I don't have this work either - I think.......
And I'm not quite sure what you mean in the page 6-7 example. But
doesn't the use of higher positions suggest a re-entrant (single or
double) tuning rather than the reverse, since it still allows for some
harmony to be played above the bass line? Or maybe I've misunderstood
the example.
I don't understand the page 52 example - sorry.
Martyn
__________________________________________________________________
From: Monica Hall <[email protected]>
To: Lutelist <[email protected]>
Sent: Sunday, 23 February 2014, 16:00
Subject: [LUTE] Bartolotti's continuo treatise
Does anyone have a copy of Bartolotti's continuo treatise - Table pour
apprendre a toucher le theorbe sur la basse continuo (1669). I haven't
been
able to trace one online.
Someone queried with me this recent suggestion that the exercises are
not
intended for a theorbo with a double re-entrant tuning. He gave me two
specific examples ...
Page 6-7 shows him playing the the dessus going up the neck and
shifting to
the 5th fret position, which would be very unnecessary having a
no-reentrant
tuning.
Page 52 shows Bartolotti changing the voice leading down an octave, and
than re-striking the dissonance and resolution in the new lower octave,
which
only makes sense on a double-reentrant instrument.
I suspect Bartolotti is just inconsistent but I wonder if anyone else
has
played through all the exercises and could comment.
Monica
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