Whether the music they played is "sophisticated" enough for anyone's taste
is irrelevant: as a resource, it reflects some 17th century musicians'
ability to recognize that identical groups of notes resulted in
functionally identical vertical sonorities independent of octave placement
or voice leading. In other words, they knew a Cm7 chord was a Cmin7 chord
whether it had a C, an E-flat, a G or a B-flat under it. Quite
sophisticated thinking, actually.
Yes indeed that is so and it is something which certainly should not be
overlooked. As early as 1596 Amat explains that the 5-part guitar chords
consist of a root, third and fifth and that it does not matter which order
the notes are played they are still the same chords....
And there is no reason why when strumming an accompaniment the bass line
should be reproduced at all or the chords played in any particular
inversion. It is perfectly acceptable way of providing an accompaniment
and only narrow-minded 21st century pedants would think otherwise. They
are simply judging things according to an inappropriate set of criteria.
Monica
> Do yo uthink that the lower vocal part is also
meant as a BC part? This is a vocal duo with written out theorbo
accompaniment. The theorbo bass voice is an independent voice.
Whether the bass is sung or not is irrelevant because the part in bass
clef functions as the continuo line. The theorbo bass is definitely not
"an independent voice" since 99% of the time Castaldi reproduces the line
of the basso exactly, an octave lower. Castaldi only deviates from the
mensural bass for reasons specific to the theorbo, like when he couldn't
play the expected low F#. His solution demonstrates the types of options
that a 17th musician felt were valid.
Chris
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com
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