[LUTE] Re: Continuo (defined)

Let's say: Bass line and chords played by guitars or keyboards. I hate to see Stage Pianos excluded from the continuo gig :) On 12.09.19 23:28, Howard Posner wrote: The rhythm guitar and bass Sent from my iPhone On Sep 12, 2019, at 14:02, Leonard Williams wrote: If one is trying to

[LUTE] Re: Continuo (defined)

The rhythm guitar and bass Sent from my iPhone > On Sep 12, 2019, at 14:02, Leonard Williams > wrote: > > If one is trying to explain the concept of continuo on theorbo to a > non-early music person, would it be safe to compare it to the rhythm > guitarist in a modern band? > Leonard

[LUTE] Re: Continuo in D (renaissance tuning)?

Dear Jorg, I play continuo on theorbo and other plucked instruments and also employ the mandora/gallichon in nominal D tuning with a string length of 75cm (and also the large calchedon in nominal A tuning with sl 98cm) where the instrument is appropriate - ie mostly second to last

[LUTE] Re: Continuo in D (renaissance tuning)?

I do on occasion. I have a huge 10-course in D 78cm or something similar). Sometimes I chicken out and play transposed parts. If the D-lute stint is a bit longer I bite the bullet and play at pitch. Not so difficult (but I play easy continuo on it: early Italian music), no

[LUTE] Re: Continuo: Score vs Part; also Page-Turners

f > Of howard posner > Sent: Wednesday, March 15, 2017 9:17 AM > To: Lute List > Subject: [LUTE] Re: Continuo: Score vs Part; also Page-Turners > > It’s always nice to have the score, or the melodic line, in the continuo > part. I’ve done a lot of cutting and pasting

[LUTE] Re: Continuo: Score vs Part; also Page-Turners

Of howard posner Sent: Wednesday, March 15, 2017 9:17 AM To: Lute List Subject: [LUTE] Re: Continuo: Score vs Part; also Page-Turners It’s always nice to have the score, or the melodic line, in the continuo part. I’ve done a lot of cutting and pasting to avoid inconvenient page turns. > On Mar

[LUTE] Re: Continuo: Score vs Part; also Page-Turners

When accompanying a soloist, I prefer to see his/part. Otherwise bass part is more convenient. But I can live with either score or part. Recits are the exception: I want to read these along. David On Wed, 15 Mar 2017 at 17:19, howard posner <[1]howardpos...@ca.rr.com> wrote:

[LUTE] Re: Continuo: Score vs Part; also Page-Turners

It’s always nice to have the score, or the melodic line, in the continuo part. I’ve done a lot of cutting and pasting to avoid inconvenient page turns. > On Mar 15, 2017, at 6:25 AM, Edward Chrysogonus Yong > wrote: > > Dear Lutenetters who play basso continuo, > Is

[LUTE] Re: Continuo: Score vs Part; also Page-Turners

Hello Edward, There have been positive comments on this list about using a tablet and foot-operated page turner. I’m thinking adopting this solution when the next iPad Pro is released, which I believe will be within a few weeks. Miles > On Mar 15, 2017, at 9:25 AM, Edward Chrysogonus Yong

[BAROQUE-LUTE] Re: Continuo duets for two continuo instruments?

On Sun, 19 Jun 2011 23:53:54 +0300, wikla wrote Dear (continuo-)lutenists, there are (at least) two examples of duets for two continuo instruments - only the numbered bass line written - but meant to be played as otherwise all improvised duet. The one I remembered and also found in the

[LUTE] Re: Continuo and the Foscarini Experience

If you ever see, say, Guido Morini doing live continuo you'd realize that there are no generally acceptable limits for keyboard continuo practice. RT - Original Message - From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: Christopher Wilke chriswi...@yahoo.com Cc: Lutelist

[LUTE] Re: Continuo and the Foscarini Experience

Well by generally accepted I mean by the generality (ie for the most part) of keyboard players not necessarily all of them - and to be fair I did put in the rider that all was not perfect even in the harpsichord continuo world... MH --- On Fri, 1/4/11, Roman Turovsky

[LUTE] Re: Continuo and the Foscarini Experience

There seems to be no generally acceptable limits for keyboard continuo practice included in the curriculum of the Bologna conservatory, as evidenced by its graduates. RT - Original Message - From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: Christopher Wilke chriswi...@yahoo.com;

