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225:). Recent research suggests that the origin of the folia framework lies in the application of a specific compositional and improvisational method to simple melodies in minor mode. Thus, the essence of the "early Folia" was not a specific theme or a fixed sequence of chords but rather a compositional-improvisational process which could generate these sequences of chords. The "later Folia" is a standard
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folk music. It is said that around half of the old
Swedish tunes are based on La Folia. It is possible to recognize a common structure in many Swedish folk tunes, and it is similar to the Folia structure. Old folk tunes (19th century or older) which do not have this structure often come from parts of
233:
in triple meter, as its initial theme. This theme generally appears at the start and end of a given "folia" composition, serving as "bookends" for a set of variations within which both the melodic line and even the meter may vary. In turn, written sets of variations on the "later Folia" may contain
249:
was the first composer to formalize the standard chord progression and melodic line. Other sources note that the chord progression eventually associated with the "later Folia" appeared in musical sources almost a century before the first documented use of the "Folia" name. The progression emerged
362:
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467:, first played in 1692, included a tune with resemblances to the Francesco Geminiani/Arcangelo Corelli: Concerto Grosso n 12; the 12 Corelli concerts were published in 1714, although a 1681 reference exists from
371:
Over the course of three centuries, more than 150 composers have used it in their works. The first publications of this theme date from the middle of the 16th century, but it is probably much older. Plays of the
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978:
I decided to use a piece of historical material as the basis for this, which is the
Spanish 16th century tune "La Folia" which I subjected to the same kinds of transformations Orlando undergoes
556:
250:
between the end of the 15th century and the beginning of the 16th century in vocal repertory found in both
Italian ("Canzoniere di Montecassino", "Canzoniere di Perugia" and in the
1884:
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1422:
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Due to its musical form, style and etymology of the name, it has been suggested that the melody arose as a dance in the mid or late fifteenth century throughout the
1016:
El Nuevo Mundo - Folias
Criollas, Tembembe Ensamble Continuo, La Capella Reial de Catalunya, Hespèrion XXI, dir. Jordi Savall - Alia Vox AVSA9876
515:
895:"(...) vt ostenditur in vulgaribus, quas Lusitani, Follias, vocant, ad hoc metri genus et ad hunc canendi modum institutis, qualis est illa."
198:
features both "early Folia", which can take different shapes, and the better-known "later Folia" (also known as "Follia" with double l in
380:, mention the folia as a dance performed by shepherds or peasants. The possible Portuguese origin was attributed by the 1577 treatise
1031:
207:
1477:
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1879:
843:"The earliest instrumental couplet with the standard form is the one that starts Lully's arrangement of 1670 for Louis XIV's ..."
367:
A selection from
Beethoven's Symphony No. 5, the 2nd movement, illustrating a use of La Folia starting at bar 166 of the movement
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in his
Concerto Grosso No. 12 (which was, in fact, part of a collection of direct transcriptions of Corelli's violin sonatas),
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resembles the rhythmic paradigm of la folia intentionally. The chord progression is also used in the
Britney Spears song, "
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1559:
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403:
238:(a practice which might be compared in structural concept, if very different in musical material, to the performance in
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445:
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is built upon the later La Follia progression, and is specifically referenced in the fifth track from their 2014 work
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about having heard the compositions of this "Italian Violin
Orpheus" "with extreme pleasure and full of admiration".
388:. However, one of the oldest folías is that of "Rodrigo Martínez", by an anonymous author, already registered in the
373:
229:(i-V-i-VII / III-VII--V / i-V-i-VII / III-VII--V-i) and usually features a standard or "stock" melody line, a slow
547:
457:'s 26 Variations on La Folia, for orchestra, written towards the end of his career, is one of his finest works.
293:, the key that is often used for the "later Folia"; one chord per bar except for the cadential penultimate bar.
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sections consisting of more freely structured music, even in the semblance of partial or pure
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of 1742 are considered to highlight this "later" folia repeating theme in a brilliant way.
