Bergamask, bergomask, bergamesca, [1] or bergamasca (from the town of Bergamo in Northern Italy), is a dance and associated melody and chord progression.
It was considered a clumsy rustic dance copied from the natives of Bergamo, reputed, according to the Encyclopædia Britannica Eleventh Edition, to be very awkward in their manners. [2]
The dance is associated with clowns or buffoonery, as is the area of Bergamo, it having lent its dialect to the Italian buffoons. [1]
The basic chord progression is I–IV–V–I: [3]
│⎸
I
IV
V I I IV
V I :⎹⎸
I IV V I I IV V I ⎹│
Seventeenth-century Italian composer Marco Uccellini adapted the Bergamasca as a lively instrumental piece titled "Aria sopra 'la bergamasca.'"
Twentieth-century Italian composer Ottorino Respighi adapted the melody as the final movement of his Suite #2 of Ancient Airs and Dances.
Bergomask is the title of the second of the Two Pieces for Piano (1925) by John Ireland (1879–1972).
The title of Claude Debussy's Suite bergamasque is a poetic reference and the piece is not related musically to the Bergamask described here. Likewise, the " Masques et bergamasques" of twentieth-century French composer Gabriel Fauré is musically unrelated.
The characteristic I-IV-V-I progression features in popular music of the late 20th century, for example the song " Twist and Shout." Also of note, the 60's yéyé 'tube hit by then 20-year old France Gall's 'Sacré Charlemagne' and written by Roger Gall, her father, is straight from the Adriaan Smout's ( (1578-1646) ) Thysius Lute Book: it's a traditional Bergamasca dance for lute ensemble, which can be heard here: https://www.youtube.com/watch?v=GstMRyt_nnc at 47:46.
- ^ a b c d (1916). The Musical Times, Volume 57, p.491.
- ^ One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). " Bergamask". Encyclopædia Britannica. Vol. 3 (11th ed.). Cambridge University Press. p. 772.
- ^ Apel, Willi (1969). Harvard Dictionary of Music, p.91. ISBN 978-0-674-37501-7.
Bergamask, bergomask, bergamesca, [1] or bergamasca (from the town of Bergamo in Northern Italy), is a dance and associated melody and chord progression.
It was considered a clumsy rustic dance copied from the natives of Bergamo, reputed, according to the Encyclopædia Britannica Eleventh Edition, to be very awkward in their manners. [2]
The dance is associated with clowns or buffoonery, as is the area of Bergamo, it having lent its dialect to the Italian buffoons. [1]
The basic chord progression is I–IV–V–I: [3]
│⎸
I
IV
V I I IV
V I :⎹⎸
I IV V I I IV V I ⎹│
Seventeenth-century Italian composer Marco Uccellini adapted the Bergamasca as a lively instrumental piece titled "Aria sopra 'la bergamasca.'"
Twentieth-century Italian composer Ottorino Respighi adapted the melody as the final movement of his Suite #2 of Ancient Airs and Dances.
Bergomask is the title of the second of the Two Pieces for Piano (1925) by John Ireland (1879–1972).
The title of Claude Debussy's Suite bergamasque is a poetic reference and the piece is not related musically to the Bergamask described here. Likewise, the " Masques et bergamasques" of twentieth-century French composer Gabriel Fauré is musically unrelated.
The characteristic I-IV-V-I progression features in popular music of the late 20th century, for example the song " Twist and Shout." Also of note, the 60's yéyé 'tube hit by then 20-year old France Gall's 'Sacré Charlemagne' and written by Roger Gall, her father, is straight from the Adriaan Smout's ( (1578-1646) ) Thysius Lute Book: it's a traditional Bergamasca dance for lute ensemble, which can be heard here: https://www.youtube.com/watch?v=GstMRyt_nnc at 47:46.
- ^ a b c d (1916). The Musical Times, Volume 57, p.491.
- ^ One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). " Bergamask". Encyclopædia Britannica. Vol. 3 (11th ed.). Cambridge University Press. p. 772.
- ^ Apel, Willi (1969). Harvard Dictionary of Music, p.91. ISBN 978-0-674-37501-7.