Fauxbourdon

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Fauxbourdon - a kind of three-tone technique, consisting of the use of parallel three-quarter chords (corresponding to the chords in the first twist), in the cadences ending in phrases or sentences appear quartet chords . This technique developed in the first half of the 15th century in the circle of the Burgundian school, and for its prototype is considered English gymelu technique. The creator of this technique is John Dunstable.

Fauxbourdon had an improvisational character: the upper and lower voice were recorded in the score, the middle being filled by the performer (with the note fauxbourdone). Since all the voices moved in the same rhythmic values ​​(nota contra note), the use of fauxbourdone allowed for greater clarity of the text; However, the independence of individual voices has fallen. Example of using fauxbourdon. Fragment starting Ave Maris stella, Marian antiphon, developed by Guillaume Dufay, in modern transcription. The middle voice, originally labeled fauxbourdon, follows the highest voice in the fourth quarter. The lower voice often, though not always, is in the sixth interval in relation to the supreme voice.

Similar, but developed from another tradition, the technique developed in the 15th century England under the name of the faburden. Faburden also relied on the three-quarter chord progressions along with the quint-quartile solutions at the end of the phrase; It was only a method of harmonizing the already existing chorale. Significantly, the chorus was in the middle.

The fauxbourdon technique was popular in the fifteenth and sixteenth centuries, among such composers as Guillaume Dufay (whose Postcommunio of Missa Sancti Jacobi is the first to use it), Gilles Binchois, Mikolaj of Radom (his Magnificat is the first preserved an example of this technique in Polish music), Johannes Ockeghem, Jacob Obrecht, Giovanni Pierluigi da Palestrina, Orlando di Lasso, Josquin des Prés. In later centuries, parallel chords in the first coup, suggesting the association with fauxbourdon, were used by Johann Sebastian Bach, Ludwig van Beethoven and Fryderyk Chopin. Bibliography

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