in when evaluate sources.
rgds
Monica
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Marini - was Grenerin
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 20 April, 2011, 16:29
Dear Martyn
expertise
accompanied singers but I think there is plenty of evidence of one
sort or another.
In both the lute is supported by the violone.
Monica
On 4/20/2011 1:04 PM, Monica Hall mjlh...@tiscali.co.uk wrote:
Just as a matter of interest I have uploaded a couple of other pictures
of guitars
Are you sure? The rhythm of the bass is not hemiolic, and the F major
harmony (or rather D minor, as you remarked earlier) is implied for one
beat only. The F major is somewhat ambiguous indeed, with the melody note
d'.
May be I missed something here - but I did a quick transcription. Are
Dear Both of You
A couple of points
Your response seemed, to me, to say that you did indeed think that an
alfabeto asequence was created to which tunes (and bass) were later
added.
I think the point is not that alfabeto sequences were created out of the
blue and then melodies added to
Dear Martyn
No real disagreement with what you say in the first part of your
mailing below since we've secured general agreement that no one
believes the melodies were created from the alfabeto chord sequences.
Sorry - but I think you have misunderstood some of what I am saying. Some
On Apr 18, 2011, at 1:07 AM, Monica Hall wrote:
In another chaconne [p.75] there is another batterie which I have
printed
previously (desia). etc.
I don't quite understand this. At another point in the instructions,
doesn't he state that stems going down are downstrokes
I was thinking of the theorbo playing a harmony on G while the guitar
would be doing an F major at the same moment.
If we are still talking about Marini surely the theorbo and guitar are not
meant to be playing together. It's either or - or have I lost the plot
completely? Are you not
Re the second half of M's Il Verno - I think you're wrong and are
imposing a retrospective modern judgement on an earlier style.
Meanwhile - happy to say that I have come up with the perfect solution for
me at least.
On F you play iib7
On G you play V7/4 i.e. the F and the C in the
carefully worked out and am rather proud of!. (See my last message).
Rgds
M
.
--- On Mon, 25/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini
of the problem.
I'm slowly losing the will to live ...
It is very difficult to discuss these things without musical example and an
instrument to hand.
Regards
Monica
--- On Mon, 25/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
--- On Mon, 25/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist
Subject: [VIHUELA] Re: Composition of short songs in early 17th century
Italy - was Marini - was Grenerin
Dear Both of You
I have no idea what they believe, but in their (and others') writings I
see no word about having found references to the guitar + bowed string,
and I suppose anyone
time
Regards with a smile
Monica
--- On Tue, 26/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Martyn Hodgson
Stephen Stubbs, while we were playing through some Kapsberger songs,
suggested that these dissonances were meant to be. The one I recall the
most was a G major in the alfabeto against a g minor in the written
continuo.
Well - I think he is wrong!!! Simply - whoever added the alfabeto did so
You should play 4 down/up/down/up strokes on the 1st, 2nd and 3rd
courses and 2 - down/up on the 4th/5th.
Thanks for semi-clearing this up. Well, at least the down/up part makes
sense and that was the way I was doing it. It is often confusing in
these old sources as to what
If you look at the example on p.177 of James Tyler's book - the first
two bars are incorrect because he misunderstood the Italian. It's the
top courses first then the bottom ones. The next long bar is correct.
Which book is that? My copy of _The Early Guitar A History and
Handbook_
I have a query about some terms used in the Letter to the Reader in
Granata's 1680 guitar book. I wonder if there is a native Italian
Speaker who can advise. In the first passage I assume that strasci =
stracini i.e. slurs in English, but am not sure about dritti and
roversci.
Thanks for sharing the info with us. Your delving into this
collection is enormously useful.
It does look as if the guitar is supposed to be playing along with
everyone else. But the list of artists in Albrici's ensemble paid in 1653
includes Bartolotti as the only theorbo player, one
higher than the others?
Interesting.
