Hoi Taco
In this context it's nice to citate Aggazzari (1607):
'If one had to intabulate or to write a partition for all the works which
are
performed during a year in only one church in Rome: a professional
organist
would need to have a bigger library than a lawyer has.'
Indeed. And how
On Saturday 27 March 2004 18:31, LGS-Europe wrote:
Just think of intabulating a continuo part for Messiah, Purcell's Dido, St.
John and Matthew Passion, Maria Vespers, to name just the bigger works I've
recently had to play.
David
In this context it's nice to citate Aggazzari (1607):
'If
Dear All,
I have recently acquired Nigel North's book on continuo. I'm not far
through it yet, but he's made a statement in the second chapter that I'd
like to ask you all about. He suggests that a continuo player read standard
notation for the theorbo (archlute, etc.) rather than tablature.
Craig,
When I began playing theorbo two years ago, I immediately began reading
directly from bass lines, sometimes figured, sometimes not. I have
intabulated some chords and embellishments from time to time if I find
something special I don't want to forget, but for the most part I prefer
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
I am curious then as to your opinions on this particular suggestion of Mr.
North's. Do you continuo players read tablature or standard notation? Is
this suggestion only related to later period musical styles (17th - 18th c.
versus late 16th c.)?
The only intabulated continuo I know of is a collection of lute parts
for arias by Hasse, called *14 Stueck Hassische Opern Arien* (from
Cleofide), preserved in Leipzig (Mus. ms. III.11.46a). It has been
written for 13c D minor lute. The 1st course is used, so, it is probably
not intended for the
To:
[EMAIL PROTECTED]
cc:
03/27/2004 08:22 Subject: Continuing
Continuo
AM
Dear All,
I have recently acquired Nigel North's book on continuo. I'm not far
On Saturday, March 27, 2004, at 08:22 AM, [EMAIL PROTECTED] wrote:
I am curious then as to your opinions on this particular suggestion of
Mr.
North's. Do you continuo players read tablature or standard notation?
Is
this suggestion only related to later period musical styles (17th -
18th
I am curious then as to your opinions on this particular suggestion of Mr.
North's. Do you continuo players read tablature or standard notation?
'Standard' continuo notation, if there is such a thing. Whatever I find on
my music stand, basically: (un)figured bass, written out piano/organ
Dear David and all
On Sat, 27 Mar 2004, David Rastall wrote:
Your intabulations may not work when you finally sit down with the rest
of the ensemble: I think there needs to be a feeling of freedom to the
continuo part which can be lost when one is relying on a fully
written-out
different, etc. And playing continuo is demanding and very fun!
(Roman said he likes to row his lonely boat by himself. I prefer
the great vessel of chamber music... :-)
Arto
Being in the spotlight (even of one's own room) carries considerable
responsibility. It is not for everyone.
RT
Thank you all who answered this question. I can see that Nigel North is
going to be a good starting point for me to learn the intricacies of
continuo, but it will certainly not be the end of the journey.
Regards,
Craig
Roman Turovsky at [EMAIL PROTECTED] wrote:
However what I meant wasn't his
personality, but how much he euphoniously deviated from the rest of the
band.
I wasn't referring to his personality either.
]
Subject: Re: Continuing Continuo
03/27/2004 11:59
AM
However what I meant wasn't his
personality, but how much he euphoniously deviated from the rest of the
band.
I wasn't referring to his personality either.
Ah...
RT
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