Cantus Figuratus
Course
The White Mensural Notation of the Renaissance
Learn to perform Renaissance White Mensural Notation from original sources (Without relying on Transcription).
J. Ockechem, Requiem, Chigi Codex MS 288.
Renaissance White Mensural Notation is the notational system used from the early 15th century until the early 17th century.
Originally, it was called Cantus Figuratus as opposed to Cantus Firmus, since “Figuratus” means it includes various figures with different rhythmic values.
It was also known as Cantus Mensurabilis because all figures are subject to the Mensura (measure), that is, organized into groups of three or two (Mensura Perfecta and Mensura Imperfecta).
Today, White Mensural Notation is mainly studied in courses on Musicology and Music History, often with an overly static approach, aimed at creating a transcription into modern notation.
However, in the Renaissance, transcriptions did not exist, as musicians read directly from the original notation.
Therefore, the Musicus Practicus of today, who wishes to learn the authentic techniques and skills of the ancient Musici Prattici, must be able to perform (sing or play) music directly from the original sourcea, without relying on transcriptions, exactly as it was done in ancient times.
By the end of the Cantus Figuratus Course, you will be able to:
🎵 Perform Renaissance music directly from the original notation (This is the most important and primary goal).
🎵 Recognize and decode all the elements present on a handwritten or printed page from the Renaissance.
🎵 Read and identify Ligatures at a glance.
🎵 Correctly interpret the signs indicating the Mensura.
🎵 Read perfect Mensura correctly, that is, those subject to ternary grouping, knowing when a note equals 3 and when it equals 2, and mastering the rules of perfection.
🎵 Correctly associate Tactus with Mensura.
🎵 Understand proportions, hemiola, and know how to apply them correctly to Tactus and Mensura.
🎵 Perform Segni contra Segni, that is, the simultaneous presence of different Mensurae.
🎵 Place syllables to the text correctly.
🎵 Read and interpret Renaissance treatises on notation accurately.
Course Contents
Chapter 1: Figures and Rests
Learn the Figures and Rests of Cantus Figuratus.
Discover how certain Figures can be perfect or imperfect.
Learn to recognize all the elements on a Renaissance page.
Stages
🎼 1.1 – Figures
🎼 1.2 – Rests
🎼 1.3 – Practice 1: Draw the Figures
🎼 1.4 – Practice 2: Draw the Rests
🎼 1.5 – Practice 3: Decode the Figures and Rests
🎼 Test of Chapter 5
Chapter 2: Ligatures
Learn the rules for reading 2-Note Ligatures.
Learn the rules for reading Ligatures with more than two notes.
Challenge yourself from the very beginning by practicing with me using original sources.
Stages
🎼 2.1 – Ligatures
🎼 2.2 – 2 Note Ligatures
🎼 2.3 – Practice 1: Recognize
🎼 2.4 – Practice 2: Write
🎼 2.5 – More than 2 Note Ligatures
🎼 2.6 – Practice 3: Recognize
🎼 2.7 – Practice 4: Write
🎼 2.8 – Practice 5: Coligatio Notulari
🎼 2.9 – Practice 6: Decode and Recognize
🎼 Final Test for Chapter 2
Chapter 3: Mensuration
Learn what Mensura is, how it works, and the rules governing Modus Maximarum, Modus Longarum, Tempus, and Prolatio.
Discover the Indicative Rests and the principle of absence indicating imperfection.
Learn to distinguish between the ancient and modern systems of Mensural notation, and how to convert ancient indications to modern ones and vice versa.
Stages
🎼 3.1 – How Mensuration works
🎼 3.2 – Tempus and Prolatio
🎼 3.3 – Modus Maximarum and Longarum
🎼 3.4 – Pietro Aaron’s Tables
🎼 3.5 – Practice 1: Decode each Mensura
🎼 3.6 – Practice 2: Write the Mensura
🎼 3.7 – Ancient System of Mensuration
🎼 3.8 – Ancient vs Modern System
🎼 3.9 – Practice 3: Decode each Mensura
🎼 3.10 – Practice 4: Write the Mensura
🎼 3.11 – Practice 5: Convert the Mensura
🎼 Final Test for Chapter 3
Chapter 4: Tactus and Reading Imperfections
Learn to correctly beat the Tactus according to the Mensura.
Discover the Misuse converted into Common Practice and how it influenced Music from the late 16th century (as revealed by Adriano Banchieri).
Move directly to practice by singing or playing music from the original sources.
Stages
🎼 4.1 – Tactus and Values
🎼 4.2 – Misuse converted into Common Practice
🎼 4.3 – Practice 1: Reading Antoine de Févin
🎼 4.4 – Practice 2: Reading Johannes Ockeghem
🎼 4.5 – Practice 3: Reading Johannes Ockeghem
🎼 4.6 – Practice 4: Reading Hyppolito Baccusi
🎼 Final Test for Chapter 4
Chapter 5: Reading Perfections
Learn the Rules for reading perfect and imperfect notes: Simile ante Similem, Imperfectio a Parte Post, a Parte Ante, and much more.