Monica
- Original Message -
From: [1]Rockford Mjos
To: [2]Monica Hall
Cc: [3]Vihuelalist
Sent: Monday, May 09, 2011 5:16 PM
Subject: Re: [VIHUELA] Guitar continuo example
If we are looking for possible guitarists to take
To: [2]Monica Hall
Cc: [3]Vihuelalist
Sent: Tuesday, May 10, 2011 9:20 AM
Subject: Re: [VIHUELA] Re: Guitar continuo example
Hello Monica,
I've just returned from an extended Easter break and am catching up
with emails, but this is more interesting than most
Pitch
Well - I'm not sure that there is any point in reviving this discussion -
especially as I disagree with most of what you say. But for what it is
worth...
1. I can find no prohibition to employing an instrument to play the
bass line alone even when the guitar is used to play the alfabeto.
Well - if any one else wants to see my musical example I put it on my
www.earlyguitar.ning.com page with the scores - the first in the list.
Comments and corrections to the harmony welcome.
Monica
- Original Message -
From: David van Ooijen davidvanooi...@gmail.com
To: Monica Hall
Hall mjlh...@tiscali.co.uk; David van Ooijen
davidvanooi...@gmail.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, May 11, 2011 4:51 PM
Subject: [VIHUELA] Re: Passing dissonances (was Marini, Granata etc)
On Wed, 11 May 2011 15:43:48 +0100, Monica Hall wrote
Well - if any one else
To: Monica Hall mjlh...@tiscali.co.uk; David van Ooijen
davidvanooi...@gmail.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, May 11, 2011 4:51 PM
Subject: [VIHUELA] Re: Passing dissonances (was Marini, Granata etc)
On Wed, 11 May 2011 15:43:48 +0100, Monica Hall wrote
Well - if any
Roncalli doesn't include a table of alfabeto chords. Presumably they were
so well known by then that he didn't think it necessary.
I think this particular chord is meant to be E = D minor. A D major chord
sounds odd to me. If you look on page 55 (if you can) you can see a
similarly shaped
-
From: Ed Durbrow edurb...@sea.plala.or.jp
To: Monica Hall mjlh...@tiscali.co.uk; vl vihuela@cs.dartmouth.edu
Sent: Thursday, June 16, 2011 3:32 PM
Subject: [VIHUELA] Re: Roncali chords
On Jun 16, 2011, at 10:44 PM, Monica Hall wrote:
I think this particular chord is meant to be E = D minor
I just thought I would let you all know that Rob Mackillop's CD of
Scottish tunes for viola da gamba and baroque guitar has at last been
released - it's on the Alpha label Alpha 530 - in case anyone had
missed it.
It really is very nice - highly recommended.
Monica
--
.
But until I have read it all I must reserve judgement.
Monica
- Original Message -
From: [1]Martyn Hodgson
To: [2]Monica Hall
Sent: Tuesday, July 05, 2011 9:11 AM
Subject: Re: [VIHUELA] Re: alfabeto
As you said, I just had to be patient. But at 311
Dear List
Does anyone on this list have a copy of Montesardo's I lieti giorni di
Napoli? I have just discovered that my copy lacks pages 24-25 which I think
includes the song 'O fortunati giorni'.
If anyone has it would they be so kind as to scan the page for me?
Many thanks
Monica
To get
member Monica Hall, dealing with my
article 'Bourdons as usual' from issue 47.
Allow me to make some remarks (which can only be understood if you have
nr 47 at hand):
What Monica writes about Corbetta is as much a matter of inference as
what I wrote.
On p. 26 I have given a number
concerned this is a private matter not one for discussion on
this list.
Regards to all.
Monica
- Original Message -
From: Rockford Mjos rm...@comcast.net
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Lex Eisenhardt eisenha...@planet.nl; Vihuelalist
vihuela@cs.dartmouth.edu
Sent: Tuesday
Dear List
I am afraid that this dispute is not going to go away quietly.
There are a few points which I now feel I should make following
on from
Lex's comments on my short article in Lute 2008.
