I'm playing some of these pieces right now and am interested in the transition from intabulation to continuo. I've read Nigel North's great book on continuo and he talks about Dowland being a sort of transitional figure. A very interesting time to be alive for sure. Does anyone have any more sourcs or information about this transition? I'm also very interested in improvisation practice from the Renaissance and then the transition into the Baroque. It seems that the practice of Divisions carried into continue practice to fill-out places where there was no voice to accompany. Are there any good tutors for improv in the Renaissance, pre-continuo?
- Chris --- Taco Walstra <[EMAIL PROTECTED]> wrote: > On Monday 02 January 2006 15:21, you wrote: > > I'm no specialist, but the airs de cour are written down until ~ 1640 with > tablature in renaissance tuning. I don't think there are any any airs written > > for d-minor tuning because the taste moved to a continuo way of notation > mostly intended for theorbo as the accompaniment for the singer. In this way > the airs de cour did not "end" before the rise of the baroque lute; they were > > given a new B.C. style and new composers like lambert, camus and bacilly used > > this style for their compositions. Perhaps these airs were played with > baroque lute too, but definitely theorbo was prefered. > Taco, wishing everybody a happy new year. > > > > Dear all, > > > > did the time of airs de cour definitely end before the rise of the d-minor > > tuning or are there some songs accompanied by a "baroque lute" ? (Or in > > accords nouveau?) > > > > best (new year) wishes > > BH > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > ------------------------------------- Christopher Schaub web: http://www.christopherschaub.com email: [EMAIL PROTECTED]
