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Tientos Spanish Renaissance Madrigal

most important instrumental form of the XVI and XVII, equivalent the Italian Ricercare.
consists of a series of statements developed imitatively a, homophones other, using all sorts of technical resources of the instrument as dodges, rolls, copied from the motet form. Notable
tientos Hernando Venegas and, for the Milan vihuela, Mudaliar and Fuenllana.

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Its origin lies in the fourteenth century Italy, derived from the frottola, homophonic writing and isometric. Anyway it will not be the first madrigal which influence the English composers, but the XVI century, contrapuntal and imitative style, thanks largely to the inspiration and courage of musicians like Willaert.
This genus comprises mainly in Catalonia and musicians Peter Alberch Vila, in fact the Castilian and Andalusian did not accept the term, although the form, for some sonnets and carols Juan Vazquez and Francisco Guerrero.

El Madrigal in Spain can be described as a polyphonic musical composition - vocal, highly refined poetic texts, both for its language and its content, no chorus, with music for all the words and imitative style, somewhat like the motet, with which by the way is often compared, except for the text, profanity here.

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exclusive Gender vihuela, for composing Milan, Valderrabano, Fuenllana, Narvaez and Prancing.
Fantasy is a musical body built using all the tricks of florid counterpoint, augmentation, diminution, syncopation, flourishes, passing notes, delays, rolls, dodges. Rarely, however, used the device of imitation, even though the voices are going on.