Perhaps that is a better term, but some basso sequente parts do not
double the treble.
In addition, colla parte is a style of continuo playing, whereas some
seguente parts can also be simply composite bass parts. The famous
resolution of Palestrina's works by organ would fall more into a colla
parte style, or even "short score", but for renaissance music short
score is not as persuasive as full parts, whereas in Handel it is
necessary.
If there is a technical term for "figured upper parts", that would be
great, of course, perhaps basso seguente is a better fit, however those
really high parts would not be practical on a bass instrument (not so
high parts could be doubled on a five string cello, but the sound is
not always persuasive). Therfore they are not "basso". And, since these
cases explicitly introduce new material, they are not exactly
"seguente." (see below on barring as an alternate meaning for
"seguente") By that definition, one could refer to a Continuo part
itself as basso seguente, especially for bass sonatas. Some scholars
posit that there is no real difference historically for the early 17th
century (CF the Grove Article, by no means complete), but that is not
how we use the terms now. Later music, such as Handel, is of course
different.
However, we use the term slightly differently than Banchieri, and even
Banchieri uses different terms, such as barittono. According to the
"unbarred" definition of basso seguente, much later music would not be
so defined, but the term is historically specific to older music, as
opposed to basetto. The barring question may of course refer obliquely
to the absence of rests, and my reading of the Cartela rests on my
limited grasp of idiomatic Italian.
The fundamental question remains, however, as to what to do with the
figures, since they are not always doubled by parts.
dt
At 06:11 AM 10/30/2008, you wrote:
You seem to be describing a "basso seguente."
=====AJN (Boston, Mass.)=====
This week's free download from Classical Music Library is
Stravinsky's
Chamber Concerto in E flat (Dumbarton Oaks), performed by the
Orchestre Philharmonique des Pays de Loire; Marc
Soustrot, conductor.
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