"Arthur Ness" <[EMAIL PROTECTED]> schrieb: > Actually Gianconcelli uses both the broken chord and division types. Using > the examples in Chilesotti, the Spezzate in the [partitas] on pages 13 and 17 > of the tablaturebook are the division type,and on pages 17 (2nd one) and 40 > the brise type.
Cannot see the difference. Are we talking about the same dances? Gagliarda (p. 13), corente (p. 17) and another corente (p. 40)? BTW, I don't have Chilesotti at hand, but in the S.P.E.S. facsimile there is no second spezzata on p. 17. I couldn't find any dance with two spezzate in Gianoncelli. > I tend to think of divisions as being linear variation with many notes added > to the melody to ornament it. The melody is _divided_ into many equal short > notes, as you nicely put it. In divisions, if there are broken chords, they > follow the same pattern, 1-2-3/1-2-3. If, that is. Mostly, divisions are made upon the treble line with some rare bass notes put in between. That is the case from Newsidler's Ander Buch fur die erfahrnen Schuler up to John Johnson and John Dowland. In this sense, I shouldn't say that Gianoncelli's are divisions. In his spezzate, both the bass and the treble lines are there, one interspersed among the other. Another feature of divisions is the wide range of different note lengths. With divisions of the Dowland era, simples may consist of minims and crotchets, whereas the respective divisions will consist of quavers, semi- and even demiquavers. In contrast to that, Gianoncelli's spezzate are evenly flowing streams of quavers. > It is how the chords are broken up that causes the melody to be off the beat > most of the time. > I think we're both saying the same thing using a different vocabulary. well, closely, yes. But in this case, description has an immediate impact on performance, the difference will be audible. Players who take French baroque lute music to be broken chords, will play them as such. (I shall drop none of the fab names here.) In contrast, players who perceive the same stuff as broken voices, will play it as such. Can't resist to name Catherine Liddell. IMHO, once you've recognized voices, playing broken chords doesn't make sense any more. All the best, Mathias -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
