Barbe Jgallot

Music of Gallot le VieuxFrom the Barbe Manuscript, ca. 1690

Edited by Kemer Thomson

Tablature set using Fronimo, by Francesco TribioliCopyright 2006, Kemer Thomson

IndexPreface iii

Courante [La belle magnifique] Barbe, pg. 14 (d minor) 1[Sarabande] L'Altesse Royale Barbe, pg. 15 (d minor) 2[Allemande] La Psich [ou Les plaintes de Psichr] Barbe, pg. 32 (a minor) 3Courante [recte: Sarabande La pice de huict heurs] Barbe, pg. 34 (a minor) 5[Canarie] Les Castagnettes Barbe, pg. 35 (a minor) 6[Allemande] L'Amant malheureux Barbe, pg. 36 (a minor) 7[Chaconne] La Montespan Barbe, pg. 47 (a minor) 8[Sarabande] Les Larmes Barbe, pg. 68 (F Major) 9Allemande Tombeau de Mr de Thurenne [ou Tombeau de Mars] Barbe, pg. 82 ( C Major) 10[Courante] La Coquette [ou La Grondeuse] Barbe, pg. 84 ( C Major) 12[Bourre] La Nopce Barbe, pg. 85 (C Major) 13[Courante] L'homme bonne fortune Barbe, pg. 86 ( C Major) 14[Allemande] La [belle] Lucrece Barbe, pg. 134 (f# minor) 15[Courante] La [belle] Villette Barbe, pg. 136 (f# minor) 16[Sarabande] La Religieuse Portugaise Barbe, pg. 137 (f# minor) 17[Gavotte] La Dauphine Barbe, pg. 138 (f# minor) 18Sarabande [La Royalle] Barbe, pg. 139 (f# minor) 19[Courante] L'Eternelle Barbe, pg. 140 (f# minor) 20[Courante] La [fidelle] Tourterelle Barbe, pg. 141 (f# minor) 21[Courante] La Nonpareille Barbe, pg. 142 (f# minor) 22Dialogue [ou La Mouche, Chaconne] Barbe, pg. 190 (c minor) 24

- ii -

The Barbe ManuscriptOf the numerous surviving lute manuscripts of 17th Century France, arguably the greatest is known today as the "Barbe Manuscript," named after its presumed first owner, Jean-Baptiste Barbe (1675-1759). This collection, written in a clear and consistent hand throughout, contains a broad survey of the greatest lutenists of the century: a total of 180 pieces. Equally important is the fact that the music is extensively annotated for performance-obviously by a master lutenist of the day. Detailed fingering for both the left and right hands demonstrates not only the technique, but the interpretive gestures of performance of this music. This collection really represents a musical retrospective: much of the music was over forty years old at the time of compilation. This manuscript shows how such "golden oldies" might have been performed at the end of the century.

The importance or popularity of Jacques Gallot's music is suggested by the relative number of pieces found in the Barbe Manuscript: works of Denis Gaultier ("le Jeune") represent the largest contribution to the collection, followed by Pierre Dubut, and then Jacques Gallot ("Gallot le Vieux"): 21 complete works by Gallot le Vieux. Eleven of these are also found in the Leipzig II.6.14 manuscript; this is of special interest because the Leipzig manuscript is an important source of Gallot's music and provides a useful comparison.

Details of Jacques Gallot's life are sketchy, at best. He was born around 1625 and apparently died sometime after 1690. He studied with Ennemond Gaultier (Gaultier le Vieux) and by the age of 30 was considered to be one of the foremost French lutenists. Claude Chauvel writes of Gallot,

Jacques Gallot seems to have preferred his independence to any official office. He was indeed in great demand as a teacher among members of "high society"; ... Compared to that of his contemporaries, Gallot's music is immediately striking in its originality, even though it adopts the usual framework of dance movements to which lutenists were traditionally attached.

The Barbe Manuscript is carefully organized by key, beginning with those keys that require no special tuning: d-minor, a-minor, F-major and C-major, representing 80 of the 180 pieces in the manuscript. Twelve of the pieces in this collection of Gallot's music require no special tuning of the bourdons. Eight of them-perhaps the finest pieces here-are in the "goat tuning" of f# minor, which requires that the bourdons be tuned C#, D, E, F# and G#. The final piece is in c minor, requiring only an Eb.