[LUTE] Re: Continuo and the Foscarini Experience

I think there may be a little confusion amongst the few recordings referenced here. Compared to Echo de Paris or Ensemble Kapsberger, The Foscarini Experience is downright tame in their interpretive approach to Foscarini. Where they've wandered is asserting a particular painting is known to

[LUTE] Re: Continuo and the Foscarini Experience

I think there may be a little confusion amongst the few recordings referenced here. Compared to Echo de Paris or Ensemble Kapsberger, The Foscarini Experience is downright tame in their interpretive approach to Foscarini. Where they've wandered is asserting a particular painting is known to

[LUTE] Re: Continuo and the Foscarini Experience

On a broader front - it troubles me that so many people - not just musicians - seem unable to make a clear distinction between fact and fiction. Both intellectually and morally I see this as a problem! -- Monica As a victim of unfortunate news concerning a concert mate [Three

[LUTE] Re: Continuo and the Foscarini Experience

Well, not only in keyboard continuo there shouldn't be no limits; also plucked continuo is free - the only limit is that when it is good (subjective!) it serves the the soloist/ensemble/orchestra/... And also serving is subjective. Of course usually mastering the style and conventions of the

[LUTE] Re: continuo figures

I guess everybody knows that, when Vivaldi was asked to add continuo figures to his work, he accepted, but added the comment per li coglioni, which is definitely not a nice way to define not experienced continuo players ;-) David Tayler on 05/09/10 21.11 wrote: I have pondered this

[LUTE] Re: Continuo

The Novello is the Dart Edition, I belive, which is not too bad, but has way too many page turns! There is, to my knowledge, no suitable modern edition, but the Bartlett has at least most of the original marks. And way less page turns. I did find the missing chacony, which is a very funny story.

[LUTE] Re: Continuo

Dear Bruno On Mon, Oct 26, 2009 at 5:02 AM, Bruno Correia bruno.l...@gmail.com wrote:   guitar) on Dido and Aeneas (Purcell). Unfortunately I received a full   score of the opera, which is very hard to acompany in this format. Is   there a version for bass and the top line? There's a King's

[LUTE] Re: Continuo

Get the Bartlett Edition.. Although it must be said that continuo is a cut and paste profession. dt At 09:02 PM 10/25/2009, you wrote: A quesion for continuo experts: I am about to play continuo (5 course guitar) on Dido and Aeneas (Purcell). Unfortunately I received a full score of

[LUTE] Re: Continuo

Ah! That's what I thought... Thanks. 2009/10/26 David Tayler [1]vidan...@sbcglobal.net Get the Bartlett Edition.. Although it must be said that continuo is a cut and paste profession. dt At 09:02 PM 10/25/2009, you wrote: A quesion for continuo

[LUTE] Re: Continuo

I'm using an edition by Novello. It might also give you a version that differs from the one that you will be performing. There are a some editorial choices/additions that are made in Dido; I didn't know there were numbers with guitars, nice to know. My decision to use

[LUTE] Re: Continuo

-company/ Best to all, jeff - Original Message - From: Bruno Correia bruno.l...@gmail.com To: List LUTELIST lute@cs.dartmouth.edu Sent: Monday, October 26, 2009 8:23 AM Subject: [LUTE] Re: Continuo I'm using an edition by Novello. It might also give you a version that differs

[LUTE] Re: Continuo

On Oct 25, 2009, at 9:02 PM, Bruno Correia wrote: Unfortunately I received a full score of the opera, which is very hard to acompany in this format. Is there a version for bass and the top line? That would save paper and make everything much easier (no page turns...). It might

[LUTE] Re: Continuo Question

We know that continuo players often played with the treble players before the bass entrance because of the many examples of figures in the colla parte parts. The figures show many things, but the two that jump out are first that these parts are not cues because they have figures, but also that

[LUTE] Re: Continuo Question

David Tayler [EMAIL PROTECTED] schrieb: We know that continuo players often played with the treble players before the bass entrance because of the many examples of figures in the colla parte parts. How will you know what they actually did? That aside, colla parte means colla parte, i. e. you

[LUTE] Re: Continuo Question

On Thu, Oct 30, 2008 at 11:30 AM, Mathias Rösel [EMAIL PROTECTED] wrote: David Tayler [EMAIL PROTECTED] schrieb: We know that continuo players often played with the treble players before the bass entrance because of the many examples of figures in the colla parte parts. How will you know

[LUTE] Re: [LUTE] Re: Continuo Question

David van Ooijen [EMAIL PROTECTED] scripsit The figures in these openings tend to be very precicely decribing what the voices above are doing. So it's not continuo as in 'play what you like within these figures', but a shorthand for the voice leading of the upper voices.

