Frank Nordberg wrote:
> I just couldn't resist the challenge. > > Here's one of Oswald's seasonal airs with a continuo part for the > English guittar: > http://www.musicaviva.com/ranunculus-eng.pdf > What a piece of work... thanks for posting this! My immediate thought is that genuine 18th c English guittar pieces seem to major on adjacent courses (double-stop type chords) and throw in bass notes singly and rarely - while your realisation uses a lot of chords on say courses 6-4-2 in unison calling for a PIM pinch not often seen in other guittar music and better suited to the flat fretboard and bridge of a normal (baroque etc) guitar. The close harmony of adjacent courses does of course work better for solo playing. What you've written here is not unlike my own regular approach to accompanying Scottish tunes on modern guitar, and I have never tried the same on guittar, waldzither or my major-triad tuned cittern. To many shifts around for me. I like to keep things anchored and just sort of roll around the frets on changing pivotal fingertips to find the notes! However, I have flute and fiddle players to hand quite readily, main problem is the best players don't read music (seriously - they are traditional players and have done it by ear and sitting in). I might see if anyone is interested! David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