My editorial approach has been to be as non-invasive as possible. The manuscript is remarkably clear and there are few ambiguities. No time signatures are given and alternate endings at the repeats assume the player will adjust appropriately for any anacrusis. All fingerings and tenues have been preserved. The biggest change is in indications for the barr: the original indicates this with a beginning left bracket and a line extending to the approximate end of the barr. This does not reproduce very well without color; so, I have chosen to use Mouton's approach that notates the barr by opening and closing brackets.

A facsimile of the Barbe Manuscript is published by ditions Minkoff: an attractive, if somewhat expensive, edition that reproduces the original's two colors (black with red annotations). There are some nuances of this hand annotation that can't be recreated. Ideally, the performer would refer to the facsimile; this modern "edition" has the advantage of both improved clarity and convience of

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reproduction. This tablature was set using Francesco Tribioli's program Fronimo using the Gavotta tablature font: I think this admirably preserves the aesthetics of the orginal. Because it is electronically set, corrections are easily made and I would like to encourage readers to send any corrections to me at [email protected].

Finally, I would like to refer everyone interested in the Barbe Manuscript specifically, and the performance of seventeenth-century Fench lute music in general, to George Torres' brilliant doctoral dissertation, referenced in the bibliography below. This book-sized document provides extensive information and commentary on the Barbe Manuscript, along with detailed references to performance practice. It is readily available through UMI Dissertation Services for less than the cost of a hardbound book: it is a treasure-trove of information not readily available in English.

Kemer ThomsonAugust, 2006

Bibliography

Ledbetter, David. Harpsichord and Lute Music in Seventeenth-Century France. Indiana University Press, 1987.

Rave, Wallace. "Performance instructions for the seventeenth-century French lute repertory", in Performance on Lute and Guitar and Vihuela: Historical Practice and Modern Interpretation, Edited by Victor Anand Coelho. Cambridge University Press, 1997.

Torres, George. Seventeenth-Century Pices de Luth: an Exasmination of the Manuscript Anthology Tradition with a Special Emphasis on the Barbe Manuscript. (PhD Dissertation, Cornell University), 1998.

Facsimile Editions

Manuscrit Barbe: Pices de Luth de Diffrents Auteurs en Tablature Franaise. Fac-simil du ms. de la Bibliothque nationale, Paris, ca. 1690 Rs. Vmb.ms.7. ditions Minkoff, Introduction by Claude Chauvel. 1985.

Gallot le Vieux: Stcke fr Barocklaute. Reproduktion der Handschrift im Besitz der Stadt Leipsiz Stdtische Bibliotheken Musikbibliothek (Signatur II.6.14). Tree Edition, Albert Reyerman. 1999.

Partial Discography

Liddell, Cathreine. La belle voile. Centaur, CRC 23259, 1997.

Monteilhet, Pascal. Franois Dufaut-Jacques Gallot: Pices pour luth. Virgin Veritas. 1993/1994.

Smith, Hopkinson. Jacques de Gallot: Pices de Luth. Astre Auvidis, E 8528, 1994.

- iv -

Barbe, pg. 14 (d minor)Courante [La belle magnifique]

Jacques Gallot

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1) Version in Leipzig II.6.14, 18v

- 1 -

Barbe, pg. 15 (d minor)[Sarabande] L'Altesse Royale

Jacques Gallot

1)

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- 2 -

Barbe, pg. 32 (a minor)[Allemande] La Psich [ou Les plaintes de Psichr]

Jacques Gallot

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- 3 -

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- 4 -

Barbe, pg. 34 (a minor)Courante [recte: Sarabande La pice de huict heurs]