[LUTE] Re: Continuo Question

Tayler [EMAIL PROTECTED] To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Thursday, October 30, 2008 5:10 AM Subject: [LUTE] Re: Continuo Question We know that continuo players often played with the treble players before the bass entrance because of the many examples of figures in the colla

[LUTE] Re: Continuo Question

There are many examples of figures which do not double any of the voices. This means that they were either played or ignored, by they are not kibitzing figures. These additional figures also fall into several categories. Some of these imply, by there shape and structure, additional melodic

[LUTE] Re: Continuo Question

Perhaps that is a better term, but some basso sequente parts do not double the treble. In addition, colla parte is a style of continuo playing, whereas some seguente parts can also be simply composite bass parts. The famous resolution of Palestrina's works by organ would fall more

[LUTE] Re: Continuo Question

To all: We just want to let everyone know that our Christmas CD is now available. It can be found on Amazon (where they are still showing it out of stock), or CD Baby [1]http://cdbaby.com/cd/mignarda4. Of course, it's also available from us [2]http://www.mignarda.com/cds/

[LUTE] Re: Continuo Question

David, Matthias, Roman, thanks for your input on my continuo question. Best, Davidr [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Continuo Question

David Rastall [EMAIL PROTECTED] schrieb: What's up guys, Continuo question: how do you play basso continuo in a fugue, where the voices are played one-on-a-part? My problem is I don't know what to do with the places in the music where the bass is not playing. Any suggestions? Not that

[LUTE] Re: Continuo Question

There is no easy answer. You can play colla parte, or course, the ultimate challenge for any lute music, or double the lower voices, or you can just figure it. If it is a later Baroque piece, there will many interlocking 7ths and 9ths, and in these cases I often will play the sevenths so that

[BAROQUE-LUTE] Re: continuo playing in Germany

On Apr 17, 2008, at 11:05 AM, Rob MacKillop wrote: Re the German Lute Society's Fundamenta der Lauten-Musique und Zugleich der Composition, Rob wrote: Is there any possibility that this will be translated into English? It comes with an English booklet. Here are some excerpts of a review

[LUTE] Re: continuo playing in Germany

rodrigo demetrio [EMAIL PROTECTED] schrieb: Dear lute players, I am new in this forum. I would like to have information about lute continuo playing in Germany at the end of XVII century. Many sources of solo lute music are in d tuning but I don't find continuo sources which speak about the

[LUTE] Re: continuo playing in Germany

Is there any possibility that this will be translated into English? Rob On 17/04/2008, Mathias R=F6sel [EMAIL PROTECTED] wrote: Please excuse tze shameless ad: Order Fundamenta der Lauten-Musique from Deutsche Lautengesellschaft. It's a tutor for continuo with 11c lute in D minor tuning.

[LUTE] Re: continuo playing in Germany

Rob MacKillop [EMAIL PROTECTED] schrieb: Is there any possibility that this will be translated into English? Rob Rainer Luckhardt of Seicento music and I took care that this was done with the 1st edition. The English translation comes as an extra booklet. Mathias Please excuse tze

[LUTE] Re: continuo playing in Germany

It already is - teh text comes with english translation. Thomas - Original Message - From: Rob MacKillop [EMAIL PROTECTED] To: Mathias Rösel [EMAIL PROTECTED] Cc: rodrigo demetrio [EMAIL PROTECTED]; lute@cs.dartmouth.edu Sent: Thursday, April 17, 2008 8:05 PM Subject: [LUTE] Re

[LUTE] Re: Continuo is the king/queen!

Singers are the best, because normally they don't know anything of the rhythm and pulse; you normally will be the boss with the singers... My experience has been that when playing with someone who has the lead role and has to breathe, you are most definitely NOT the boss- merely an at-will

[LUTE] Re: Continuo is the king/queen!

than I (a lot of what little I know I've picked up from the singers). Guy -Original Message- From: Daniel Winheld [mailto:[EMAIL PROTECTED] Sent: Wednesday, December 19, 2007 8:37 AM To: Lute@cs.dartmouth.edu Subject: [LUTE] Re: Continuo is the king/queen! Singers are the best, because

[LUTE] Re: Continuo is the king/queen!

