G.P. Cima's Ricercare del Secondo Tuono: Technical Analysis for true Musici Prattici

How can a piece written in the Second Tonus begin on an F? Is it possible for an instrumental work to maintain modal integrity while pushing the boundaries of vocal ranges? For true Musici Prattici, these aren't just academic questions—they are the keys to unlocking the logic of the Seicento.

In this session, we dive deep into the architectural brilliance of Giovanni Paolo Cima, the Milanese master who proves that before Bach, there was an Italian tradition of counterpoint so sophisticated it remains criminally underrated today.

The Ricercare del secondo tuono from Cima's Concerti Ecclesiastici (1610) is a masterclass in transposed modality. While the Second Tonus is traditionally associated with G (transposed via a flat in the key), Cima’s treatment reveals a complex web of subject relationships and species-driven counterpoint.

The foundation of any serious analysis for true Musici Prattici must begin with the species of the fourth (diatessaron) and fifth (diapente).

• Transposition: We find a flat in the signature with a finalis on G. This indicates a transposition from the original D-based Second Tonus.

• Voice Ranges: Cima strictly observes the ranges of the Cantus, Altus, Tenor, and Bassus. However, as an instrumental work for keyboard, he skillfully allows the voices to drift beyond vocal limits once the modal framework is established in the initial exposition.

Contrary to simpler imitative forms, this Ricercare is built upon three distinct subjects that Cima eventually combines in a stunning display of "triple" counterpoint:

• Subject 1 (The Red Subject): Introduced in the Altus, characterized by its specific modal leap.

• Subject 2 (The Yellow Subject): Often overlapping in stretto, providing a rhythmic and melodic counter-balance.

• Subject 3 (The Blue Subject): A descending scale species that becomes prominent in the second half of the piece.

A crucial takeaway for true Musici Prattici is the necessity of reading from original clefs (C1, C3, C4, F4). As Richardus demonstrates, modern notation often obscures the "boundaries" of the mode. Using the original "chiavette" or standard clefs allows us to see exactly where the diapente and diatessaron sit within each voice, preventing the "stupid analysis" that arises when one ignores the grammatical tools of the 16th century.

Cima doesn't merely repeat his themes. He employs tonal answers (adjusting intervals to stay within the mode) and mutation through different hexachords. By the conclusion of the piece, all three subjects are woven together, showing that the "tonal landscape" of the Renaissance is far more colorful than modern theory suggests.

To truly grasp the nuances of Cima’s counterpoint and see the real-time breakdown of the score, I invite true Musici Prattici to watch the full video:

Watch: Ricercare of the Second Tonus - G.P. Cima Analysis

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