That is all perfectly clear - but has absolutely nothing to do with playing
an alfabeto accompaniment - because the guitar is not going to try and
reproduce the bass part in any way.
You seem to be me to be confusing two unrelated sets of circumstances.
Monica
----- Original Message -----
From: "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk>
To: "Lex Eisenhardt" <eisenha...@planet.nl>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Sent: Saturday, December 17, 2011 11:47 AM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question: {was: Agazzari guitar [was Re: Capona?]}
Dear Lex,
A particular commonly occurring situation requiring the bass line to be
realised on the theorbo higher than the upper melodic line is where the
tenor sings a notated e' (ie that on the lowest line of treble clef)
but sounding an octave lower (ie the e in the bass clef) and the BC
line has a low G# 6 (ie on bottom line of bass clef). If G natural is
also frequently required in the piece (as often found) then on
a theorbo in A (with 6 fingered courses as most usual historically)
there is no low G# and the player is obliged to take the bass an octave
higher - ie top space of the bass clef and thus higher than the
singer's note. The situation is much the same where the tenor has a d
and the theorbo BC is obliged to take a f# in the bass.
Other types of specific examples include Caccini's 'Reggami per pieta'
where the singer has a low F# which has to be played by the BC an
octave higher since there are necessary low F naturals elsewhere in the
piece.
Chromatic notes are solved in the same way: by putting odd notes (or
even an entire passage) up an octave - see Ballard 'Methode pour
apprendre.... theorbe' (1660) page 10 especially which gives examples
in staff notation and in tablature showing the necessary octave
transposition for chromatic notes.
rgds
Martyn
--- On Sat, 17/12/11, Lex Eisenhardt <eisenha...@planet.nl> wrote:
From: Lex Eisenhardt <eisenha...@planet.nl>
Subject: Re: [VIHUELA] Re: Strumming 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,
Is there evidence for raising the bass on the theorbo, to even above
the
other voices? I understand that chromatic notes in the bass can be a
problem, but do we know how they solved that?
Lex
ps could you please stop sending the whole thread of the discussion
together
with your newest posts?
----- Original Message -----
From: "Martyn Hodgson" <[1]hodgsonmar...@yahoo.co.uk>
To: "Monica Hall" <[2]mjlh...@tiscali.co.uk>
Cc: "Vihuelalist" <[3]vihuela@cs.dartmouth.edu>
Sent: Saturday, December 17, 2011 9:46 AM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier
question: {was: Agazzari guitar [was Re: Capona?]}
>
> Thanks Monica,
>
> But I still don't see, and you don't explain, how other changes
(such
> as raising the bass an octave in a theorbo realisation) differs
> substantially from doing the same sort of thing on the guitar
>
> As said, maybe we just have to agree to disagree......
>
> rgds
>
> Martyn
--
References
1.
http://us.mc817.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
2. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
3. http://us.mc817.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
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