On Dec 18, 2007, at 3:35 PM, [EMAIL PROTECTED] wrote: ...Start playing continuo! It is hard, really hard, in the beginning, but it is worth of all the troubles! I'll take your word for it that it's worth it in the end, Arto. ;-) I've been trying to teach myself continuo for most of this

[LUTE] Re: Continuo is the king/queen!

On 12/18/2007, David Rastall [EMAIL PROTECTED] wrote: I've been trying to teach myself continuo for most of this year, and I'm having a terrible time with it: it seems that the more I learn, the less I know! Don't worry! Just play 3rds when you don't know what to do. And take care to know,

[LUTE] Re: Continuo is the king/queen!

it seems that the more I learn, the less I know! By the way, just that seems to be the proper (and VERY classical) way of learning! (Compare for ex. what Blaise Pascal wrote about knowledge.) Arto To get on or off this list see list information at

[LUTE] Re: Continuo

On the issue of parallels in continuo playing, I think it is a good thing that there is a lot of diversity in continuo realization, and a lot of choices. As far as practical matters, because at a certain point one has to play the stuff, the big issue for me is timing--in a mixed continuo

[LUTE] Re: Continuo

Sounds fine to me. Regarding timing, lute and harpsichord players often adjust the immediacy of their plucking action by delaying the beat slightly. I've had to do this deliberately on many occasions. For instance, with strings - they start bowing, THEN the note appears. When we pluck, it jumps

[LUTE] Re: Continuo

Gracias Alfonso, I'm afraid you've got me wrong here. I'm not interested in learning positions only, as I haven't done that either playing XVI th century music. I was wondering if some fellow player has done a systematic work writing down things in a practical way. As you may know, jazz players

[LUTE] Re: Continuo

But be forwarned: the theorbo examples are transcirbed without taking a proper re-entrant tuning into consideration ... David - Original Message - From: ariel [EMAIL PROTECTED] To: LGS-Europe [EMAIL PROTECTED] Sent: Friday, July 27, 2007 5:13 PM Subject: Re: [LUTE] Re: Continuo

[LUTE] Re: Continuo

Dear Ariel, I think that you starting up from a wrong concept. Playing continuo is not about learning positions for chords but reading a bass and adding the right harmonies to it as a result of counterpoint and correct voice leading. If you think in chords positions like jazz players do,

[LUTE] Re: Continuo

Hi Ariel, and welcome to the 17th century... Nigel North's book on continuo instruments is worth tracking down. There are second-hand copies available from here: http://www.amazon.com/Continuo-Playing-Archlute-Theorbo-Music/dp/0253314151/

[LUTE] Re: Continuo Question

Howard and Mathias: many thanks for your input on my continuo question(s). Much appreciated. David R [EMAIL PROTECTED] www.rastallmusic.com -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Continuo Question

if the 7th or 9th is being supplied in the upper parts, isn't that the place where I should *not* be playing it? I for one leave them out in that case. My rule is: Play it the easiest possible way. If the upper voice has it, why should I double it? Surely the mere presence of a note in

[LUTE] Re: Continuo Question

On Oct 29, 2006, at 6:48 PM, Howard Posner wrote: Under the bass notes are lots of indications for dominant 7th and 9th chords probably not all dominants, to be nitpicky... Minor seventh chords? I thought they would have been rarely used back then. I was assuming that a chord with a

[LUTE] Re: Continuo Question

On Monday, Oct 30, 2006, at 06:43 America/Los_Angeles, David Rastall wrote: Minor seventh chords?- I thought they would have been rarely used back then.- I was assuming that a chord with a seventh added should take a major third. A dominant seventh is, strictly speaking, a seventh chord

[LUTE] Re: Continuo Question

On Monday, Oct 30, 2006, at 11:07 America/Los_Angeles, Mathias Rösel wrote: fewer figures don't mean you must omit the sevenths and ninths Depends on the date of the music, I'd say. I for one can't imagine chords like (or progressions of, for that matter) 7/9-dominants or

[LUTE] Re: Continuo Question

The figures are not editorial. If you look at the facsimiles of Corelli's published opuses (opera?) you'll see that they're all heavily figured. You are not generally required to play ALL the figures, they're just to let you what's happening above. Of course it usually sounds great in Corelli to

