Masses by
Juan del Vado
   17th Century
 
   Music evolutions towards polychoralism: compositions for several choirs -exceptionally up to sixteen voices-. An outstanding soloist voice singing melodies would break Renaissance sense of unity. A continuous bass becomes something different from a new voice, though it respected traditional polyphony. Music for organ will improve because of new crafting techniques. One of the most important musicians of this age is Francisco Correa de Arauxo

Tientos and discursos
by Correa de Arauxo

 
   Although many compositions from this century are lost today, we think that music achieved now a clearly spanish personality.
 
   In the religious stream Sebastián de Vivanco (?-1622) stood out becuase of his motetes. We also keep works by López de Velasco (1584-1659), Juan del Vado (fl.1634) or Juan García de Salazar (?-1710). The most typical gener in this time can be the Villancico, the Miserere and the Lamentations for Holly Week.
 
   The tiento was probably taken from vihuela music. It was originally a combination of chords and fast melodies. Then, the word meant essay or study.
 
   Also profane music offered the solo with musical support. A different gener, the scenic music, has to do with popular spanish theater. Short musical pieces were performed between theater acts. Closer to Court than to people there were operas and zarzuelas

New Way of Cipher for Playing the Guitar...

 

Instruction of Music on the Spanish Guitar...
   A work of 1596 is now published: the Guitar of Five Orders by Juan Carlos Amat (1572-1642), that teachs the technique of scratched arpegia. It would be followed by Nicolás Doizi de Velasco's New Way of Cipher for Playing the Guitar... (1640). This instrument -still with five strings- will displace both lute and vihuela, when Instruction of Music on the Spanish Guitar... (1674) was published by Gaspar Sanz (Teruel, 1640-1710). It would be continued by Ruiz de Ribaraz (1677) and Francisco Guerau (1684).
Illustration from Gaspar Sanz's work

 

Blas Nasarre,
Musical School
   Theory and Treatises
 
   Between works on musical theory we should cite The Melopeo and Master (1613) by the italian writer Pedro Cerone (1566-1625) from Bergamo. He was an authority who met important artists in Madrid and suffered criticisms by Friar Eximeno.
 
   Organist Andrés Lorente (1624-1703) published in The Reason of Music... (1672) his papers on musical dissonances. A collection of compositions was presented by Diego Fernández de Huete in his Numerous Compendium (1702). Pablo Nasarre (ca.1650-1730) wrote on philosophy of music and was also critized by Friar Eximeno.

Numerous Compendium