I am not sure if I should have introduced myself formerly to this list. If
so I apologise for not having done so. As I am on the lute list, perhaps
the formalities can be taken as read.
There are two Italian sources which some people have argued indicate the use
of a high octave string on the th
> Here's a couple of questions for your consideration:
>
> What do we know about the relationship between lute players and guitar
> players? Am I right in saying that there seems to have been an either/or
> situation - either you played guitar or lute? There seems to be a relation
> between the gui
There's no doubt the music sounds very nice like this! That's why octave
stringing on the third course has become so popular recently.
It creates an entirely different soundscape. And why not? We shouldn't
worry too much about "authenticity." Communicating with the listener is
more important.
> In Corbetta's book from 1643 on p. 47 there is an interesting spot in
> the last full bar of line 3. To avoid all anomalies in this scale melody
> one would need a high b' octave on the 2nd course
This is a perfect example of why Corbetta writes passages like this. The
whole scale passage
To digress a little. The liner notes of a CD I reviewed recently claim that
there are "a few paintings" which show a high octave string on the third
course. This may be an error on the part of the writer - there are several
dubious, not to say outright inaccurate, statements in the notes.
But ha
There may be a bit of a problem about this as neither Fronimo nor Django
support some essential features of baroque guitar tablature - in particular
strumming. Alain Veylit was working on this problem with Django but I don't
know if he ever finally sorted it. I had an enormous problem preparing ev
Air on one or other string of a course?
> Yet, as far as I know, there is no single statement to be found among the
> perfromance practice sources of the period that discusses the modern
concept
> of differentiated plucking on an octave-strung course.
There is a rather later (i.e. second half of
> I wouldn't say it was any more "imperfect" than any other instrument,
> though - and I have already come to love it as it is, even to prefer it
> to other guitars, as I'm sure many of you have.
But that is how it is often referred to in 17th century sources - e.g. Sanz.
Monica
>
> Doc Rossi
>
>
There have actually been two modern editions of Ramillete de Flores.
One edited by Javier Hinojosa and published by Editio Violae in Zurich has a
facsimile of the ms. and tablature transcription. The other, edited by Juan
Jose Rey is published by Editorial Alpuerto in Madrid has tablature
transcr
Actually I have had a problem trying to access Alain's site. The address
seems to be different from that I had some time ago. Please can you tell me
what it is?
Monica
- Original Message -
From: Roman Turovsky <[EMAIL PROTECTED]>
To:
Sent: Monday, February 28, 2005 4:01 PM
Subject: Re:
The Editio Violae edition is preferable because it includes a facsimile of
the original.
Monica
- Original Message -
From: Garry Bryan <[EMAIL PROTECTED]>
To: 'Monica Hall' <[EMAIL PROTECTED]>
Cc: 'vihuela'
Sent: Monday, February 28, 2005 4:23 PM
Sub
Dear Rob
I am sure we all really want this list and are very grateful to you for
setting it up.
Please don't get depressed!
These temper tantrums crop up from time to time.
Actually I often sign off from lists temporarily if I am busy or on holiday
and then sign on again with out comment. The
I couldn't get through to the site - kept getting a message "Gateway
timeout".
I was intrigued to learn recently though that Matanya thingks "there never
was a vihuela."
What does he mean by this - that there weren't any 6-course flat backed
figure of 8 shaped instrument in the 16th century?
Mo
t in style from any other music for 5-course
guitar, and very old fashioned in style.
Cheers
Monica
>
> Am Dienstag, 8. März 2005 15:04 schrieb Monica Hall:
> > I couldn't get through to the site - kept getting a message "Gateway
> > timeout".
> >
> &
There are three large Portuguese manuscript collections of music for
5-course guitar always called a "viola". in Portuguese sources.And the
Santa Cruz manuscript says on the title page that the music is for "Biguela
hordinaria" although the music is also for 5-course guitar.
