Monica, Further to the below, grtfl if you cld respond to my earlier message on precisely this matter: I'm not always convinced by yr procrustean analysis. rgds Martyn
Monica Hall <[EMAIL PROTECTED]> wrote: > Then Corbetta is to blame, he does that sort of thing all the time. Not Corbetta - You! Alfabeto chords do not have a functional bass note - or rather they are all in root position. This is simply an F minor chord. > > Indeed unsatisfactory. But where is the d from the fourth course going? No > proper part writing. With the re-entrant tuning the whole lot resolves on a single C sounding in the upper octave. Violinists have a nasty habit of resolving a whole lot of harmony onto a single note in the wrong register. It comes with the territory. We're talking about the battuto-pizzicato style, full > of inconsistencies. Wasn't it the supposed charm of the five course guitar > that we do not always get what we expect? That is exactly why you can't prove that one method of stringing rather than another is intended. You should bear in mind that with octave stringing the notes on the 4th course in bar 3, and the last 4 bars will sound and be heard clearly an octave higher - producing a completely different treble part from what you would imagine just looking at the tablature - or at Richard Pinnell's transcription. > Who is asking for a 'correct' bass line? I thought you didn't believe that > such a phenomenon is part of the style of the baroque guitar? I said it could be in the tenor register and doesn't have to be continuous. A kind of Ghost in the Machine. Or Deus ex machina. Monica To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --------------------------------- Yahoo! Messenger NEW - crystal clear PC to PC calling worldwide with voicemail --