Jacques Gallot

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- 5 -

Barbe, pg. 35 (a minor)[Canarie] Les Castagnettes

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- 6 -

Barbe, pg. 36 (a minor)[Allemande] L'Amant malheureux

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- 7 -

Barbe, pg. 47 (a minor)[Chaconne] La Montespan

Jacques Gallot

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- 8 -

Barbe, pg. 68 (F Major)[Sarabande] Les Larmes

Jacques Gallot

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- 9 -

Barbe, pg. 82 ( C Major)Allemande Tombeau de Mr de Thurenne [ou Tombeau de Mars]

Jacques Gallot

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- 10 -2) Missing from Barbe. From Leipzig1) Version in Leipzig II.6.14, 46v

23

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/////

dZcXcRW

- 11 -

Barbe, pg. 84 ( C Major)[Courante] La Coquette [ou La Grondeuse]

Jacques Gallot

cR dQX7

cR

cS9 dQX

aR cQW

cXQY G

caaQ

a9dRZ

cX9cQW

a

cRW dQYc

cQWcQXdZ a

cX9aQ

dZ 7

dY

D

cRX dZaR

7

cXZ

dY c9

eZX

a

c

c

a

/

cQ9

eRZ

eZa

eQY

/c9

eRZ

fZa

a

fZGfQY

eXGeQ

fZGfQY

dQfRZ eX9 fRZ

eX9fYaQ

fRZ

C

dW

fRZdS

13

fRfZ

/

fZGeYaQG

eRX

fZ7

afQ

/////

/

ffgR X

a

acX

a

cQWaR

a

aQ9

cXdZcQW

/

aGcXGcW

aR

19

cXZcWdY

D

cRX a9 dRZ

a

a

cRX 9 cX cW

A

cW

B

dZGdY

bRW 9 a

bW 7a

a

/

bW 9cQX

a

/

aaY7A

cRX dZaR

24

cXcW

a

/

a

eYC

cRWa

cR

a

cRX a cRX

a

cQW

/

a

aQ9

cX

cQW

/aZ 7a

aQ

cRW

cXZcQW

cXaaQ

/

a9

eQY

dRX

c9c

a

cRW aS9

cRWaS

30

cRdRZ

/

dZGaGa

cRX

dZ7

DdY

/////

dZcXcRW

- 12 -

Barbe, pg. 85 (C Major)[Bourre] La Nopce

Jacques Gallot

1)

dZ aR

cX7

DdY

cXZcRW

a

GaQ

cXGcQW

dRZcSX a

aaQ

a

cXcQW

cX 7Z aZ cRX

dZ 7

DdY

/////dZcXcRW

cRX 9 dZ

7

a

Ga

cQWacRX

cSX 9aR cR

a

Ga

eQYa

dRX

aS9

cRWaS

cR

a

cWa

A

aS9

c

GB

cQdQX

cRc

aQ9

11 /

cXcWGGdY

aR9

/

aaGGcW

cRX

/

dXeZ GGa

cRW 9

/

aaGGeQY

dRX

ca

a

dZcXcQW

dZaaQ

cRX9

dZ 7

DdY

/////dZcXcRW

cRYaS

16

bWcYaa

bcRbcR

bWcYcXB

bcRdZ

aaY 7A

aaR

aaR

aaQ

aS9 dRZ

cXa

a

dZcXcQW

dZaaQ

cRX 9

dZ 7

DdY

/////dZ cX cRW

1) Version in Leipzig II.6.14, 51

- 13 -

Barbe, pg. 86 ( C Major)[Courante] L'homme bonne fortune

Jacques Gallot

1)