In other words,
> >> Some of the sources thought previously to have been for 4-course guitar
> > are
> >> actually for the mandora - amongst them the pieces for a 4-course
> > instrument
> >> in Barberiis' "Opera intitulata contino" of 1549, and in "Conserto vago
di
> >> balletti" printed in 1645 which includes
As a matter of interest James Tyler starts his book "The early mandolin" =
by saying that "Recent scholarship has shown that from at least the =
thirteenth century, this instrument (a small, pear-shaped, round-backed =
instrument), was known in Europe as the quitaire, quinterne or guisterne =
in Fr
The tuning which Sanz (in Instruccion de musica (1674) recommends for
playing baroque guitar music featuring "campanellas" and elaborate
ornamentation is the "re-entrant tuning". That is there are no low octave
strings on the 4th and 5th courses so it is tuned aa d'd' gg bb e'.
Anyone who pl
He doesn't specifically recommend any particular method of stringing for his
music.
However, he does include instructions for tuning the instrument which
include a tuning check in octaves. One can assume from this that he
expected at least some players to use octave stringing on both the 4th and
The Sociedad de la Vihuela is the Spanish equivalent of the L.S.A. and
English Lute Society which has recently been started. The first issue of
their journal "Hispanica lyra" has just appeared - very well produced - but
in Spanish of course.
Their website is www.sociedaddelavihuela.com.
Monica
I think everyone must have left the list in a huff.
Pity really!
Can't we think of some controversial comment to revive it?
Monica
- Original Message -
From: Garry Bryan <[EMAIL PROTECTED]>
To:
Sent: Wednesday, May 11, 2005 6:12 PM
Subject: RE: gee, it's cold in here ...
> Croatan wa
huela
Sent: Thursday, May 12, 2005 2:30 PM
Subject: Re: gee, it's cold in here ...
> At 09:15 AM 5/12/2005, Monica Hall wrote:
> >Can't we think of some controversial comment to revive it?
>
>
> Sanz was a sissy! Everybody knows Guerau is where it's at.
>
>
>
As I understand it the laud and vihuela de Flandes are different names for
the same thing. He is calling the laud a vihuela de Flandes because it was
played by Flemish musicians of whom there were many at the Spanish Court.
But I may be wrong...
Monica
- Original Message -
From: Lex Eis
Mine also has a string length of about 61cms. It is strung with Kurschner
gut as follows
1st courseD 2046
2nd course D 2056
3rd courseD 2066
4th courseD 2050
D 2100 (bourdon)
5th courseCurrently Sofracob 0 .600
- Original Message -
From: Monica Hall <[EMAIL PROTECTED]>
To: Eugene C. Braig IV <[EMAIL PROTECTED]>
Sent: Friday, May 13, 2005 9:54 AM
Subject: S. de Murcia
>
> > At 01:12 PM 5/12/2005, Monica Hall wrote:
> > >How about - Santiago de Murcia never went t
;t written the sequel yet.
Monica
- Original Message -
From: Lex Eisenhardt <[EMAIL PROTECTED]>
To: Monica Hall <[EMAIL PROTECTED]>; vihuela
Sent: Friday, May 13, 2005 10:14 AM
Subject: Re: S. de Murcia
> It may be a good subject for a Milos Forman movie: 'Santiago..
This seems like the right moment to mention that Eloy has made a brilliant
CD of music combining baroque sources with son jarocho. It's called
Laberinto en la guitarra : el espiritu barroco del son jarocho. It's on
the Urtext label (which I think is Mexican), maker's number is UMA 2018.
The
Actually the 4-course guitar was probably often tuned re-entrant. Mudarra
says "Ha de tener bordon en la quarta" - it must have a bourdon on the
fourth course. If it always had one would he have thought it necessary to
mention it?
Monica
- Original Message -
From: <[EMAIL PROTECTED]>
To
han a 4th),
but that doesn't affect the octave or re-entrant stringing.
Monica
- Original Message -
From: bill kilpatrick <[EMAIL PROTECTED]>
To: Monica Hall <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>
Cc: vihuela
Sent: Tuesday, May 17, 2005 1:42 PM
Subject: Re: re
ry to ensure an adequate range of notes for his more
complex music.
For a more popular repertoire a re-entrant tuning may have been used.