[LUTE] Re: Continuo Question

David Rastall wrote: My attempts to teach myself continuo continue... I'm looking at a sonata by Corelli: two instrumental parts plus basso continuo. Under the bass notes are lots of indications for dominant 7th and 9th chords probably not all dominants, to be nitpicky... , at places

[LUTE] Re: continuo with baroque lute

Charles Browne [EMAIL PROTECTED] schrieb: Tree Editions have just published Technique-building studies for baroque lutenists by Wlfred Foxe that contains both scales and cadences in common keys together with other exercises. It may be worth looking at Giesbert as well. yes, Giesbert is a

[LUTE] Re: continuo

For some of the early continuo treatises (*not* lute specific) with parallel translations into several modern European languages, see here: http://www.bassus-generalis.org/ Daniel Heiman On Tue, 11 Oct 2005 15:01:41 +0200 LGS-Europe [EMAIL PROTECTED] writes: but an excellent book on the

[LUTE] Re: continuo

but an excellent book on the subject is Continuo Playing According to Handel. This is available in the Oxford Early Music Series with a running commentary by David Ledbetter. A chance to learn continuo playing from a master. Or see Bach's 'General bass regeln'. facsimile and English

[LUTE] Re: continuo

Hi Dennis, I see North's book is out of print. Any advice on where it can be found? You can also order it directly from Indiana University Press as print on demand: http://www.indiana.edu/~iupress/books/0-253-31415-1.shtml Or, if a few weeks are enough for you to work through the book just ask

[LUTE] Re: continuo

You may also try ABE Books, an excellent source of new and (more often) used books. They are at abebooks.com. You can search by title, author, keyword. Leonard Williams On 10/10/05 3:59 AM, Benjamin Stehr [EMAIL PROTECTED] wrote: Hi Dennis, I see North's book is out of print.

[LUTE] Re: continuo

On Saturday 08 October 2005 12:39, you wrote: As said before in the 'new boy's' thread the book by Nigel North is the best starting book. It gives excellent information with some worked out examples in tablature. In my opinion the theoretical chapter on music theory is a bit short, when

[LUTE] Re: continuo

] Cc: lute@cs.dartmouth.edu Date: Sat, 8 Oct 2005 13:43:41 +0200 Subject: [LUTE] Re: continuo On Saturday 08 October 2005 12:39, you wrote:brbrAs said before in the 'new boy's' thread the book by Nigel North is the best brstarting book. It gives excellent information with some worked out

[LUTE] Re: continuo

Hi One thing I did years ago, prior to North's book and other continuo tutors being published was to take madrigal collections with keyboard reductions and read the bottom 3 or 4 parts or just read them from a choral score, then go back and take just the bass line and do an on site

[LUTE] Re: continuo

Dennis wrote: Hi folks, Are there any tutors for learning continuo on the theorbo? Hi Dennis, Nigel's books has already been mentioned as a definitive source for study. But if you're looking for a teacher I can recommend Doug Freundlich. Trouble is I don't know where either you or he lives

[LUTE] Re: continuo

Thanks to all of you for the fine suggestions. I should have added that I've been playing continuo on keyboard instruments for years and years, so what I'm interested in is the specific theorbo-style continuo. I'm in France (near Fontainebleau). I see North's book is out of print. Any advice

[LUTE] Re: continuo

I had heard that there were plans for a second edition. Anyone know about it? There certainly would be planty demand. - Original Message - From: guy_and_liz Smith To: lute@cs.dartmouth.edu ; dc Sent: Saturday, October 08, 2005 3:48 PM Subject: [LUTE] Re: continuo I just

[LUTE] Re: continuo

Nigel North's book is great. I haven't heard about a new edition, though. Those old French treatises are generally not so helpful (Fleury, Delair etc.) Bartelomi is pretty good though. I think it was 1669. I'm not sure if there's a facsimile available. In addition to those realizations by

[LUTE] Re: continuo

Dennis wrote: I see North's book is out of print. Any advice on where it can be found? You can find it used from Amazon.co.uk Regards, Craig To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: continuo

Doug lives in the Boston area. I heard a rumor he will be teaching at the LSA Lute Fest next Summer in Cleveland. Nancy Carlin Hi folks, Are there any tutors for learning continuo on the theorbo? Hi Dennis, Nigel's books has already been mentioned as a definitive source for study. But if