Dear Martyn,
I understand that there is a problem with the theorbo in A, in Caccini's
'Reggami.'
According to Alessandro Striggio the elder Caccini could accompany from a
bass on the lute and harpsichord. So, what would be the right
instrument/tuning for this song?
Lex
Other types of
Well - what I actually said was
In theory the harmonies - at least in the printed books - are derived from
the bass line but they are not informed by the practice of bajo continuo.
There is some evidence that guitarists were indeed smart enough to spot some
of the obvious errors in the printed
Thanks Monica,
But I still don't see, and you don't explain, how other changes (such
as raising the bass an octave in a theorbo realisation) differs
substantially from doing the same sort of thing on the guitar
As said, maybe we just have to agree to disagree..
rgds
Dear Lex,
A particular commonly occurring situation requiring the bass line to be
realised on the theorbo higher than the upper melodic line is where the
tenor sings a notated e' (ie that on the lowest line of treble clef)
but sounding an octave lower (ie the e in the bass clef)
That is all perfectly clear - but has absolutely nothing to do with playing
an alfabeto accompaniment - because the guitar is not going to try and
reproduce the bass part in any way.
You seem to be me to be confusing two unrelated sets of circumstances.
Monica
- Original Message -
Eh! This was in answer to a direct question about this one particular
matter from Lex! Not a continuation of your mail... I think you've
got confused - with respect,
Sorry - but I don't think so. You dragged in the theorbo which is
completely irrelevant when considering how to
Ah - I think I know what's happening - you've got the wrong end of the
stick:
I am glad you know what is happening. It all depends on which end of the
stick one has got hold of.
I'm not (and have not as far as I can see) suggesting that an
alfabeto accompaniment necessarily converts
Hello everyone-
I hope I'm going about this the right way, by just responding in the
thread rather than going back to individual messages from the last 24
hours.
Thanks very much to all who took the time to listen to recordings I've
posted. For those who may have missed that
I personally don't want to argue this point. First because I'm not
qualified, and secondly because it's not really what I was saying.
Monica, you're absolutely right that by definition it's not continuous
bass when playing derived harmonies in the alfabeto. I was only
supposing
Thank you for this Eloy.
But, of course, it might be said that 6 guitars, percussion and conch
shell is already excessive. The question is: what evidence do we have
that such instruments, and in such numbers, were expected by JG de
Padilla and his auditors in contemporary
Thanks Monica,
It is a realisation of the bass line but, because of the requirements
of the instrument, not always with the written bass part as the lowest
note on the guitar: I guess we'll just have to agree to differ on
this.
Incidentally, the practical considerations for
I thought one of the significant points of the period was a transition
to harmonic vs voice thinking. And that the guitar was well
positioned, if not instrumental, within that transition. So whether we
call it bajo continuo per se, it's consistent in my mind to consider
alfabeto a
Thanks Chris.
Your observation that '...whether we call it bajo continuo per se,
it's consistent in my mind to consider alfabeto a realization
(stylized, perhaps) of the bass..', certainly coincides with my view on
guitar basso continuo using alfabeto. And, it seems to me,
Hello-
I'm almost too late into the conversation, but this topic does pertain
to one of my current projects, so I'll put it out there
It seems to me that the debate centers on whether or not the simple
alfabeto chords will suffice as an accompaniment, without additional
Dear Martyn
Yes, 6 guitars is a very peculiar continuo band.
As I said, I remember no evidence of such a band, or particularly guitars,
playing at the cathedral in Padilla's times. But now that you mention it,
many years ago, an american musicologist told me something about the music
chapel of
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Chris Despopoulos despopoulos_chr...@yahoo.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, December 16, 2011 2:17 PM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question:
Dear Monica,
The Corradi 1616 collection contains pieces for one, two and for three
voices along with an intabulated part for 'chitarrone', the guitar
alfabeto and a staff notated bass line ('da sonare nel Clavicembalo, et
altri Stromenti simili'). So it's not just solo songs
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu; Lex Eisenhardt
eisenha...@planet.nl
Sent: Thursday, December 15, 2011 9:13 AM
Subject: [VIHUELA] Re: Strumming as basso continuo {was:
Hmmm... Does a realised bass part always have to contain the bass
exactly as written in the staff notation as its lowest line? Of
course, ideally yes (and on the keyboard always yes) but many theorbo
continuo realisations, for example, are obliged to adapt the bass
because of
Of course, like you, I doubt whether the Pope would have expected a
strummed guitar in Palestrina's Messa Papae Marcelli. Indeed, is there
even any evidence for the excessive strumming in some modern
fashionable performances of South American sacred settings?
Probably not as much
Sent: Thursday, December 15, 2011 3:25 PM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question: {was: Agazzari guitar [was Re: Capona?]}
Hmmm... Does a realised bass part always have to contain the bass
exactly as written in the staff notation as its lowest
- Original Message -
From: Eloy Cruz eloyc...@gmail.com
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Thursday, December 15, 2011 7:35 PM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question: {was: Agazzari guitar [was Re: Capona?]}
Probably not as
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, December 14, 2011 9:52 AM
Subject: [VIHUELA] Strumming as basso continuo {was: Return to earlier
question: {was: Agazzari
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