> Dear Monica,
> According to Therese this situation from Foscarini p.32 can be considered
as
> a 'cadentia duriuscula' anyway, with or without the open first string. The
> criterium for such a figure is that one of the voices is stationary on one
> and the same note, while the bass moves to the f
Dear Monica,
According to Therese this situation from Foscarini p.32 can be considered as
a 'cadentia duriuscula' anyway, with or without the open first string. The
criterium for such a figure is that one of the voices is stationary on one
and the same note, while the bass moves to the finalis, c
Vihuela Net
Sent: Friday, August 26, 2005 9:05 AM
Subject: [VIHUELA] Re: Doizi de Velasco
>
> Thanks Monica,
>
> I wouldn't play a 4 and 3# together normally, but at a strong cadence it
surely is allowed - think of all the short (telscoped) recit cadences which
came in a bit later
Thanks Monica,
I wouldn't play a 4 and 3# together normally, but at a strong cadence it surely
is allowed - think of all the short (telscoped) recit cadences which came in a
bit later in the 17thC.
rgds
Martyn
Monica Hall <[EMAIL PROTECTED]> wrote:
Re the later chord : I don't take y
Re the later chord : I don't take yr point about this chord - it's a clear
7th.
I've changed my mind about that in the last couple of hours! It really does
sound better to include the B flat in the chord.
I'm still not convinced about including the open 1st course other than chords
Many thanks fr ths Monica,
I couldn't find his reference to excluding the open first in this context
either, which is why I thought I might have overlooked some clear evidence and
asked you. I understand yr points but ther not quite that I was seeking other
views: in short, I'm not at all s
I forgot to send my reply to Martyn's query to the list as well as to Martyn
which gives me an opportunity to say a bit more about this.
Thank you fr ths Monica,
For carification, is it a rule that open first course is 'not to be included
except in the alphabeto chords' - grateful if y
>
> Assuming that by this Martyn is referring to a three-part chord
>
> 4th course = F#, 3rd course = B, 2nd course = D#
>
> without any indication that there should be a barre at the 2nd course, and
> resolving on to an E minor chord, with the D# rising and the F# falling,
> whilst the B remains s
> for example, a B chord cadencing to Em where only the 4th fret on courses
> 2, 3 and 4 are marked: in this case playing the open first (ie a fourth
> simultaneously wioth the sharp third) and, indeed, the open 5 course (to
> give a seventh) is probably more obvious/obligatory(?) than the Foscar
Thank you fr ths Monica,
For carification, is it a rule that open first course is 'not to be included
except in the alphabeto chords' - grateful if you cld tell me where F spells
this out.
rgds
Martyn
PS I'm not convinced that there's no 1 on the 5th in the third chord - it's
only a 7t
>
> I understand that there's no precise rules, which was why I was seeking a
variety of personal views about this - in particular the 2nd chord in the
Foscarini presents a pretty typical scenario - what wld you personally do
(to put cards on the table, I'd play the open 1st for the added
friss
Thanks Lex,
I understand that there's no precise rules, which was why I was seeking a
variety of personal views about this - in particular the 2nd chord in the
Foscarini presents a pretty typical scenario - what wld you personally do (to
put cards on the table, I'd play the open 1st for the
Dear Martyn
>
> Much of the discussion has been around which bass courses to play when not
explicitly indicated in the tablature. I'd be grtful fr yr views about the
inclusion (or not) of the open first course when also not expicitly shown.
>>
for example, a B chord cadencing to Em where only the
Every day you learn.
Thanks, Wayne
Lex
>
>
> Hello Lex -
>
> I bet you didn't know that a line with a single period on it
> is considered an "end of message" by a lot of mail systems, did you?
>
> I have put some >>'s before the dot to get it transported safely.
>
> Wayne
>
>
To get o
Hello Lex -
I bet you didn't know that a line with a single period on it
is considered an "end of message" by a lot of mail systems, did you?
I have put some >>'s before the dot to get it transported safely.
Wayne
From: Lex Eisenhardt <[EMAIL PROTECTED]>
Please delete last messa
Monica Hall wrote:
> > Or should one say, that is WHEN the inversions don't matter.
>
> Well - what I should have said of course is "why they don't matter when
the
> chords are strummed".
Makes no difference. What I tried to make clear is that in the mixed style
strummed chords often come alone. N
Nobody complained, so still On The List:
> I think that is really the point. Depending on how you strum it is
possible
> to make the emphasis fall on different notes in the chord in a way that
> isn't possible if they are played as blocked chords. Another point is
that
> if you play a single
> In re-entrant tuning Doizi's whole instruction is worthless. Almost all
> chords that he meticulously has re fingered become in different
inversions.
> He was clearly thinking of the tuning with bordons when he wrote it.
Yes - but he has already said that he thinks that it is better to string th
Thank you for the explanation.
There are still a few questions:
Monica Hall wrote:
> Whichever way it is strung, some chords will have fourths between the
lowest
> voices [i.e. will be six-four chords]. These can be made good when
playing
> rasgado.
>
> In other words, whether the guitar is stru
> Oh no. I just gave the example of the D major chord with an x on the 5th
> course. Can be made good any way you wish. Punteado or rasgado. (You
> mentioned rasgado, by the way)
> Why can't they be made good punteado? What are the obvious reasons?
What Doizi says is
it seems to me bette
Monica Hall wrote:
> Sorry but that is not what Doizi says - it is playing them rasgado, rather
> than playing them punteado that makes them good. They can't be made good
> when played punteado - for obvious reasons. Your interpretation implies
> that they can't be made good if played otherwise
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