Discover how Alteratio can double the value of certain notes, and how Blackness can reduce it.
Practice extensively with numerous exercises, singing or playing directly from the original without relying on transcription.
Stages
🎼 5.1 – Perfection Rules
🎼 5.2 – Perfection Rules, Part 2
🎼 5.3 – Imperferctions
🎼 5.4 – Alteration
🎼 5.5 – Annerimento (Blackness)
🎼 5.6 – Punctum (Dot)
🎼 5.7 – Agens and Patiens
🎼 5.8 – The Whole and the Part
🎼 5.9 – Practice 1: F. Gaffurio
🎼 5.10 – Practice 2: F. Gaffurio
🎼 5.11 – Practice 3: F. Gaffurio
🎼 5.12 – Practice 4: F. Gaffurio
🎼 5.13 – Practice 5: F. Gaffurio
🎼 5.14 – Practice 6: F. Gaffurio
🎼 5.15 – Practice 7: F. Gaffurio
🎼 5.16 – Practice 8: F. Gaffurio
🎼 5.17 – Practice 9: F. Gaffurio
🎼 5.18 – Practice 10: F. Gaffurio
🎼 5.19 – Practice 11: F. Gaffurio
🎼 5.20 – Practice 12: F. Gaffurio
🎼 5.21 – Practice 13: F. Gaffurio
🎼 5.22 – Practice 14: F. Gaffurio
🎼 5.23 – Practice 15: F. Gaffurio
🎼 5.24 – Practice 16: 4 Fragments
🎼 5.25 – Practice 17: Josquin Desprez
🎼 5.26 – Practice 19: Palestrina
🎼 5.27 – Practice 20: Johannes Ockeghem
🎼 Final Test for Chapter 5
Chapter 6: Proportions
Learn how the ancients classified the 5 Types of Proportions and Learn how to beat them in the Tactus.
Discover the Hemiola and how it functions in relation to other proportions.
Learn the Segni e Contra Segni, and practice with numerous practical exercises.
Stages
🎼 6.1 – How Proportions work
🎼 6.2 – Multiplex, Superparticulare, Superpartiens
🎼 6.3 – Multiplex Superparticulare, Multiplex Superpartiens
🎼 6.4 – Dupla and Subdupla
🎼 6.5 – Tactus Inequalis
🎼 6.6 – Tripla and Subtripla
🎼 6.7 – Quadrupla and Subquadrupla
🎼 6.8 – Sesquialtera and Subsesquialtera
🎼 6.9 – Sesquitertia and Subsesquitertia
🎼 6.10 – Superbipartiente terza
🎼 6.11 – Dupla and Subdupla Sesquialtera
🎼 6.12 – How to Beat (L. Penna)
🎼 6.13 – Dupla and Subdupla Superbipartiente terza
🎼 6.14 – Proportions: Tripla or Sesquialtera Maggiore and Minore
🎼 6.15 – Tripola Piccola, Crometta, Semicrometta
🎼 6.16 – Sestupla Maggiore, Minore, and Dosdupla
🎼 6.17 – Hemiolia
🎼 6.18 – A. Berardi, Osanna Missa Iste Confessor
🎼 6.19 – F. Gaffurio, O Jesu Dulcissime
🎼 6.20: Segni Contra Segni °
🎼 6.21: Semibrevis or Minima? 6.22: Conclusion for Guidance
🎼 6.23: Josquin Missa Sine Nomine and L’Homme Armé
🎼 6.24: J. Ockeghem, Quam Olim
🎼 6.25: J. Ockeghem, Quam Olim, Contratenor
🎼 6.26: Crazy Example by Picerli
🎼 6.27: Proportions in the Late Renaissance
🎼 Final Test for Chapter 6
Chapter 7: Lyric Placement
Lyrical Placement (sillabazione) is the act of correctly placing syllables to a melody.
Learn to do it properly by following the rules of Gioseffo Zarlino.
Practice and analyze how Palestrina skillfully positioned text to notes. Learn how to correctly place syllables when there are many Semiminimas.
Stages
🎼 7.1 – Zarlino’s Rules 1-5
🎼 7.2 – Zarlino’s Rules 6-10
🎼 7.3 – Practice 1: Analyze
🎼 7.4 – Practice: Place Syllables
🎼 Final Test for Chapter 7
90 Lessons
90 Stages and Video Lessons that you can watch and study anytime you want, from the online platform.
200 Pages
200 PDF pages of examples
exercises, and resources to follow the lessons, take notes, and do plenty of practice.
Questions
Comment under each stage to ask your questions and satisfy your curiosity as a Musicus Practicus.
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