Thanks for this Howard,
Yes, but I'm not saying he never uses the first course but generally steers
clear of it: all those frets f, h etc on the second course and whole pieces
with nothing or just the odd note on the first course eg bar 3 of the same
piece - this is typical small theorbo (ie with just first course down the
octave) writing. Also his substantial tables of chords avoids the first course
except in the very occassional instance where he plays the middle notes of his
usual three note chords on the first course - where this occurs you'll note he
leaves off playing the middle note on the lower course, as in the extract below
1st course a a a a
2 a
3 d d d d c d e e e e e
etc................
4 b c d e b c d e
5 d d d d d d d d d d d d
6
Regarding the extract you highlighted below: you could as well say the notes of
fret c and a on the first course sound an octave lower and are thus a
continuation of the middle line which previously was fret c on the 4th course
and afterwards fret a on the third - the previous c on the 2nd course would be
held on over the bar to complete the strict part writing
A similar style of harmonic and rythically complex polyphonic writing is found
in the few extant works by Cuthbert Hely (in Lord H's LB) from the immediate
earlier generation. Hely writes for the lute proper (10 course) and it's
interesting that he does not studiously seek to avoid the first course as
Wilson.
Having said all this, I'm quite willing to accept the music is for a 12 course
lute but simply don't think that the case is proved - in my view the weight of
evidence favours the small theorbo (English I presume).
Finally, I'm as readily willing to accept that voice leading in this repertoire
can jump the octave (as on the guitar; also see earlier discussions on Pittoni
and the chimera of a 2nd course at both the upper and lower octave put forward
by some to explain P's 'disjointed' part writing).
rgds
Martyn
Howard Posner <[EMAIL PROTECTED]> wrote:
Martyn Hodgson wrote:
> I'm interested that you refer to the instrument as a lute (as does
> Spring) whereas I had always supposed it was written for the theorbo
> with only the first course an octave down from normal. This from
> internal evidence of the tablatures (including the song
> accompaniements) which show a marked aversion to using the first
> course.
It's more complicated than that. Look at the eighth measure in #9, Ms
page 5.
HP
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