Monica
- Original Message -
From: bill kilpatrick <[EMAIL PROTECTED]>
To: Monica Hall <[EMAIL PROTECTED]>
Cc: vihuela
Sent: Wednesday, Ma
The most likely explanation is that the string was
called "Requinta" because it used to be a fifth rather than a fourth below
the 3rd as you say.
Monica
- Original Message -
From: Lex Eisenhardt <[EMAIL PROTECTED]>
To: Monica Hall <[EMAIL PROTECTED]>; bill kilpatrick
The term "requinta" must refer to octave stringing on a course and not to the
intervals between the courses.
I have a photocopy of a Mexican cittern manuscript which also uses the term to
refer to the 3rd course of the instrument which is strung in octaves.
Possibly the term is derived from t
at sounds a bit like a re-entrant tuning where the tuning looks
for the note again, or has something missing.
Monica
- Original Message -
From: Mathias Rösel <[EMAIL PROTECTED]>
To: vihuela
Sent: Thursday, May 19, 2005 5:37 PM
Subject: Re: requintas
> "Monica Hall" <
- Original Message -
From: Lex Eisenhardt <[EMAIL PROTECTED]>
To: Monica Hall <[EMAIL PROTECTED]>
Cc: vihuela
Sent: Friday, May 20, 2005 11:05 AM
Subject: Re: vihuelina
>
> My question is: can we be sure about the use of the word 'bordon' with
> Mudarra
Sorry - I forgot to send this message to the list as well as Bill. I'm
always doing that.
Monica
- Original Message -
From: Monica Hall <[EMAIL PROTECTED]>
To: bill kilpatrick <[EMAIL PROTECTED]>
Sent: Saturday, May 21, 2005 6:38 AM
Subject: Re: vihuelina
> This c
Not surprising really!
In my modern dictionary it is defined as a "pilgrim's staff" i.e. a long
pole like St. Christopher has to help him on his way, not as in "office
personel". Also as a "helping hand".
I managed to decipher the rest of what Corvarrubias says. The whole is as
follows:
BORDO
On 22nd May Lex wrote the following:
That's exactly what a bourdon does. Probably that was what the temple viejo was
designed for. When there is an interval of a fifth between the lowest strings
of the guitar, the lowest one is used predominantly as an open string. It has
always been used like
to be tuned for each
piece.
It is the printer who was suffering from the effects of too much red wine
not Mudarra.
Un abrazo a todo
Monica
- Original Message -
From: Lex Eisenhardt <[EMAIL PROTECTED]>
To: Monica Hall <[EMAIL PROTECTED]>;
;
Sent: Tuesday, May 24, 2005 9:59
- Original Message -
From: bill kilpatrick <[EMAIL PROTECTED]>
To: vihuela list
Sent: Saturday, May 28, 2005 6:36 PM
Subject: 4c. guitar structure
> a friend of mine on the charango site has suggested
> that structural differences (light bracing, thinner
> sound board) may account for t
> which book are you reading?
It's called "Thomas More's Magician - a novel account of Utopia in Mexico"
by Toby Green, published in England by Weidenfeld & Nicolson. Unfortunately
it doesn't specify which instruments they made, but they were primarily for
native musicians to play.
ciao
Moni
Are the illustrations from the copy in the British Library? Not all are
included in the facsimile published by S.P.E.S. Great to have them
reproduced in this way! The music in the two copies varies too. The pieces
are arranged in a different order and the facsimile includes a piece which
doesn
P.S. The instrument you suggest is a manocordo looks like a 6-course
cittern. It is being played by Orpheus. The cittern was held in high
esteem in Italy during the Renaissance because of its supposed resemblance
to the classical Kithara.