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831:. Music--scholarship and performance. Bloomington: Indiana University Press. p. 239.
8:
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112:, showing just one flat for G minor (instead of two), follows a Baroque period practice.
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770:"Folía": El origen de los esquemas armónicos entre tradición oral y transmisión escrita
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912:"Which versions of the later Folia have been written down, transcribed or recorded?"
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Dance and instrumental diferencias in Spain during the 17th and early 18th centuries
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and other standard chord progressions that became common in the twentieth century.)
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John A. Rice, "La folia in Late
Eighteenth- and Early Nineteenth-Century Vienna"
392:(1470-1500) in Spain, which includes numerous songs and themes from the time of
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A list of musical scores based on the Folia from the
Petrucci Music Library
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La Folia once again regained composers' interest during the 1930s with
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in the Sarabande of his Keyboard Suite in D minor HWV 437 of 1727, and
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Altre Follie (1500–1750), Hespèrion XXI, Jordi Savall - Alia Vox 9844
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Sweden with little influences from upper classes or other countries. "
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composed a set of 12 variations for keyboard on the tune (H.263).
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619:, titled "Arcangelo Corelli's La Folia". It is also used in the
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Possible origins of the Folía of the Canary Islands (in Spanish)
982: ... The DNA of "La Folia" travels across time in the
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829:
Dance rhythms of the French Baroque: a handbook for performance
203:
75:
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82:, on record. The theme exists in two versions, referred to as
1823:
809:"One of the earliest known instrumental settings was Lully's
747:. Vol. 1. Stuyvesant, NY: Pendragon Press. p. 572.
199:
590:" is set to the tune, as is "Välment sorgesyn", no. 5b from
1699:
1006:
La Folia (1490–1701) - Jordi Savall et al. - Alia Vox 9805
696:
Hudson, Richard (January–June 1973). "The Folia Melodies".
956:"Max Richter on How Music Helps Him Understand the World"
1001:
104:", a harmonic-metric scheme consisting of two eight-bar
502:. Alfredo Casella used the theme as the basis for his
70:(Portuguese), is one of the oldest remembered European
875:
The Harvard concise dictionary of music and musicians
1885:
Compositions with a spurious or doubtful attribution
797:. Vouvry, Switzerland: Amoris Imprint. p. 263.
289:
The framework of the "Later Folia", in the key of G
191:The epithet "Folia" has several meanings in music.
1861:
498:quoted it briefly in the second movement of his
254:repertoire) and Spanish sources (mainly in the "
772:. DeMusica 17. Kassel: Edition Reichenberger.
1052:
108:, was first used in approximately 1670. The
623:chant "Laudate Dominum". The main theme of
1059:
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767:
637:", 2000. The Folia is used extensively in
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474:In the 19th century, the Act I ballet of
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488:included a version of the Folia in his
14:
1862:
826:
695:
1040:
953:
929:
792:
742:
741:Simpson, Christopher (1665) cited in
684:
581:The Folia melody has also influenced
1545:Benidorm International Song Festival
732:
644:Three Worlds: Music from Woolf Works
296:The basic 16-bar chord progression:
1560:Festival Internacional de Santander
24:
1066:
937:"Tune: LAUDATE DOMINUM (Berthier)"
536:
25:
1896:
995:
795:Cathy Berberian and music's muses
346:Gm (i) D (V)
74:, or primary material, generally
1421:
572:Problems playing this file? See
554:
516:Variations on a theme by Corelli
376:in Portugal, including works by
258:" and, some years later, in the
1478:Galicia, Cantabria and Asturias
947:
1880:Anonymous musical compositions
1002:La Folia - A Musical Cathedral
904:
888:
867:
846:
820:
786:
761:
609:by the electronic music group
13:
1:
954:Solís, Jose (18 April 2017).
768:Fiorentino, Giuseppe (2013).
677:
525:Variations on "Spanish Folia"
256:Cancionero Musical de Palacio
873:Randel, Don Michael (1999).
