But it is a double or triple canon surely with the high and low vocies
alternating and all six voices coming together in the last phrase. I
believe this is very common in late 16th century sacred polyphony e.g.
Victoria often does this in the last phrase of the Agnus Dei. Whether the
This is the sort of thing organists would have intabulated (i.e. made a reduced
score that roughly doubles the voices in a simplified way). An older, but still
valuable summary article is Imogene Horsley's Full and Short Scores in the
Accompaniment of Italian Church Music in the Early Baroque
On 2014-12-30 9:27 AM, Christopher Wilke wrote:
The Kurtzman edition of the Vespers includes a keyboard realization in this
style that may (or may not) serve as a
I've found most keyboard realizations useless for lute. The way
keyboards play chords is completely different from the way lutes
On Dec 29, 2014, at 11:20 PM, David van Ooijen davidvanooi...@gmail.com wrote:
Usually I'm tacet there, but the occasional conductor does asks for uncle
Theo.
And does that include avuncular accompaniment in the parts that are for higher
voices only?
To get on or off this list see list
Herb:
No, it cannot be summarized briefly.
Would you care to narrow the focus of your question a bit?
Daniel
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Herbert Ward
Sent: 29 December, 2014 23:15
To: lute@cs.dartmouth.edu
Subject:
Dear Herbert,
there were no early music performances in those days, and so there was
no Catholic or Protestant support to these in your 1520-1648. So it was
not possible to support any historical performance either.
Perhaps you could clear your question?
Arto
On 31/12/14 02:58, Daniel F.
