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Thread: Authentic Medieval / NeoFolk / Metal & Gregorian Chant

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    Senior Member Imperator X's Avatar
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    Question Authentic Medieval / NeoFolk / Metal & Gregorian Chant

    Who here is a fan of Medieval music? My favorite bands (besides Rammstein) play metal mixed with Medieval music styles and instruments.. i.e. Tanzwut, Corvus Corax (these two bands are related projects) and In Extremo. Corvus Corax is completely Medieval music. I do not, nor have I ever played an instrument, but I recently received a guitar as a gift, and I feel inspired to take guitar lessons and learn to play Medieval music, both Germanic and Mediterranean. Die Minnesaenger are my inspiration.

    Anyone here have any tips for playing/getting started with Medieval Music, and know about the history, music theory, or any other relevant information?
    SVMDEVSSVMCAESARSVMCAELVMETINFERNVM

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    Senior Member Psychonaut's Avatar
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    I really really really like authentic early music. I'm particularly fond of the recordings made by the Early Music Consort of London and Kalenda Maya. Here's a clip of Kalenda Maya performing one of my favorite pieces, "Riu Riu Chiu!"

    Kalenda Maya - Riu Riu Chiu!


    As to the guitar stuff, before trying your hand at any Medieval or Renaissance stuff, I'd pick up a book on basic classical guitar. The finger picking fundamentals are absolutely necessary to learn before you start tackling any kind of period music. I've been playing classical guitar for about ten years now, and while Medieval and Renaissance music isn't as challenging as Baroque music is, it can be daunting for a beginner. So, get your fundamentals down first, then find a good entry level song book with a CD.

    Best of luck!
    "Ocean is more ancient than the mountains, and freighted with the memories and the dreams of Time."
    -H.P. Lovecraft

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    Preußen Envy
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    Well it can be contested how relevant my knowledge of Medieval music is but I can at least recall some famous composers from the early high and late medieval periods.

    Hildegard von Bingen
    Pérotin
    Léonin
    Guillaume de Machaut

    Those are the 4 big names in Medieval music composition. The rest that I know of are in the Renaissance category (Desprez, Ockeghem, Dufay, Dunstable etc).

    As for theory, well I dunno. Most of the work from that era is sacred, so you will see a bunch of cantus firmi and masses, plainsongs and Gregorian Chant. A lot of the work is just variations on a Christmas mass. You won't see a lot of polyphony (multiple lines moving against each other) until the Renaissance period as you will find multiple lines moving in parallel motion in the medieval age. Lots of open fourths and fifths, as well as parallel octaves (the parallel motion I was talking about). In earlier medieval music you'll find droning tones underneath the voices.

    A lot of Medieval music sounds as if it is just wandering about. This comes from the lack of a strong cadence and the lack of the half step leading tone that we find in our present day major and harmonic/melodic minor scale. Lack of modulation to different keys also doesn't help it as well.

    All in all, if you are going to study music theory and composition.. learn from the master:
    http://www.youtube.com/watch?v=ZiU8x...eature=related

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    Senior Member Arundel's Avatar
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    I love medieval music, it is my favorite. It is odd I live in a rural area, where everyone likes bluegrass music, or whatever they call that ridiculous noise.

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    Schimmelreiter
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    I like "Ougenweide", a pack of German-minded hippies active in the 70s.

    Ougenweide - Tourdion



    Ougenweide - Merseburger Zaubersprüche

    Eiris sāzun idisi,
    sāzun hera duoder.
    suma hapt heptidun,
    suma heri lezidun,
    suma clūbōdun
    umbi cuoniouuidi:
    insprinc haptbandun
    invar uīgandum!

    based on the Lösesegen found in a 9th century manuscript


    Ougenweide - Der Fuchs und der Rabe

    Ein vuhs zuo einem rappen sprach
    der hoch uf einem boume saz
    und truoc ein kaese in sinem snabel
    her rappe, ir sint gar kluoc.

