Correct according to what reference. The fact that you constantly refer to
"inversions" of chords indicates that you think in terms of 19ct. harmony.
There are different ways of referring to these things, and different ways of
trying to explain to other people what you mean in a way that they will
understand.
in consonant movements. So, a dissonance needs to be properly prepared as
well as properly resolved.
I am well aware of this and all the parts in my example are prepared and
resolved correctly according to the rules of counterpoint.
Your 7th in measure 4 just dissapears.
No it doesn't. It moves via the G to the E in the final chord - a perfectly
acceptable resolution F G E. It doesn't have to fall immediately - it
can make a melodic detour to another note in the chord en route.
And the 5 of the <56> over f in measure 3 is considered a dissonance and
needs to resolve as well (all resolutions must progress downwards).
Which it does at the cadence - it is repeated and becomes a suspended 4th
over the G in
the
bass and then falls to B natural at the cadence. Its resolution is simply
delayed.Otherwise the suspended
4th will be unprepared.
The point at issue is - what is
the first chord you would play in the penultimate bar over the G in the
bass?
Given just the top and the bass. I'd boldly assume an error and play
a hemiola: half note eb, half note f, half note g.
When I suggested that - I was told that this was trying to iron out things
in a Victorian manner! Among other derogatory things! That the combination
of an F
major chord over G in
the bass was typcial of the style! Can't win obviously.
There is no "dominant" in the style. And the sevens over the first note
of a falling 5th in the bass typically appears as a passing note 8-7.
But in this instance the F in the voice part appears out of the blue.
There is no falling 5th in the bass.
I did :-) And I don't understand your edition.
Perhaps you need to go back to school and learn some more counterpoint.
What's that (editorial)
e-natural doing over an a flat in the continuo? Pretty much out of mode
here.
The original has only one flat in the key signature. In the original flats
have been added to the semibreves but not to the passing crotchet.
Arguably according to the rules of musica ficta it could rise a semitone
rather than a tone. It is complicated by the fact that the last phrase is
unbarred and accidentals are not usually cancelled. The editorial brackets
are there
to indicate uncertainty.
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.
The second one is so far of any compositional conventions of the 17
century
(harmonic speed, thesis/arsis placement of harmonic changes etc.) that I
won't comment on it.
Well I am glad you think so - because the reason for all this is because it
was being suggested that an F major chord should be played over the bass
note G - a proposition which I think is unlikely. It just goes to
show that no-one really knows what the compositional conventions of 17th
century really were.
Cheers
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
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
