On Oct 17, 2012, at 4:17 AM, Monica Hall <[email protected]> wrote:
> There is also the article by John Hill in Early Music, Vol. 11, no. 2, April > 1983, p. 194-208 which does mention the possible influence of the guitar on > the lute - > > "Realized continuo accompaniments from Florence c.1600". > > I am not sure if it is available on line unless you have a subscription. or a pdf. Here's the passage Monica is probably thinking of, from page 202-203. It refers to illustrations I'm not trying to include: The keyboard harmonizations are really no more elaborate than those for archlute, except that the vocal melody included in them contains some ornamentation, as in 0 miei giorni fugaci. It is primarily only the inclusion of the bass part and some variety of chord voicing that distinguishes the archlute accompaniments from the strummed, rasgueado guitar accompaniments to monodies, which have recently been studied by Robert Strizich.24 As with the guitar accompaniments, these archlute realizations show very little concern about giving the upper line a distinct melodic shape. Indeed many of them are as disjunct as the two versions of Udite, udite amanti given here. In general, ease of fingering and fullness of sonority seem to have weighed more than smoothness of line in the judgement of these Florentine musicians. A simple, chordal texture, free of the counterpoint that Vincenzo Galilei maligned for obscuring the text and free of rhythmic complication that might inhibit the singer'ssprezzatura (rhythmic freedom), was their ideal. Parallelisms No modern editor would dare to write the parallel 5ths and octaves that confront us in the first two bars of Tamo mia vita or in 0 rnieigiomi fugaci, bar 6. Yet these parallelisms are found frequently in nearly every one of these Florentine realizations, whether for archlute or keyboard. It is often overlooked that even Viadana. the church musician. wrote, in 1602. 'The organ part is never under any obligation to avoid two Sths or two octave^'.'^ Guidotti. in his preface to Cavalieri's Rappresentazione di anima et di cop0 (Rome. 1 600), says 'two Sths are taken as occasion demands'. Caccini in his preface to Euridice (Florence, I6OO), writes 'I have not avoided the succession of two octaves or two 5th~'. Vincenzo Galilei, in his Dialogo of 158 1 ,26 had advised them all that two or more perfect consonances consecutively are to be allowed when three or more parts are sounding, advice upon which he elaborates in a treatise of c1590 in this way: 'The law of modern contrapuntists that prohibits the use of two octaves or two 5ths is a law truly contrary to every natural law of singing [solo song^].'^' -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