Lex said
As a matter of fact we don't know what tuning Carre had in mind for his
second book
Well - I hope that when you write your letter you make it clear that Carre
has included a piece by Corbetta in his first book which includes his
observations on stringing. This is from Corbetta's 1648 book and Carre
evidently thought it OK to play it with a fully re-entrant tuning.
You have
I do now...
I think I will have to reply to Lex's comments on the Italian tuning
separately.
Monica
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, September 02, 2011 10:06 PM
First of all
Carre first book is not dedicated to Elizabeth Charlotte. I suggested this
in my introduction after consulting someone in France and considering the
options.
However subsequently I realized that the Princesse Palatine must actually
be
Anna Gonzaga, the sister of the Duke of
plagiarism?
That is the most obvious explanation although there could be others. I
think very little of Carre's work is original.
I don't think there is much doubt that Corbetta's book is earlier than
Carre's.
I don't see why we should believe that.
As I have explained several times
; Monica Hall
mjlh...@tiscali.co.uk; Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Tuesday, September 06, 2011 3:45 PM
Subject: Re: [VIHUELA] Re: Carre 'Anche' - etc.
Only the European Court at he Hague knows the principal issue here, and it
issued
times in the Gallot ms. and in Elizabeth
Cromwell's book.
Vale
Monica
- Original Message -
From: Martyn Hodgson
To: Monica Hall ; Lex Eisenhardt
Cc: Vihuelalist
Sent: Tuesday, September 06, 2011 3:38 PM
Subject: Re: [VIHUELA] Re: Carre 'Anche' - etc.
Hello you two,
I've
Just by the way, don't want to revive the controversy - but in one of his
recent messages Lex said...
The fact that the music transcends the scope of re-entrant tuning doesn't
say that that tuning is inferior. We just should accept that it is not
capable of rendering everything in music.
Sorry about that - didn't copy right...
Monica
- Original Message -
From: [1]Waling Tiersma
To: [2]Monica Hall
Cc: [3]Lex Eisenhardt ; [4]Vihuelalist
Sent: Wednesday, October 19, 2011 4:09 PM
Subject: Re: [VIHUELA] Bach Chaconne
Hi Monica,
Some
Yes! the recording is a bit rough and You Tube doesn't always do the
music full justice.
M
- Original Message -
From: [1]Chris Despopoulos
To: [2]Monica Hall
Sent: Wednesday, October 19, 2011 4:30 PM
Subject: Re: [VIHUELA] Re: Bach Chaconne
I'll second
I think he means a fully re-entrant tuning although I thought I
detected a high octave string on the third course in one place.
Monica
- Original Message -
From: [1]Martyn Hodgson
To: [2]Monica Hall
Sent: Wednesday, October 19, 2011 6:08 PM
Subject: Re
This is just a quick query to everyone who plays the baroque guitar -
about bridges.
Mine has slots rather than holes which the strings pass through when
they are tied to the bridge.
Is this usual on baroque guitars. Is there any standard
arrangement.
Monica
whether the bridges of surviving guitars are the originals?
It raises quite a few questions for me anyway.
Monica
- Original Message -
From: Rockford Mjos rm...@comcast.net
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, November 27, 2011 9:14
it that it increases flexibility of the
bridge and thus enhances the bass response. But much speculation all
round
Martyn
--- On Sun, 27/11/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Guitar bridges
To: Vihuelalist
they
don't completely .
http://www.sinier-de-ridder.com/
Perhaps asking your question to the Ning group might get a response from
Batov, Sinier or De Ridder or other players. I'm not sure there are any
builders active in this forum.
-- R
On Nov 27, 2011, at 4:14 PM, Monica Hall wrote:
Thank you very
. That would make quite a
major undertaking to list them all I suppose.
