, September 04, 2005 9:36 AM
Subject: [VIHUELA] Re: Foscarini/Corbetta - low basses
Thank you for this summary of your views Lex.
After reading it I went to Corbetta 1648 and, indeed, the style of
writing (especially the use of chords on the three 'lowest' courses) does
seem rather different to his post
However, it
may simply turn out that these theorbo books are have no bearing on the
guitar. They were intended for amateurs who were ambitious - and perhaps
wealthy - enough to invest in a leuto tiorbato. The guitar books were
not.
How should we decide if secondary evidence is irrelevant
From England.
And so irrelevant?
It would be ill-mannered to confirm that...
Even some Dutch guitarists must have used
the
French tuning!
Some even do that today.
But Robert Strizich quoted from this book (published in the early 20th
century) and I requoted it not because we were
Strizich devoted a larger portion of his article(s) exactly to the
question
of the bass not being the lowest note. He mentiones the 'incorrect'
inversions in the instructions of Fleury and Bartolotti, and he sees an
argument in these to suppose a permissive attitude towards the appearance
of
I get the feeling from reading Monica that the entire corpus of evidence
from the 17th and 18th century will (almost, 'in principle'...almost in an
'a priori' sort of way) never and can never settle the issue of
tuning/stringing.
I can't speak for Lex, but you have summed up my position quite
My problem with your arguments is that they don't seem to follow any
logical
chronological order. The way in which a bass line was accompanied
evolved
from simple strumming as described by Amat to the exercises of Murcia in
the
18th century which are fully joined up. In between the
Because you were playing modal rock music in the 1990s?? As well as
Bartolotti?
Did some campanela fill-in on the recording of Giovanni Battista Metallica's
oratorium 'Nothing Else Matters'.
The trick with the 3 and 4 is _very_ old. Appeared probably for the first
time in I-Bc.MSV 280.
L.
The fifth example on B is
actually a 4-3 rather than a 6th chord
and in the first two examples and the
last two the bass notes are an octave above those written in the bass
part -
in the tenor register in fact.
Tenor, yes. But still the lowest note. That was the point.
But that is
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