cRWaS cRX

dZGD

dZGd

cX9aQ

aR

cXcQW dY

/

cXaGcW 9

dRZ

cX 9Y

DcRWaS cRX

/

a

cWA

aQaQ

cSX 9 aR

dX 9B

c

dRXa cRW

7

dXeZa

cYa

cW

cQXaR

cXZcWd

D

cRW eYcRW

eY 9a

C

aQ

eR gXeR

gZe

C

eR

B

gYhZ

Ga

hY

gX

fQ

12

hZGhY

gQXfQ

fiRZ

/

hZhY GGD

hR f9hYa

gRX

a

eRZdX

a A

aR

c

GB

cQ

eRZcSdRX

C

dRXaS cR

a

aQcRX

17cXdZcQW

aQaQ

acRX

a9

a

cQW/////

/

acXcRW

a

a

Ga

cQWdRZ cX 9

dQY

dZGcQW

/

aZ GGaQ

cRX 9

cXGd

D

cR eZcR

24

eZX

C

c

cR9

c

dXeQ

eRZc

c

a

eRYcS eRZ gZ

fQW cQX

b

GbQ

bcRX

ccGG

B

eZGc

cGcQ

eRZeQY

cccQ9

ceQY

c

eQZbR

29

c

c

B

eZ cS eRZ c9dQX

aR

eZeYa

aeZ cRW a9 cRW

a

eYC

cRW aS dRX cS9 eRY

c

a

eQY cQ dRX cQ9 aR

dZcWD

aR dZ bRW a cRX

34a

a

A

cRX a cRX a9 dRZ

cX

a

aR cX dRZa

dQY

dZGcQW

/

dZGaGa

cRX

dZ 7

DdY

/////

dZcXcRW

- 14 -1) Version in Leipzig II.6.14, 48v

- 14 -

Barbe, pg. 134 (f# minor)[Allemande] La [belle] Lucrece

Jacques Gallot

eZaGGA

cRWdX

eZ7eQY

/dX 9cQW

eZeQY

dX 9dQW

A

/

eZ;aR

cR

a9

eQYdRX

a cRW

eZeY

AeQY

/

cW 9dQX

eRZ

a

GeQYA

eeeQgZ7

e

eQgZgQY

eR eeQ gQY

e9e

eQ

gRZ

5iZ

GA

hXaG

/

g9gQ

hY

hQX

g

GgQ9

hRXkZ

iYg

iZ

hY

a

g9g

B

hRXgS

hR

aa A

dXaGGB

eRYeZ

eXeY GGC

/

cRW 9

dX

dXcGGD

aR9eZ

eZdXeY

cW 9 bW

9

bW

aeQY cQW 9

eRZ

eZbWa

dY 9bRW

eZX

D

/////eY

eZYWD

eYcW 9fRZ

c

fR aQ

/

cW 9

eZ

eY

a

GcW

a9a

AcQX bQ9

bQ

/

cSX

aR

13

dXGB

cQW aQ9

eY aR

e

a a

cWB

dRX 9

a

a

cW 7

a

cW 9dQX

cR

eZeYGGA B

eZGeYGC

cRW

eZ7

DeY

eZ

c9c

eQYa

eRZ

aeR

16

a

GcW eQ

YcSW 9

a

c

Ga

cQ

/

c9cQ

aR1)

eYGa

eRZ

cX

dX9

eYcRW a9

eZeZGeYGA

eZGcWGD

dX 9

eZa

dXeZ

eY

cW9 eZ

19 /

eZeYGGa

dX 9

eS

Z7

AS

eSZGeSYdX 9cQWeZGeQY

/

eZGdWGD

dRX

eZ 7 /////A

1) Original ambiguous on rhythm throughout measure

- 15 -

Barbe, pg. 136 (f# minor)[Courante] La [belle] Villette

Jacques Gallot

1)

eZeQYG

cWQX 9

aGeQY

cWQX eQY

eZGdQW 9

aGeQY

dXGD

eZGeY

dX 9cW

eYa

/

eaGDG

dRX

eY7A

dSX9

aR dR

aS

B

cW 9

C

aR c

7

eZ

D

eRY

aS9

eRZa

cRW cWGeY

a9

a

eRZ

c9cQ

B

eRZ dX 9 aQ

eY

eRZ cRW aRcSW9

eRZc

eRaQ

c

GcQ

a

eQYeRZ

12

ccQG

c9

dQXaR

eZeQY G

eZGcQ

cW 9a

a

GeY

/

d9cWB

aRdRX

a

acQW

/////

/

aeRZ7

aR

aeQZ7

a

cW eZ aR

19

cReQY

/

ccGQX G

aR

eZeQY G

a

cRW eZdRX

eZ7

eQY

dQW 9

eRZ

eQY

eZGcQ

/dZ 9cQ

eRY

eZeYaQ

cRW 9

dSX eRZ

dX 9

eY

D

25 2) /

eeGGA

gQZ

efQX G

fXgQZ

A

cRW a9

eQY

eRZaS

eR

B

/

cW 9eYC

a cRW

3)

