Thanks Stewart. That is an excellent summary overall. In this instance it
is the clef (rather than a rubric) which indicates the singer's picth
vi-a-vi the bass line. There was a complicated system of transposing
clefs - described by Ruiz de Ribayaz after a fashion.They are common in 17th
Yet more thoughts...I honestly don't think that the pitch has anything to do
with not using a barre. This particular song uses G, H, R and X all played
with a barre. R is Chord H at the 2nd fret, and X is chord K at the 2nd
fret. Interesting that he is using chords from the end of the sequen
Monica,
A facsimile edition is available from SPES (and cheap!):
Giulio Caccini: Le Nuove Musiche, & Nuove Musiche e Nuova maniera di
Scriverle [A facsimile of the composer's autograph]
But also see Ms 704 Brusells BN; this is a slightly later (I guess c
1610) Ms containing
Many thanks to you - and Waling. The digital age seems to have arrived as
I have been able to download an image straight off.
I seem to recall seeing a contemporary version for 5 course guitar but
can't put my finger on it at present..
That is very interesting...because I have found v
Dear Stewart,
Thank you for your `insightful comments.
Even if we would use guitars in d' or a, so that the alfabeto would
suit the bass, we cannot be certain that the instruments were played
together. It is not unlikely that the 'alfabeto editor' (perhaps Landi
himself) took
Even if we would use guitars in d' or a, so that the alfabeto would
suit the bass, we cannot be certain that the instruments were played
together.
I agree. I think it is more likely to be an "either/or" situation.
It is not unlikely that the 'alfabeto editor' (perhaps Landi
himself
Many thanks to everyone who responded to my plea. I have now got a copy.
Next thing is to check whether it all adds up.
Monica
- Original Message -
From: "Monica Hall"
To: "Martyn Hodgson"
Cc: "Vihuelalist"
Sent: Sunday, November 14, 2010 10:27 AM
Subject: [VIHUELA] Re: Caccini:
As you say Monica 'There is no evidence for partial strumming of
alfabeto chords in this repertoire or in the solo repertoire. Colonna
and Sanseverino clearly state that the chord should be strummed in
full. Indeed Sanseverino says you should not do otherwise. In later
sources
Dear Lex,
You are quite right, of course, to say that it is possible to strum a
guitar without having to strike all the strings all the time. After all,
a modern guitarist faced with a D minor chord
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Certainly we know (from more detailed intabulated later sources) that
partial strumming was later practised and there's no reason to suggest
this wasn't employed before such tablatures became common and
established their seemingly procrustean regime.
I agree that partial strummin
After all,
a modern guitarist faced with a D minor chord
| | | | | |
|__|__|__|__|__x
| | | | | |
|__|__|__x__|__|
| | | | | |
|__|__|__|__x__|
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| | | | | |
will always try to avoid striking the open sixth string (E).
I don't think this analagy is altogethe
Dear Stewart,
in response to yours
> In trying to understand what guitarists did in the past, I just
wonder
> sometimes if try to pin things down too much. We know that some
guitars
> had bourdons, and others didn't. If it really mattered to Landi and
> others which
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