Monica
- Original Message -
From: <[EMAIL PROTE
I have just been able consulted Emilio Pujol's edition of Mudarra. Appropos
the stringing of the 4-course guitar he says:
Tengase presente para el efecto auditivo, que las notas contenidas en el
intervalo de quinta mas grave en el bajo cuando el temple de la guitarra es "a
los viejos" y en el
There are even pieces in F minor - with 4 flats. There is a whole suite in
this key in Murcia's Resumen de acompanar and at least a couple of pieces by
Corbetta - the Toccata at the beginning of his 1643 book and an Allemande in
a manuscript copied by Jean Baptiste de Castillion. The sequences o
> "but baroque guitarists were way ahead of every one else in their
understanding of harmony and tonality."
but the guitar has the really interesting harmonies.
That's right - especially Corbetta
>
> There are many extraordinary harmonies in Baroque guitar music. Sometimes
these arise from modif
One way or another I listen to a lot of recordings of baroque guitar music
and I get the impression that most people leave out one or other string of a
course either by accident or design a lot of the time! Indeed some people
seem to
leave out whole courses when it suites them! Paul O'Dette for e
- Original Message -
From: Mathias Rösel <[EMAIL PROTECTED]>
Cc: vihuela
Sent: Friday, July 01, 2005 12:53 PM
Subject: Re: Baroque guitar in flat keys
> "Monica Hall" <[EMAIL PROTECTED]> schrieb:
> >> Murcia, Matteis, Sanz and
> >> oth
> Having been glued to the Internet, TV and radio yesterday I wasn't sure
whether it was an appropriate time to post anything.
Best not to even think about it. Sooner or later I will have to get on the
tube again.
>
> I'd like to ask Monica a few things about your reply. But first; a while
ago y
I think that these are two quite separate pieces. The Spanish translates
better as "Another three variations on 'Guardame las vacas' made on the
other (or another) part" - the other part being a different version of the
bass line.
In his dissertation on the vihuela John Ward says that the bass l
e" into
his passacalles which are generally based on i iv V i but it is also
associated with the chacona.
Cheers
Monica
> -Original Message-
> From: Monica Hall [mailto:[EMAIL PROTECTED]
> Sent: 09 July 2005 15:43
> To: Rob MacKillop
> Cc: vihuela
> Subj
Well - there is an awful lot here to think about and reply to!
>
> a) the Baroque guitar has certain peculiarities
> b) at the risk of oversimplification, these peculiarities can be seen as
either positive (as part of the charm and individuality of the instrument)
or negative
> (as imperfections -
Not much more one can say really. Looking back I think what Martyn said was
the most helpful. You don't need to leave out one of other string of a
course because you can play in such a way that one or the other
predominates. I certainly do this a bit. And just as Martyn says you get
used to th
is what they
intended.
Best wishes
Monica
- Original Message -
From: Lex Eisenhardt <[EMAIL PROTECTED]>
To: Vihuela Net
Sent: Tuesday, July 19, 2005 5:30 PM
Subject: *** SPAM *** strumming and basses
>
> Monica Hall wrote:
> > The problem here as I see it is that
>
> > The first of these is Bartolotti's "lettere tagliate". These have
> > nothing to do with avoiding 6-4 chords. A few people (including Gary
> Boye)
> > seem to have looked at these and assumed that the 5th course is to be
> > omitted because they will be 6/4s with octave stringing, If yo
made good when playing rasgado.
Monica
- Original Message -
From: Martyn Hodgson
To: Monica Hall
Sent: Friday, July 22, 2005 8:44 AM
Subject: Re: *** SPAM ***
Monica,
I do so agree with (almost) everything you say: but are we absolutely
certain of Bartolloti's pr
> It can be imagined that in many of the cases where there are suspensions
> etc., Bartolotti first decided to avoid a 6-4 chord and at the same moment
> took advantage of one more free left hand finger to add notes. Who can
tell
> what came first?
I'm afraid this chicken and egg argument seems to
In my attempts to be brief and not too technical some things I said were
misleading...
> > It is quite wrong to say that the chords have added x's for the strings
> that
> > one should better not play with the right hand, to avoid 6-4. They are
> > there simply to show which strings should not be
> We should maybe start a Bartolog?
Haven't we already?
>
>
> > I'm afraid this chicken and egg argument seems totally illogical to me.
