There are many examples of figures which do not
double any of the voices. This means that they
were either played or ignored, by they are not "kibitzing" figures.
These additional figures also fall into several
categories. Some of these imply, by there shape
and structure, additional melodic lines. Others,
which are more complex, reveal fully structured chordal progressions.
Since these figures do not double the other
parts--and, if you think about it, how could they
in a fugal allegro where only one part is playing
in the beginning--I cannot think of a way NOT to
play them that would justify their inclusion.
In my own group, we normally play these pieces on
the organ, the figures appear therefore in the
organ. However, I have on occasion played them on
the archlute. You can certainly argue that many
of these high figures are not lutelike, but they
exist and should be played--or ignored, that is
an aesthetic choice, oi course. Sometimes we
say--I know these upper parts are figured with
unique harmonies, but I don't like the sound.
Example--I just now played a Legrenzi piece with
undoubled figures, Sonata quarta, m77. Hey, there
is a figure for the the seguente part doubling
the viola. However, there are thousands of
examples, from all periods, all parts. Another
famous "naked" figure--this time over the
bass--is from the beginning of the second
movement of the opening of Corelli's Christmas
concerto. When we see all of these types of
figures in the bass part--where they seem
"normal--a brief extra part, so to speak, we then
see them in the Solo cello parts, then in the
basso seguente parts for viola, then the basso
seguente for second and first violins. These
figures paint a complete and compelling picture
of harmonization practices of the time, replete
with sevenths. The examples are far too numerous
and complete to ignore, and they appear in music from all countries as well.
Similarly, on a smaller scale, are the numerous
and highly structured examples of figured rests.
dt
At 03:37 AM 10/30/2008, you wrote:
On Thu, Oct 30, 2008 at 11:30 AM, "Mathias Rösel"
<[EMAIL PROTECTED]> wrote:
> "David Tayler" <[EMAIL PROTECTED]> schrieb:
>> We know that continuo players often played with the treble players
>> before the bass entrance because of the many examples of figures in
>> the colla parte parts.
>
> How will you know what they actually did? That aside, colla parte means
> colla parte, i. e. you play with the others' parts. That's not exactly
> continuo, I should say.
The figures in these openings tend to be very precicely decribing what
the voices above are doing. So it's not continuo as in 'play what you
like within these figures', but a shorthand for the voice leading of
the upper voices. That's how I interpret them, anyway. Don't mess too
much in openings of fugues, is my motto.
David
--
*******************************
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
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