265:
245:Several sources report that
93:, the earlier being faster.
7:
854:Harvard Dictionary of Music
827:Mather, Betty Bang (1987).
650:
504:Variations sur une Chaconne
27:Type of musical composition
10:
1901:
813:, written in 1672 for the
616:Josephine The Mouse Singer
564:Without variations (290KB)
180:or in the area of the old
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52:(English), also known as
793:Paull, Jennifer (2007).
202:, "Folies d'Espagne" in
1550:Eurovision Song Contest
743:Esses, Maurice (1992).
635:Oops!... I Did It Again
484:is based on the Folia,
356:Historical significance
36:Folium (disambiguation)
541:
437:George Frideric Handel
382:De musica libri septem
368:
286:
164:
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32:Folia (disambiguation)
603:The final section of
540:
441:Johann Sebastian Bach
394:the Catholic Monarchs
390:Cancionero de Palacio
366:
274:Later folia variant.
273:
150:
130:
99:
1488:Navarre and La Rioja
852:Apel, Willi (1969).
630:Conquest of Paradise
592:Carl Michael Bellman
496:Ludwig van Beethoven
421:Alessandro Scarlatti
386:Francisco de Salinas
151:Early folia variant
30:For other uses, see
1574:Musical instruments
491:Rhapsodie Espagnole
433:Francesco Geminiani
400:Jean-Baptiste Lully
374:renaissance theatre
247:Jean-Baptiste Lully
186:Kingdom of Valencia
1870:Chord progressions
1509:Spanish folk music
1374:Soleá por Bulerías
1284:Cantes a palo seco
815:Bande des Hautbois
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521:Manuel María Ponce
511:Sergei Rachmaninov
369:
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184:, or maybe in the
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125:
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1856:
1812:
1811:
1640:Guitarra de canya
1610:Cross-strung harp
1417:
1416:
1247:
883:978-0-674-00084-1
862:978-0-674-37501-7
698:Acta Musicologica
667:Passamezzo antico
559:
446:Peasants' Cantata
413:Arcangelo Corelli
364:
353:
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227:chord progression
174:Iberian Peninsula
16:(Redirected from
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968:on 26 April 2017
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1091:Catalan rumba
1089:
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779:9783937734996
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764:
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704:(1): 98–119.
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606:Force Majeure
601:
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588:Sinclairvisan
584:
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459:Henry Purcell
456:
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451:C. P. E. Bach
448:
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438:
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430:
429:Opus 1 No. 12
426:
422:
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402:, along with
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262:repertoire).
261:
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236:improvisation
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110:key signature
107:
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100:"The 'later'
98:
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69:
68:
63:
62:
57:
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51:
50:
45:
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37:
33:
19:
1565:OTI Festival
1529:Spanish rock
1514:Spanish jazz
1304:Cartageneras
1222:Género chico
1149:New flamenco
1125:
983:
980:in the novel
977:
970:. Retrieved
966:the original
959:
949:
940:
931:
919:. Retrieved
915:
906:
897:(Chapter 6,
894:
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583:Scandinavian
580:
571:
548:
528:
524:
519:in 1931 and
514:
508:
503:
489:
475:
473:
469:Georg Muffat
462:
444:
417:Marin Marais
406:
398:
381:
370:
295:
288:
244:
193:
190:
176:, either in
171:
131:Early folia
101:
89:
87:
83:
66:
65:
60:
59:
54:
53:
48:
47:
42:
41:
40:
1473:Extremadura
1279:Cante jondo
1204:Tono humano
1174:Rock urbano
1169:Rock català
941:Hymnary.org
639:Max Richter
486:Franz Liszt
378:Gil Vicente
211: [
80:composition
1875:Variations
1864:Categories
1738:Cabreiresa
1685:Txalaparta
1660:Psalterium
1650:Kirikoketa
1364:Siguiriyas
1339:Martinetes
1334:Malagueñas
1213:Xiringüelu
1209:Villancico
1179:Seguidilla
1154:Nova Cançó
961:PopMatters
838:0253316065
754:0945193084
678:References
657:Bergamesca
574:media help
480:(1813) by
58:(French),
1834:Chirigota
1789:Classical
1758:Sanabresa
1748:Odrecillo
1595:Castanets
1590:Bandurria
1468:Catalonia
1438:Andalusia
1399:Verdiales
1344:Peteneras
1199:Tonadilla
1189:Tajaraste
1184:Sevillana
1164:Pasodoble
1159:Pasacalle
1096:Chirigota
916:folias.nl
877:, p.236.