    So schönen vogel ich nie gesach,
    nie lerche noch galander baz
    gesang dan ir sus ich niht zabel,
    ich horte es gerne gnouc.

    Der rappe dur den valschen pris
    mit luter stimme im sinen sanc erborte.
    des viel der kaese im underz ris
    in krift der vuhs, den sanc er gerne horte.

    Sus gent guot toerscher herren vil
    dur valschez lop, dur smeichen liegen triegen
    wol fougt den affen toren spil,
    ez gent die narren gerne ir guot den giegen.

    written down around 1300

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    Senior Member Anfang's Avatar
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    Fafne posted this incredible video a couple of days ago of a treatment of Maravilloso a piece from the Court of King Alfonso the X El sabio. (the wise) by the band Qntal.


    http://forums.skadi.net/showthread.p...+qna&page=1121

    Marvelous.

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    Qntal's "electro-medieval" needs some getting used to.

    Qntal - Von den Elben

    Von den elben wirt entsen vil manic man:
    so bin ich von grozer liebe entsen.
    von der besten die ie man ze friunt gewan.
    wil si aber mich dar umbe ven
    und zunstaten sten. mac si dan rechen sich
    unde tuo des ich si bite: so frit si mich,
    daz min lip vor wunne muoz zergen.

    Swenne ir lichten ougen so verkeren sich
    daz si mir aldureh min herze sen.
    swer da enzwischen danne get und irret mich.
    dem müeze al sin wunne gar zergen!
    ich muoz vor ir sten und warten der frouwen min
    rehte also des tages diu kleinen vogellin:
    wenne sol mir iemer liep gesehen?

    based on a Minnelied by Heinrich von Morungen from the 13th century


    Qntal - Under der Linden

    Under der linden
    an der heide,
    dā unser zweier bette was,
    Dā muget ir vinden
    schōne beide
    gebrochen bluomen unde gras.
    Vor dem walde in einem tal,
    tandaradei,
    schōne sanc diu nahtegal.

    Ich kam gegangen
    zuo der ouwe:
    dō was mīn friedel komen ź.
    Dā wart empfangen,
    hźre frouwe,
    daz ich bin saelic iemer mź.
    Kuster mich? wol tūsentstunt:
    tandaradei,
    seht wie rōt mir ist der munt.

    Dō het er gemachet
    alsō rīche
    von bluomen eine bettestat.
    Des wirt noch gelachet
    inneclīche,
    kumt iemen an daz selbe pfat.
    Bī den rōsen er wol mac,
    tandaradei,
    merken wā mirz houbet lac.

    Daz er bī mir laege,
    wessez iemen
    (nu enwelle got!), sō schamt ich mich.
    Wes er mit mir pflaege,
    niemer niemen
    bevinde daz, wan er und ich.
    Und ein kleinez vogellīn:
    tandaradei,
    daz mac wol getriuwe sīn.

    based on a Mädchenlied by Walther von der Vogelweide from the 12th/13th century


    Qntal - Spiegelglas

    Nu daz diu maget und der man,
    Īsōt unde Tristan,
    den tranc getrunken beide, sā
    was ouch der vverlde unmuoze dā,
    Minne, aller herzen lāgaerīn,
    und sgleich z'ir beider herzen īn.
    e sī's ie wurden gevvar,
    dō stiez s'ir sigevanen dar
    und zōch si beide in ir gevvalt.
    si wurden ein und einvalt,
    daz ietweder dem andern was
    durchlūter alse ein spiegelglas.

    Ouwź Tristan unde Īsōt,
    diz tranc ist iuwer beider tōt!

    Des nahtes, dō diu schoene lac,
    ir triure unde ir trahte pflac
    nāch ir trūtamīse,
    nu kam geslichen līse
    zuo der kemenāten īn
    ir amīs unde ir arzātīn,
    Tristan und diu Minne.
    Minne diu arzātinne
    si vuorte ze handen
    ir siechen Tristanden.
    ouch vant s'Īsōte ir siechen dā.
    die siechen beide nam si sā

    und gab in ir, im sie
    ein ander z'arzātīe.

