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90:, third wife of Philip II, she brought with her a group of French instrumental musicians who wished to stay in the Spanish court; Fuenllana alternated with this group and his musical works were performed together with those of foreign artists. At the death of the queen in 1568, he continued serving in the Spanish court. He later served Don Sebastian of Portugal in
137:. Fuenllana preferred the voice accompanied by vihuela to the vihuela solo. The vocal parts are written in red ciphers, indicating which notes are to be sung while the black ones are to be played on the vihuela; alternatively, one can play the whole intabulation although it is often very demanding (e.g., Mateo Flecha's Ensalada 'La Bomba' in the
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Tengo por mejores tañedores a Narváez, a Martín de Jaén, a
Hernando de Jaén, vecino de la ciudad de Granada, a López, músico del Señor Duque de Arcos, a Fuenllana, músico de la Señora Marquesa de Tarifa, a Mudarra, Canónigo de la Iglesia Mayor de Sevilla, y a Enrique, músico del Señor Conde de
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comprises 182 pieces in six volumes. In the first three, the pieces are ordered ascending by the number of voices, passing through 2 and 3 in the first to 5 and 6 in the
181:, and the romance of the loss of Antequera; thus, he presaged the coming of the accompanied melody of the Italians at the beginning of the seventeenth century.
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Libro de Mvsica para
Vihuela, intitulado Orphenica lyra : enl ql se cotienen muchas y diuersas obras... / copuesto por Miguel de Fuenllana
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Griffiths, John
Anthony. “The ‘vihuela’ Fantasia: A Comparative Study of Forms and Styles” (Ph.D., Monash University, Australia, 1984).
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Ward, John Milton. "The
Vihuela de Mano and its Music (1536-1576)" (Ph.D., New York University, New York, 1953).
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Little is known of his life. It is assumed from his name that his roots lie in the municipality of
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newly composed by
Fuenllanas alongside works of 17 other composers. His style is
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The merits of
Fuenllana's work were known to his contemporaries; in the
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to popular melodies: some of these traditional pieces are
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Libro de música para vihuela intitulado
Orphenica Lyra
192:Introducción a la música española del Renacimiento
157:Fuenllana was adept at finding apt harmonies and
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109:of the third volume. The book includes 51
222:International Music Score Library Project
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133:, musicians from both Spain and the
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218:Free scores by Miguel de Fuenllana
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117:with a texture similar to that of
38:(c.1500–1579) was a Spanish
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214:(Biblioteca Virtual de Andalucía)
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148:of Fray Juan Bermudo, he writes:
253:Spanish male classical composers
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238:Spanish Renaissance composers
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146:Declaración de instrumentos
27:"Fantasía" from book IV of
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163:De los alamos vengo, madre
74:from birth, he composed a
62:, although he was born in
243:Blind classical musicians
179:De Antequera sale el moro
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190:Neuman, Hans Federico,
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82:, 1554), dedicated to
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248:Spanish blind people
119:Cristobal de Morales
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127:Francisco Guerrero
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84:Philip II of Spain
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175:Con que la lavare
131:Philippe Verdelot
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88:Isabel de Valois
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16:Spanish composer
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139:Libro Sexto
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60:Ciudad Real
44:Renaissance
232:Categories
165:, used by
115:polyphonic
111:fantasias
56:Fuenllana
50:Biography
40:vihuelist
153:Miranda.
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220:at the
123:Josquin
80:Seville
129:, and
107:motets
92:Lisbon
68:Madrid
98:Works
72:Blind
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