Monica
Best,
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Monica Hall
Sent: Monday, November 28, 2011 10:03 AM
To: Martyn Hodgson
Cc: Vihuelalist
Subject
- Original Message -
From: Eugene C. Braig IV brai...@osu.edu
To: 'Monica Hall' mjlh...@tiscali.co.uk
Cc: 'Vihuelalist' vihuela@cs.dartmouth.edu
Sent: Monday, November 28, 2011 3:32 PM
Subject: [VIHUELA] Re: Guitar bridges
-Original Message-
From: Monica Hall [mailto:mjlh
But why would you want the treble string to be considerably lower than the
bourdon? What would be the advantages? On my guitar the treble string is
in any case slightly lower - because it is thinner. It is also lower at
the nut. (Perhaps that is what is causing the buzz!). This is
- Original Message -
From: Eugene C. Braig IV brai...@osu.edu
To: 'Monica Hall' mjlh...@tiscali.co.uk
Sent: Monday, November 28, 2011 8:33 PM
Subject: RE: [VIHUELA] Re: Guitar bridges
-Original Message-
From: Monica Hall [mailto:mjlh...@tiscali.co.uk]
Sent: Monday, November
I am inclined to agree with you. Given that the bourdon in any case will
be slightly higher the the treble string as it is thicker it is not
difficult to give it prominence where necessary. A plain gut bourdon on the
fifth is so thick that it is hard to miss!
One reason why I have been
Well - I have one bourdon and slots - but I haven't yet worked out how you
think the treble string should be tied on.
I referred my question to the collective wisdom of the
www.earlyguitar.ning.com and two people replied - one a distinguished
maker - and both suggested that the slots were to
This invites the question when these Italian guitars were made (and if the
bridges were original).
Most Italian guitars I have seen are from a rather early date.
How early? And did they have slots or holes?
Monica
To get on or off this list see list information at
Subject: [VIHUELA] Re: Guitar bridges
The problem is that I have not made any notes. I don't think I have seen
many slots. I remenber I saw several Sellases, and other Italian guitars
in Paris, mostly built before 1640. But also in other musea.
It would be very helpful to have a catalogue.
Lex
29, 2011, at 11:44 PM, Monica Hall wrote:
Given that the bourdon in any case will
be slightly higher the the treble string as it is thicker it is not
difficult to give it prominence where necessary. A plain gut
bourdon on the
fifth is so thick that it is hard to miss!
Ed
Subject: [VIHUELA] Re: Guitar bridges
Given that the bourdon in any case will
be slightly higher the the treble string as it is thicker it is not
difficult to give it prominence where necessary. A plain gut
bourdon on the
fifth is so thick that it is hard to miss!
Ed
Subject: Re: [VIHUELA] Re: Guitar bridges
It is often assumed that after c 1600 most lutenists played thumb out,
because of the separated functions of thumb and fingers in most of the
music (the thumb playing the bass). I don't think that iconography from
the 17th century shows many thumb
it perfectly - but I would like to hear him do it.
As ever
Monica
- Original Message -
From: [1]Martyn Hodgson
To: [2]Monica Hall
Sent: Sunday, December 04, 2011 9:24 AM
Subject: Re: [VIHUELA] Re: Guitar bridges
Dear Monica,
Your observations below
Subject: Re: [VIHUELA] Re: Guitar bridges
I have looked at the examples. It is true that melodies are spread over
'high' and 'low' courses (5 4 vs 1,2 3). That is different from the
lute, but something similar also occurs on the theorbo.
Well - exactly - and Bartolotti was a theorbo
that
Bartolotti has specifically notated this in one pieces suggests that it was
not altogether unusual.
As ever
Monica
- Original Message -
From: Chris Despopoulos despopoulos_chr...@yahoo.com
To: Lex Eisenhardt eisenha...@planet.nl; Monica Hall
mjlh...@tiscali.co.uk
Cc: Vihuelalist
In his dissertation John Ward says -
The last piece...is una baxa de contrapunto. No identification of the
baxa=basse dance is offered by the composer, nor is it immediately clear
whether the bass, discant or musically ill defined alto-tenor carries the
borrowed material.
There is a lot
I don't think it has anything to do with the Netherlands in spite of the
good story. The whole phrase is
Baxa de contra punto el canto llano lleva
el tiple, es de octavo tono.
which I think translates
Bass of the counterpoint. The treble part
carries the canto firmo. It is in the 8th tone.