eZ 7

D

K

iRZg9

hRXgS

gR9

kRZgS

iRY gW

30 4) /

iZiQY 3

gRZ

/e9ee

A

gRY /

g9

D

e

eR

AeQ

/////

eeeR

1) Version in Leipzig II.6.14, 33v2) Dot presumed missing3) Reprise in Leipzig 11.6.144) Barline missing to compensate for hemiola, but in Leipzig 11.6.14

- 16 -

Barbe, pg. 137 (f# minor)[Sarabande] La Religieuse Portugaise

Jacques Gallot

1)

e

A

eR

e9eeeQ

eeR

eR

cW 9

D

cR

/

cWGdXGeY

aR

a

cW 9

aR

a

eQY

a

dQXcRW

eZ

a

eS

eZeYcQW

eeR

aR

c9

B

cR

cXcQ

c

eRZ

6

aeZeQY

A

cRW a9

eRZa

eR

B

/

cW 9eYC

aR cW

eZ7/////

D

eZ

D

eR

eZXWeY

e

cW 9

eZGc

cQ

eZeQY

eR

11

a

cWeRZ c

B

eRZ dX 9cQ

cR

eZGa

/

eZeYcQW

aR

c

Ga

c9XcQ

eZGa

a

cW

aR a

eQYdRX

eZGa

cW

a

cR

cW 9dQY

a

GA

16

dY 9D

eY c9

eZ

c

eR

/

c9eQY

cR

a

cW

aR a

eQYdRX

eZGa

cW

a

cR

cW 9dQX

a

GA

dX 9D

eY cW9

eZ

Gc

eQYeZ c

eRZ

22 /

a

GeYcG

dRX 9

eZ

a

cW

a

cR

cW 9dQX

a

A

/

dX 9D

eRYd

/////

eA


- 17 -

Barbe, pg. 138 (f# minor)[Gavotte] La Dauphine

Jacques Gallot

eQY

eZ;dRX

dRW 9

D

eQY

eZ; dRW eZdRX

eZ7

A

eZGeQY

dX 9

dQWeZGeQY

dXcQW

eRZ dX 9 eRZ /

eZGdWGD

dRX

eZ7

A

/////

6

gY 9eR gR

e

eQ

gZ

gQY

iZa

i

a

gRg9g

B

g

hQX kQZ

hGiQY

g

gQ9 hQX

g

gQgQ

g

hQX

iZ

a

g

a

a

/e9ee

A

gRZe

10

gR

D

dX 9

aQeRYdX eRZ

gZ

a

eR9 gZ

ege

A

eR9

dX 9

D

cRWeZeQY

dXGdQ

eZ 7

eQY

cW

dRX /dX 9

D

eRYd

14

eR

A

dX 9

aQeRYdX eRZ

gZ

a

eR9 gZ

ege

A

eR9

dX 9

D

eRZ cW 9 dX

eZeQY

dXGdQW9

eZ 7

eQY a cW

dX /d9

D

eRYd

eR /////A

- 18 -

Barbe, pg. 139 (f# minor)Sarabande [La Royalle]

Jacques Gallot

1)

