There are no figures in the original - these are added by me to define the
harmony and they are correct. (The programme I use won't put them one on top
of the other). The voice part and bass part are as in the original.
The point at issue is - what is
the first chord you would play in the penultimate bar over the G in the
bass? The C and F in the voice part are the dominant 7th and the suspended
4th held over from the previous 6/5 chord - and the D is also held over from
the previous chord and becomes part of the next chord the dominant chord.
You need to play the two examples to understand how they work. I think the
first is more likely than the second but you could hold the whole of the D
minor chord over the G and resolve each separate note one by one as in the
second version.
Monica
----- Original Message -----
From: "R. Mattes" <r...@mh-freiburg.de>
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 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.
Hello,
where do these figurs come from - the original print? This looks
like Edward Elgar on mind-altering drugs. If this is Marini that
man should have taken some introductory counterpoint class :-)
Cheers, RalfD
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
