What sort of music is there? 3 of 5

Perhaps the simplest of Växjö's many pieces by Andreas Hammerschmied (mid 1600s). It comes after a collection of dialogues with obligato violins in the new ('baroque') style, and the repeated notes in the second half of this piece are also characteristic of 17th-century German music; but otherwise it is essentially in the Italian canzonetta style of about 1600.

Performance: use the parts as suggested for Amaryllis here.

Hammerschmied asked that Günstiger Music=Liebhaber (gracious music-lovers) shold use a slow beat for his dialogues: and stick to the notes he wrote, using lieblichen T r i l l e , rather than adding 'various common and uncommon coloraturen and turning the music into a Fliegen Krieg (war of the flies)' (Musicalische Gespräche, 1665).

Praetorius gave 640 tempora an hour as a recht mittelmässig Tact (Syntagma iii, 87-88), about 40 beats/min., which works better for this piece than the 60 beats/min. which Mersenne gave (1636). Beat down with the right hand, 40/min.: in the first half of the piece this beat corresponds to a whole-note, and the up-beat comes after half the time has passed (tactus æqualis, 'even beat'); in the second half of the piece the down-beat is the same, but the up-beat comes after two-thirds of the time has passed (tactus inaequalis, 'uneven beat', or tripla), two whole-notes to the down-beat, one to the up-beat. Notice that you don't beat three-in-a-bar like in a Viennese waltz, but an uneven two, like in a Swedish polska: it makes a big difference!

The black brevis-notes at the end of the bass part show syncopation: they are worth the same as if they were white.

Here the sharps over the bassus continuus apply not to the bass-line itself, as they did in Amaryllis, but to the inner parts which can be improvised above the bass: they are original, of course.

Notice that the first word is "Wenn", with a decorated capital 'w'.