> > Given that the 4-3 suspension is stock in trade of all 17th century
music
> I
> > think it unlikely that Bartolotti only included it after he had decided
to
> > I am afraid so does yours - what about all those 6/4 chords which he
does
> > use, both in alfabeto and tablature. Why has he not provided tagliate
for
> > all 8 chords which will be 6/4s with octave stringing on the 4th and 5th
> > courses? Why has he not simply indicated in his table that
> It appears to me that the only interest that one can have here is to find
> out how things were!?
Exactly - which is why one should consider alternative explanations with an
open mind rather than repeating what others have said uncritically.
> > I actually made a point of saying that it became
> There are two treatises and lots of other references in guitar books to
the use of the guitar as a continuo instrument.
>
> But are there any actual references outside of guitar publications to the
use of the guitar as a continuo instrument?
It depends a bit on what you mean by references. As
>
> > There is also Jacob Kremberg's Musicalische Gemüths-Ergötzung or Musical
> > entertainment for the soul, printed in Dresden in 1689.
> It doesn't appear to be something like a score. It seems to be a
> demonstration of how continuo could be realised on different instruments.
> Not necessari
Morelli copied the mss. and if only he was supplying the
> > accompaniment why did he include a bass part?
>
> For an alternative accompaniment, by a theorbo or whatever?
Unlikely, since Pepys did not employ a theorbo player.
> > I don't think that you can argue that there are hard and fast rules
> Kremberg says on his title page and in his prefaces that the arie are to
> be sund either a solo with continuo or with additional lute, angelique,
> viol, or guitar. He gives instructions regarding coordinate tunings of
> the four additional instruments in case players want to play together.
> (
> It is an important part of the argument in favour of the
> re-entrant tuning that the bass line was doubled by another instrument.
I myself don't think that this particular argument is in any way relevant
to the
way in which the guitar was strung. It is my humble opinion (for what it is
worth
> > It is my humble opinion (for what it is
> > worth) that re-entrant stringing was the preferred option for the
guitar
> > because it worked best in practice with the kind of strings available
> until
> > the end of the 17th century.
>
> What was the problem? Couldn't they use the same strings
> You've sold me. How does Gordon string for this disc? (I found the
octave
> g' on Hoppy's disc a little off putting.)
I'm happy to say he does exactly what Sanz says. No octave strings at all.
I haven't heard it yet but I'm sure it will be really good.
Monica
To get on or off this list
> > Whilst on the subject I would like to mention that Doizi de Velasco does
> say
> > that when chords are played rasgado, the wrong inversions are
acceptable.
> > What he says is "And although whichever method of stringing is used,
some
> > chords will still have a fourth in the bass, these can
> Oh no. I just gave the example of the D major chord with an x on the 5th
> course. Can be made good any way you wish. Punteado or rasgado. (You
> mentioned rasgado, by the way)
> Why can't they be made good punteado? What are the obvious reasons?
What Doizi says is
it seems to me bette
> In re-entrant tuning Doizi's whole instruction is worthless. Almost all
> chords that he meticulously has re fingered become in different
inversions.
> He was clearly thinking of the tuning with bordons when he wrote it.
Yes - but he has already said that he thinks that it is better to string th
That
> > is
> > > why the inversions don't matter.
>
>
> Or should one say, that is WHEN the inversions don't matter.
Well - what I should have said of course is "why they don't matter when the
chords are strummed".
There are many
> more occasions throughout the whole repertoire where 'battuto'
>
> I sincerely doubt if it is that.easy. There are situations in Foscarini's
> music that I find difficult to explain and where there is a choice to be
> made. He sometimes writes really crude dissonants. For those who have
> Foscarini at hand: try the first line of the Passacalle passegiate sopra
> I sincerely doubt if it is that.easy. There are situations in Foscarini's
> music that I find difficult to explain and where there is a choice to be
> made. He sometimes writes really crude dissonants. For those who have
> Foscarini at hand: try the first line of the Passacalle passegiate sopra
> For those that don't have the book:
> The first chord is (E), "dmin" the second chord is :
> 3
> -
> 2
> 3
> -
>
> Is the third chord this?(kind of unclear) :
>
> 1
> -
> 2
> 3
I don't think there is supposed to be a 1 on the 5th course. This should
probably be open. The little dash is quite d
> for example, a B chord cadencing to Em where only the 4th fret on courses
> 2, 3 and 4 are marked: in this case playing the open first (ie a fourth
> simultaneously wioth the sharp third) and, indeed, the open 5 course (to
> give a seventh) is probably more obvious/obligatory(?) than the Foscar
Just had this message from Gary Boye. Haven't read his article yet but I'm
sure it will be very interesting and I think he is right about the date.
