Parry - A Collection of Shorter Articles
The following articles Parry wrote are short. I decided to collect my reading of them together into one post. These articles are the last of his contributions to terms beginning with the letter ‘B.’
The Bass. Fr. Basse, Ger. Bass, Ital. Basso. Parry begins with a very general definition of this term: the lower counterpart of the “higher” treble clef in a musical system. However, this definition implies that the range of a bass part lies within the 3rd octave or lower. Parry then introduces the etymology of the term ‘bass,’ which is ultimately derived from the Greek βάσις or ‘basis.’ Parry continues, “The meaning is clearly that of the foundation or support in a musical composition by the part which is deepest in sound, and there is thus no implication as to the range in compass of such a part.” The ‘bass’ supports the harmony of a composition. For example, the lowest-sounding note in a triad, regardless of inversion or range, can be called the bass note.
Basso Continuo. In this short contribution, Parry states that the Italian term Basso continuo is the same as the English term Thorough-Bass. For some reason, I never made a connection. W. S. Rockstro (1823-1895) contributes a complete discussion under the term ‘Thorough-Bass’ elsewhere in the dictionary.
Basso Ostinato. Parry states that Basso ostinato is the Italian term for Ground-Bass, like the previous article. Here, though, he provides a definition: “the continual repetition of a phrase in the bass part through the whole or a portion of a movement, upon which a variety of harmonies and figures are successively built.” Unlike the last article, Parry contributes the complete discussion under the term ‘Ground-Bass,’ which I will get to later as I move through these alphabetically.
Benedicite. It may also be referred to as the ‘Song of the Three Children.’ It is a canticle used in the Anglican service after the first lesson/service in the morning, alternatively with the ‘Te Deum.’ Parry then synthesizes the long history of the use of this text. Lastly, Parry recommends that the' Benedicite' text is better expressed as a chant than any other musical form because the second half of each verse is the same throughout. Parry cites Purcell’s Z. 230/3 "Benedicite Omnia Opera in B-flat major" (before 1682) as an example of the ineffective use of the text.
Benedictus. It may also be referred to as the song of Zacharias, the father of John the Baptist. The text is taken from Luke I. This canticle is appointed alternately with the ‘Jubilate,’ which follows the morning services of the Anglican Church. The ‘Benedictus’ has held its position far longer than the ‘Jubilate,’ with the ‘Benedictus’ in place since ancient times and the ‘Jubilate’ being added to Cranmer’s English Liturgy in 1582 to avoid repetition when the ‘Benedictus’ text occurs in the Gospel or second lesson. It is suited for complex and elaborate forms of composition. Parry cites examples from Tallis and Gibbons. Parry also notes the same canticle is used in the Roman Church. And lastly, a different ‘Benedictus’ is better known to musicians—the mass ordinary text which follows the ‘Sanctus’ text.
These were interesting to read about. I think it may be essential to study more stuff like this, as religious Latin texts greatly appeal to me for some reason. Also, I don’t know what a ‘Canticle’ is, but luckily, Parry contributes a complete discussion, which I will get to later as I move through the articles, as stated above.
No vocab words to note.