eeeA

eeR

eR

D

eZXRW

eZGeY

a

GcW 9

/

c9c

a

aR

eZ

a

/

cW 9

B

aRdRX

a

A

eee

eQ

eeR

eR

D

dXWeRY

dR

eRZdX 9

7dXGcQW

eZGeQY

dXGdQW 9

eZ 7

eQY

A

aaeZeQY

aaR

aR

B

eZeYcQW

eeR

eR

cW 9QX

aeZeYA B

cW 9eYC

eZ 7

D

/////

13

eZXWD

eR

eR

A

cRX

/

b:Q

cQW

aQ

cXR bQ

eZGcQW

/

cW9

B

dRX

aeQZ7

ccX

cQ eQY

/

ccQ

eRZ

a

GeQY

19

eZGcQ

cQcR9

fZeQY G

AcQ9

cXQ

cR

cR

eZGB

dX 9cQW

dcRdR

aQ9

a

GeY

dX 9GcW

eZGa

/

cW 9

B

aSdX

a

A

25

eefQX

eeR hRZ

fXgY G

eeeQ

eeR

hZ fX9gZ

egZe

eR9

cWdX

/

d9D

eRYd

eA

fQXeR

ehRZ gQY

fX

30

eQeR e

hZ fX9gRZ

e

Ge

gRZa

cWdRX

/

d9D

eRYd

/////

eA


- 19 -

Barbe, pg. 140 (f# minor)[Courante] L'Eternelle

Jacques Gallot

eY

gRZe

/

e9

A

ehRZ

e

fXgQY

fXGeQ

fXgQY

hRZ

e9e

a

aR eZeQY

aR

c9

aeQY dQX 9

eRZ c9 eRZ

6

a9

A

aR

a

eZeY

dX 9B

eY

eZGC

c

c

eRZ dX9 eRZ

dX 9D

eY

/

eZdXcY

eR

eZdXa

eYbRW

dX 9cW

a

eZa

A

eQYcRW a9 eRZ

11

aa

cW

dQXc

eZe

a

c9

B

cR

cXcQ

cWdX

B

a9

eRZa

cRW9 eZ

ceZcQ

dRX 9 aQ

a

GeY

cW 9 a

a

cWB

dSX9

aR dR

16

aSa

cQW

/////

/

aeR

Z7

cW

cWeZeYa

ceeR

ce

B

cRW 9a

eQYeRZ

aaXcW

A

eQYdRX

a cRW

22

eZcQW

/

eZaQ9

cRW

eZGeY

D

deX

e

dRdeXQ

dR

dReee

A

eeeQ

eeeR

bcY

cX

bRbcQ

bcR

bR

27dX

B

cR cRdX

fZeX

A

gZf

eQ

/

eQ9

fRX

gZ

gQY e gQY e

gZeaQ

gRg

A

/e9ee

eQ

gRZ1) /

e

a

eQgRZ e9gRZ

egRgQY

32

e

eQe

gYe

hZfRX

aeZ

A

cW 9dX

eZGa

c9

c

eRZ

/

dY 9D

e

eQA

eQ

/////

eeeR

- 20 -1) Rhythm is inexact

- 20 -

Barbe, pg. 141 (f# minor)[Courante] La [fidelle] Tourterelle

Jacques Gallot

1)

