaviano Petrucci in Venice, who pioneered the process, printers quickly set up music presses in France and Germany as well as in other cities in Italy. The first music printed from movable type dates from 1501. Kurt-Owen Richards, Peter Stewart – basses Commentary on the ProgramĪmong the many treasures in the music collection of the Library of Congress are printed partbooks containing sixteenth-century Masses, motets, and madrigals, the sources for some of the greatest musical works of the “golden age of polyphony.” Today’s concert focuses on choral works preserved in this collection, featuring music by Josquin Desprez, Palestrina, Lassus, Andrea Gabrieli, and Victoria, with one fifteenth-century work (the introit from Ockeghem’s Requiem Mass) as an example of what came before, as well as one work from the early seventeenth century (Giovanni Gabrieli’s motet Exultavit cor meum) as witness to what came after. Patrick Fennig, Thomas McCargar – baritones Nathaniel Adams, Neil Farrell, Peter Gruett, Michael Steinberger, Christopher Preston Thompson – tenors Martha Cluver, Melissa Fogarty, Sarah Hawkey, Chloe Holgate, Michele Kennedy – sopranos Gloria, Missa L’homme armé sexti toni, 4vvĪgnus Dei, Missa L’homme armé sexti toni, 6vv Intermission Motet, Preter rerum seriem, 6vv If the sample(s) are used on any NON MAJOR LABEL platforms, you can do anything you’d like with them (upload to Soundcloud, sell the beat to indy artist, include on beat-tape, etc etc).Renaissance Music from the Library of Congress Collection

If you place a record on a MAJOR LABEL using the sample(s), you will split the publishing with Mario Luciano fairly & Co-Production credit + fair split on up-front producer fee (where applicable) (CONTACT: if this is the case).

#Polyphonic music library plus

Everything was recorded and processed thru vintage equipment from the 70s like Sunn Guitar Amps, Vintage mics such as the RCA BX44, Reslo Ribbon Mic and outboard FX including RE-201, vintage Mu Tron, Ross & MXR pedals,Tube Gear such as the V72, Altec 438c, La2a and the Ampex 440b 1/4 Tape Machine plus much more to give you access to a part of the exact same textures I use in creating samples daily. The Polyphonic Elements Vol.3 is a mix pack containing STEMS of live Flute, Horns, Vocal Backgrounds, Adlib vocals, Multi genre Chord progressions such as modern eerie and dark trap loops, Moody R&B, Jazz, Gospel and Fusion using vintage synths and keyboards like the Arp Solina, Chroma, Memory Moog, Fender Rhodes and Hammond B3 Organ thru a Leslie Rotary speaker.