- Original Message -
From: Mathias Rösel [EMAIL PROTECTED]
Cc: vihuela vihuela@cs.dartmouth.edu
Sent: Friday, July 01, 2005 12:53 PM
Subject: Re: Baroque guitar in flat keys
Monica Hall [EMAIL PROTECTED] schrieb:
Murcia, Matteis, Sanz and
other Baroque guitarists wrote instructions
but baroque guitarists were way ahead of every one else in their
understanding of harmony and tonality.
but the guitar has the really interesting harmonies.
That's right - especially Corbetta
There are many extraordinary harmonies in Baroque guitar music. Sometimes
these arise from modifying
Monica Hall [EMAIL PROTECTED] schrieb:
Murcia, Matteis, Sanz and
other Baroque guitarists wrote instructions on continuo and this
chord
wouldn't be part of that universe - nor in the music that followed in
the
next century.
Yes - but instructions for accompanying a bass line are different
Pace Mathias - but baroque guitarists were way ahead of every one else in
their
understanding of harmony and tonality. They may have used modes in the
titles of their pieces, but much of the music is no longer really modal.
but baroque guitarists were way ahead of every one else in their
bill kilpatrick [EMAIL PROTECTED] schrieb:
the really early repertoire seems to be predominately
written in major and minor keys.
read the headlines of the pieces you have in mind. No keys, but modes,
or tones, instead. Modes are melody patterns, each of them centred in
their respective
There are even pieces in F minor - with 4 flats. There is a whole suite in
this key in Murcia's Resumen de acompanar and at least a couple of pieces by
Corbetta - the Toccata at the beginning of his 1643 book and an Allemande in
a manuscript copied by Jean Baptiste de Castillion. The sequences
dear mathias -
i understand what you mean - alleluia - and will heed
your advice. since picking up the mandolin and
following its mode patterns, i can see the sense of
how these patterns relate to tuning in 4ths. i still
stumble over the 3rd alot but playing my ummmn - i
dare not speak its name