Subject: [VIHUELA] Re: Capona?
How interesting. Any idea what:
of very bad circumstances
might mean? Or is it just meant to be suggestive of what 'decent' people
would not do. Or something to do with eunuchs?
It does indeed have something to do with eunuchs! As I understand it
Capona
Subject: [VIHUELA] Re: Capona?
On 09/12/2011 06:23, Rockford Mjos wrote:
I have added the score Capona Espagnola from the De Gallot Ms to
my Ning page. (I tried to also upload one by Valdambrini, but Ning
seems to be stubborn tonight.)
Ning indeed seems very stubborn tonight.
Subject: [VIHUELA] Re: Baxa de contrapunto
Baxa/Baja in Spanish can refer to the bass part.
Are you sure of this, Monica? I'd rather think of a baxa danza, rather to
the part.
In Spanish you'd say commonly contrabaxo for the bass part...
It's actually baxo - Sanz refers to the bass
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, December 09, 2011 8:52 PM
Subject: [VIHUELA] Capona Espagnola (Gallot)
About the Capona, Monica says:
Apparently it is a characteristic of the Capona that it divides
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, December 09, 2011 9:11 PM
Subject: Re: [VIHUELA] Re: Capona?
Exactly! I think this present day obsession with the idea
- Original Message -
From: Nelson, Jocelyn
To: Monica Hall
Cc: Vihuelalist
Sent: Saturday, December 10, 2011 4:25 PM
Subject: Re: [VIHUELA] Santiago de Murcia
Hi Monica,
You’re not getting old, you’re getting wise : )
Thank you for those kind words!
But are we sure Santiago de
What I was commenting on is the way the singers interpret the text.
Monica
- Original Message -
From: wikla wi...@cs.helsinki.fi
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Nelson, Jocelyn nels...@ecu.edu; Vihuelalist
vihuela@cs.dartmouth.edu
Sent: Saturday, December 10, 2011 9:46 PM
I think Oliver Strunk is wrong. I have read the relevant passages in
Agazzari and according to my notes the instrument in question is referred
to as a chitarrina.
That said I don't think that you can make a clear distinction simply on the
basis of variant spelling.
What Agazzarri says is
A pandora is a lute shaped wire-strung instrument. It is one of the
instruments which forms part of the broken consort for which Morley et al
composed music.
Monica
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Stuart Walsh s.wa...@ntlworld.com
Cc:
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Lex Eisenhardt eisenha...@planet.nl; Vihuelalist
vihuela@cs.dartmouth.edu
Sent: Sunday, December 11, 2011 6:59 PM
Subject: Re: [VIHUELA] Re: Agazzari guitar [was Re: Capona
When it comes to plucked stringed instruments that is certainly true.
Monica
- Original Message -
From: wikla wi...@cs.helsinki.fi
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Lex Eisenhardt eisenha...@planet.nl; Vihuelalist
vihuela@cs.dartmouth.edu
Sent: Sunday, December 11, 2011 7:07
We seem to have got a bit at cross purposes here - at least I have.
Agazzari's book was printed in 1607 as far as I am aware. Only one year
after Montesardo. Foscarini's book in mixed style was printed in about
1630 and the version of which includes the continuo instructions was printed
in
assume that the term chitarra refers to the 5-course
guitar.
As ever
Monica
Original Message -
From: Monica Hall [1]mjlh...@tiscali.co.uk
To: Martyn Hodgson [2]hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist [3]vihuela@cs.dartmouth.edu
Sent: Monday, December 12, 2011 4
Subject: Re: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
invention.
And then there is the buttafuoco. These odd little instruments pop up from
time to time and then pop down again.
Monica
Original Message -
From: Monica Hall[1]mjlh...@tiscali.co.uk
To: Martyn Hodgson[2]hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist[3
From: Monica Hall mjlh...@tiscali.co.uk
To: Lex Eisenhardt eisenha...@planet.nl
Sent: Tuesday, December 13, 2011 2:14 PM
Subject: Re: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
Maybe my comments were a bit cryptic.