eSZ

eee

A

gSY9eR gR

e

a

e

GB

/gZefX

C

iSZ

iZgWiX

D

eQgRZ e9 gRZ

e

gQY

e

eQ9g

gQY

egZe

eQ

A

eRZ cW aR

7

eZeQY dQW 9

eRZ cW eRZ

aXeQY

A

aR

cWGa

eZGa

ceQY

c9eRZ

dX 9D

eYcRW a9 dRZ

bWaQ

/

bWcXC

cRY

12

caD

cRbW dZ a

a

c

a

c

/

c9XcQ

eRZ

a

GA

eQYcW a9

eZ aS

eR

B

/

eZGeYGC

cW

eZ7

DeY

eZXRW

/////

18

eRZ

eS

D

cW 9

eRZc

dRX

eY eQZ dX dRW 9

aXeQY

/

A

cR

cX

a

cR

/

c9cQ

eRZ

eZeYcWa

eeR

eRbW

cc

a

/

c9a

A

bRW

25

c

GB

/

ccX 9cQ

fRZ

eZeY

A B

cW 9eYC

aR cW

eZ7

D

dX9

eRZd

dW 9

eQYeRZdX

cQX

b

bQ9

AcQX

b

bQ

/b9cQX

dSZ

31dXcc

B

dcdR

eZ

GeY

eZeYGGaQ

dX 9cQW

eRZ

dX 9

eY

D

cRW a dRX

eQYeSZ

/

eZeYW

D

dRX

eZ7

Ae

/////

eee


- 21 -

Barbe, pg. 142 (f# minor)[Courante] La Nonpareille

Jacques Gallot

bRW dQY 9

bbWeQZ 7

/

A

eRZ

eZa

eQY

/

c9cQX

aR

eZeQY

a

cZ

a

bRW 9

dQYbW

dQYcRX

6

a

GA

/

a

eZeY

aR

dXcWB

aR9

eY a

e

aR

/

eZeYC

cW 9 a

cWdRX

a

eX eYfZ G

cWdR

dX 9eY

D

11

dXdQW

eZGeQY

dXGdQW

eZ7

eQYA

cQX

b

bQ

b

cQX

b9 bR

cc

B

c

GcQ

eZGeQY

eZccQ

cfRZ eY9 cR

16

fZeQYG

A

c

c

cR

eZ

c

eQYcW a

eRZ

a

eYcW

A

dX aeQY

cRW

eZGB

/

eZGeYC

cRW

e7

DeY

/////

/

eZXRW

dX

23d

GD

bQ

cQX

dRZb9

bQ

cRXbS

bR9

eRZbS

dRY9 b

dZQY

a

dR b9

cQXbR

cQeRZ dY 9

bQ

bR dS

eZGeY

27

bWGdY

dQZcRX

bbR

/

cWGdX GD

eRYcW eRZ

a

GcW

eZGeY

cW 9aQ

eRZ

dX 9cQW

B

aR dR

aS cRW

31

eZGa

c

Gc

a

eYdRX

/

cGeYfZG

cReYfZ

cGecG

A

dRXaS cRW

e

GB

/

eZeY GGC

cRW

dX 9

D

eRY cW 9

- 22 -

36

e

A

eR

/

e9efX

hRZ

gZgYeQ

gg

gR

a

d

a

dR /dGdQG

eRX

/

dX 9eY GGD

eRZdX

cRW

eZGeQY

/

eGdW 9GD

dRX

41

eZ7

AeQ

/////

eeeR

- 23 -

Barbe, pg. 190 (c minor)Dialogue [ou La Mouche, Chaconne]

Jacques Gallot

1)cXWQY

dZ 7 cX 9aQW

cXdZQY

a9

a

a

dZcQW G

cRX 9

D

/

bW 9cXdY

aR

acX

a

cXWQY

dZ 7 cX 9aW

cXdQY

a9

a

7aGcXcQW G

bW 7Z

a9cX

a

dRZa

dR/////

D

bW

dZcX

bWaR9

a

/

cX 9cW

a

cRW

dQY

dZcX GQW G

/

dZGaGa

cRX

dZ7

dY

D

/////

14hRZ f9 hRZ

f

GfQ

fR9 gX7

A

/d9d

dQ

fRY

fZfY

B

d9

a

GC

aGdZGaQ

cRX 9

bWGdY

a

GaQ

cXGbQW

20a9

aQbRW aS9 dRZ cQW

cX

dZ 7/////

D

cRX ; a9

aR bW

cX 9cQW aQ

dZGbQW

a

GcX

cX

a

dY

bW

dZ /

bW 9cX

D

a

acX

a

26cRX a9

a bW

cX 9cQW

dZGa

a

GcW

bWGdY

/

a9

a

cRWcX

dZ7/////

D

cXQW

cR

a9a

cWcRX

bW 7Y

D

32 /

dZ 7QY

dR cX9cQWcR

dZQY

A

dZ 5

aQ

dR /eZa

eQY

eR

fZa

a

aQaR

gZ gRhZGgXGA

/hZGfW9Ga

gRX

37hZ7

hQY/////

D

hRZ

fS9

gRXfS

fR9

iRZfS

gRY9 f

/

gX 7hQY

fR

hZ7fGffQY

hQgQXf

hRZfGffQG gQX

fGgYGfQ

d9d

A

fRZd

d

gRZdS

fRY9 d

- 24 -1) Version in Leipzig II.6.14, 10v

44

fQYfRZ fQY dfQY

gRZ

dQdQ

gRZ fY9bQ

bR

a

GaQ

bQWcRX

dZ

dZdY

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