Gracias Alfonso,

I'm afraid you've got me wrong here.
I'm not interested in learning positions only, as I haven't done that either 
playing XVI th century music.
I was wondering if some fellow player has done a systematic work writing 
down things in a practical way.
As you may know, jazz players do take care of voice leading too, in a 
different way. It is not about playing a chord here or there according to 
their will. In that respect there're a few common elements.

As you may have read, I'm only interested in a certain repertoire, and I do 
not expect to become a continuo player in the next future.
I'm involved with other repertoires, but I thought it would be good to get 
familiar with this sort of things too.
I'm familiar with g' tunning, know where the notes are, know how things 
occur in counterpoint terms, so theorbo or guitar I'm afraid I'll keep them 
aside.

In any case, thanks for your comments. I'll see if I get along with it.

Salud,

Ariel.



> Dear Ariel,
>
> I think that you starting up from a wrong concept. Playing continuo  is 
> not about learning positions for chords but reading a bass and  adding the 
> right harmonies to it as a result of counterpoint and  correct voice 
> leading. If you think in "chords positions" like jazz  players do,  you 
> are going to create poor voice-leading and many  parallel harmonies. You 
> will have to be able to develop a very good  sense of harmony for each 
> time and style. Learn early Baroque harmony  and counterpoint to start 
> with (very much different than the  "standard" xviii century harmony we 
> learn in the conservatory) and  then apply this knowledge to find the 
> right connexions of chords  indicated by the bass (and cyphers when 
> present). That is the way to  go. With time it will come automatically. 
> Playing continuo on the  lute, archlute or theorbo is a very different 
> matter as playing  chords in baroque guitar style.
> I wish you lots of success in your new endeavor,
> Many greetings,
>
> Alfonso
>
> 



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