856:, p.323.
718:0001-6241
672:Romanesca
431:of 1705,
423:in 1710,
419:in 1701,
415:in 1700,
411:in 1672,
404:Philidor
266:Structure
260:ensaladas
231:sarabande
61:La Follia
1844:Rondalla
1839:Comparsa
1829:Charanga
1794:Flamenco
1743:Galician
1728:Asturian
1710:Zambomba
1645:Guitarro
1615:Dulzaina
1605:Chácaras
1493:Valencia
1384:Tarantas
1329:Guajiras
1324:Granaína
1319:Garrotín
1294:Cantiñas
1269:Bulerías
1254:Alegrías
1239:Flamenco
1217:Zarzuela
1144:Muiñeira
1121:Fandango
1116:Ensalada
921:13 April
899:page 308
651:See also
625:Vangelis
549:La Folia
523:and his
340:Bb (III)
314:Bb (III)
252:frottola
194:Western
178:Portugal
43:La Folía
18:La Folia
1804:Morisca
1784:Baroque
1768:Xeremia
1753:de saco
1733:de boto
1695:Vihuela
1680:Trikiti
1670:Tambori
1625:Flabiol
1620:Fiscorn
1389:Tientos
1309:Farruca
1264:Bambera
1259:Alboreá
1111:Endecha
984:Orlando
662:Moresca
513:in his
443:in his
427:in his
349:Gm (i)
343:F (VII)
337:F (VII)
317:F (VII)
311:F (VII)
223:England
208:Faronel
206:, and "
168:History
106:phrases
78:, of a
76:melodic
49:Follies
1799:Latina
1777:Guitar
1705:Xirula
1690:Txistu
1675:Timple
1655:Palmas
1635:Gralla
1585:Alboka
1483:Murcia
1443:Aragon
1404:Zambra
1229:Romani
1194:Tiento
1134:Jácara
1086:Bolero
1075:Styles
972:4 July
881:
860:
835:
801:
776:
751:
726:932224
724:
716:
494:, and
461:, in:
407:l'aîné
334:Gm (i)
328:Gm (i)
323:D (V)
320:Gm (i)
308:Gm (i)
302:Gm (i)
219:Ground
204:France
90:folias
1824:Cobla
1720:Gaita
1665:Rabel
1394:Tonás
1379:Tango
1369:Soleá
1359:Saeta
1354:Rumba
1274:Cante
1244:palos
1126:Folia
1106:Cuplé
1101:Copla
986:music
722:JSTOR
621:Taizé
331:D (V)
305:D (V)
291:minor
221:" in
215:]
200:Italy
102:folia
88:late
84:early
67:Folia
1849:Tuna
1700:Viol
1349:Polo
1139:Jota
974:2017
923:2018
879:ISBN
858:ISBN
833:ISBN
799:ISBN
774:ISBN
749:ISBN
714:ISSN
527:and
280:Play
157:Play
137:Play
118:Play
86:and
34:and
1130:Isa
706:doi
594:'s
384:by
217:'s
1866::
976:.
958:.
939:.
914:.
901:).
817:."
734:^
720:.
712:.
702:45
700:.
686:^
647:.
627:'
600:.
531:.
506:.
396:.
213:fr
188:.
1246:)
1242:(
1060:e
1053:t
1046:v
943:.
925:.
885:.
864:.
841:.
807:.
782:.
757:.
728:.
708::
576:.
163:.
143:.
38:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