Yes - I see what you mean now
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Vihuelalist vihuela@cs.dartmouth.edu; Monica Hall
mjlh...@tiscali.co.uk
Sent: Tuesday, December 13, 2011 10:18 AM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari guitar
[was Re: Capona?]}
But why you suppose
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Vihuelalist vihuela@cs.dartmouth.edu; Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Sent: Tuesday, December 13, 2011 10:53 AM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari guitar
[was Re: Capona?]}
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, December 04, 2011 9:07 PM
Subject: [VIHUELA] Gloomy day, nice sunset, 17th century minimalism,
Playford tune
The piece 'Bobel' is in Princess Anne's 'lute' book and I
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, December 14, 2011 8:51 AM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari guitar
[was Re: Capona
Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 14 December, 2011, 8:51
Agazzari was working in Rome
- 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
' - if imperfect.
It may be a valid realization depending on the way you chose to define
realization but it is not a realization of the bass line.
Regards
Monica
.
--- On Thu, 15/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA
- 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
question: {was: Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Monica Hall
mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Friday, 16 December, 2011, 14:08
I thought one of the significant points of the period was a transition
as basso continuo {was: Return
to earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Monica Hall mjlh...@tiscali.co.uk, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Saturday, 17 December, 2011, 8:58
Dear Martyn
when performing them.. or do
you?
As ever
Monica
rgds
M
--- On Sat, 17/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Strumming as basso continuo {was: Return
to earlier question: {was: Agazzari guitar
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
?
Regards
Monica
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Vihuelalist vihuela@cs.dartmouth.edu
Cc: Monica Hall mjlh...@tiscali.co.uk
Sent: Sunday, December 18, 2011 10:07 AM
Subject: [VIHUELA] PROTOCOL OF EMAILS (again...)
I much prefer to have
All this is very interesting. I couldn't actually track down the song.
Which of Caccini's books is it in?
I had never realized that the mighty theorbo had problems reproducing the
bass line! But from what you say it seems that it is the same as on the
guitar. The lowest note is A with a
if only that was). Of course, as
already pointed out, the converse is not the case.
regards
Martyn
--- On Sun, 18/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier
Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, December 18, 2011 3:33 PM
Subject: [VIHUELA] Re: Caccini's instrument
- Original Message -
From: Monica Hall mjlh...@tiscali.co.uk
So far no-one has told me where I can find the song in question.
Monica
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: R. Mattes r...@mh-freiburg.de
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, December 18, 2011 7:51 PM
Subject: [VIHUELA] Re: Caccini's
Priase God for the voice of common sense.
Monica
- Original Message -
From: Stewart McCoy lu...@tiscali.co.uk
To: Vihuela List vihuela@cs.dartmouth.edu
Sent: Sunday, December 18, 2011 9:22 PM
Subject: [VIHUELA] Caccini's instrument
Dear Lex,
There is nothing wrong with the bass
bass, so
major/minor and 6/3-5/3 discrepancies would have been inevitable.
Best wishes,
Stewart McCoy.
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Monica Hall
Sent: 18 December 2011 12:37
To: Chris Despopoulos
Cc: Vihuelalist
Subject
It may be that he has simply notated the music in a non-specific way so that
it is suitable for performance by different instruments. It is left to
players to make the necessary adjustments depending on the instrument they
chose for the accompaniment. If we are talking about the 1601 book,
Of Monica Hall
Sent: 18 December 2011 21:40
To: Stewart McCoy
Cc: Vihuelalist
Subject: [VIHUELA] Re: Strumming as basso continuo
That's interesting - but surely a competant cittern player
would not play them as writen but would correct them?
The point I was
making is that - yes - the chords have been
But on the guitar (in alfabeto) you don't really raise basses to other
octaves, as 'parts' are mixed up all the time. What would be an exception
on a bass instrument (theorbo) is ubiquitous in guitar accompaniment. That
seems an essential
difference.
I think that the essential difference is
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