    Ouwź Tristan unde Īsōt,
    diz tranc ist iuwer beider tōt!

    based on Gottfried von Straßburg's "Tristan" adaptation, ca. 1210

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    Renaissance, later to be considered the historical 'end' of the middle ages.
    It was the time of Leonardo da Vinci, Peter Breughel the Elder, Jan van Eyck, the prosperity and great economic and cultural importance of the low countries and cities like Antwerp and Amsterdam. ofter referred to as 'the golden age'.
    But it was also the age of witch hunts, the black death...

    Pure and authentic, as it must have like sounded at the time.

    pantagruel

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    Ensemble Parceval - Ja Nuls Om Pres





    NO MAN WHO'S JAILED ...
    King Richard I (Lionheart) // trans. James H.Donalson

    No man who's jailed can tell his purpose well
    adroitly, as if he could feel no pain;
    but to console him, he can write a song.
    I've many friends, but all their gifts are poor;
    they'd be ashamed to know for ransom now
    two winters I've been jailed.

    My men-at-arms and barons know full well;
    the English, Normans, Gascons, Poitevins,
    I've no companion, poor though he may be,
    whom I'd abandon, leaving him in jail
    and I don't say this merely to reproach
    but still, I have been jailed.

    Now I know well, and see with certainty,
    that death holds neither friends nor relatives
    when I'm released for silver or for gold
    it's much for me and even more for mine,
    for when I'm dead they'll greatly be reproached
    if I for long am jailed.

    It's no surprise if my heart's hurting me
    because my father's torturing my land.
    If he would but recall the oath we swore,
    the one the two of us in common made
    I know full well that in this place
    I'd not so long be jailed.

    While Angevin and Tourangeau are good,
    these men-at-arms who now are well and rich,
    but I am far from them, in other hands.
    They loved me much, now love me not at all,
    and now the plain is empty of their arms
    and therefore I am jailed.

    The company I loved ańd still I love
    all those of Caen and those of Percheraine,
    tell me, O song, that they cannot be sure:
    my heart is never false or vain to them.
    If they make war on me, no villain would,
    so long as I am jailed.

    El
    O countess, sister, your high price protects
    and saves for you the one I claim against,
    and by whom I am jailed.

    E2
    Of her of Chartres, I say not a word,
    the mother of Louis.

    Bad weather forced Richard's ship to put in at Corfu, in the lands of the Byzantine Emperor Isaac II Angelos, who objected to Richard's annexation of Cyprus, formerly Byzantine territory. Disguised as a Knight Templar, Richard sailed from Corfu with four attendants, but his ship was wrecked near Aquileia, forcing Richard and his party into a dangerous land route through central Europe. On his way to the territory of Henry of Saxony, his brother-in-law, Richard was captured shortly before Christmas 1192, near Vienna, by Leopold V, Duke of Austria, who accused Richard of arranging the murder of his cousin Conrad of Montferrat. Moreover, Richard had personally offended Leopold by casting down his standard from the walls of Acre. Richard and his retainers had been travelling in disguise as low-ranking pilgrims, but he was identified either because he was wearing an expensive ring, or because of his insistence on eating roast chicken, an aristocratic delicacy.

    Duke Leopold kept him prisoner at Dürnstein. His mishap was soon known to England, but the regents were for some weeks uncertain of his whereabouts. While in prison, Richard wrote Ja nus hons pris or Ja nuls om pres ("No man who is imprisoned"), which is addressed to his half-sister Marie de Champagne. He wrote the song, in French and Occitan versions, to express his feelings of abandonment by his people and his sister.
    Attached Images Attached Images  

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    Can recommened Harald Foss.
    There are some samples here: http://www.kultorg.com/opencart/inde...t&product_id=7

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