Monica
- Original Message -
From: Gary Boye <[EMAIL PROTECTED]>
To: Monica Hall <[EMAIL PROTECTED]>
Sent: Tuesday, A
> Dear Monica,
>
> >
> > I am just reading it - and what she says about elipsis is even more
> > interesting as it is rather similar to what Corbetta does all the time -
> > double the suspended 4th on the 5th course at a cadence without clearly
> > resolving it - creating an accacciatura effect.
>
> > Are you suggesting that the F# should be omitted if it is notated in the
> > tablature?
>
>
> Like in my funny Corbetta theories? Not here.
> I don't know where Martyn got this specific situation from. I can't
remember
> if Foscarini or Granata wrote things exactly like this very often. Like I
i upper case Is. (But I haven't look through the whole book.) It may just
be a flaw in the printing. I would want to look at the copy in the British
Library (which is from a different printing run) before committing myself
categorically to one or other view!
Monica
Monica Hall <
se other than chords
E and I.
I can't give you any other reasons as to why I think this should be left out.
It just sounds horribly dissonant to me.
Monica
Monica Hall <[EMAIL PROTECTED]> wrote:
I forgot to send my reply to Martyn's query to the list as
Sorry it took me so long to come up with a sensible answer! My Italian is
very shaky and it is some time since I tried to read the whole of
Foscarini's preface.
Monica
- Original Message -
From: Martyn Hodgson <[EMAIL PROTECTED]>
To: Monica Hall <[EMAIL PROTECTED]>;
> Another fascinating chord progression, again in the first 4 bars of a
> passacalle, is on p. 18 of Corbetta's book of 1643:
>
>
> -1-1-|-0-2--|-3-3-1-0-|-1-0--|-1-
> -0-0-|-3-3-1-0-|-1-1--|-0-0--|-0-
> -0-0-|-0-0--|-0-0--|-0-2--|-0-
> -3-3-|-3-3--|-3-3--|-3-3--
> > 3.The dissonant chord L is a fudge - because it is difficult to
finger
> > it with a c on the 2nd course. (Most of them did that).
>
> The great idiomatic application of the L chord here makes clear that
> Corbetta had a very good sense of dissonance.
Do you really think that he thought o
> >> Different from Foscarini's bur equally dissonant.
> > 3.The dissonant chord L is a fudge - because it is difficult to
> > finger
> > it with a c on the 2nd course.
>
> Yes, very difficult, but what about an Eb on the second course?
L is a very awkward chord to play. If the E flat is incl
> Foscarini, in the Sarabanda
> on
> > p.101, also gives beautiful minor triads with a 9.
>
> My goodness - he has also included some examples of Corbetta's favourite
> chord - all 5 courses stopped with only a barre which I hadn't spotted
> before!
Well - that was before I actually tried to play
Foscarini, in the Sarabanda on
> p.101, also gives beautiful minor triads with a 9
Do you mean the penultimate chord at the final cadence?
M.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> > Do you really think that he thought of it in these terms? I would
think
> of
> > it as an altered alfabeto chord and it gives you a clue to some of the
> > dissonance he uses later.
>
> We'll never know. I think the trick with the fixed third and fourth finger
> was considered to be a very g
> 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
I really wonder if rather too much weight is being placed on the importance
of strict part wrioting/voice leading in much of this 17thC guitar repertoire:
is it not closer to something like unaccompanied violin music (ie melodic
passages/flourishes with chordal movement on principal stresses
> Dear Monica,
> According to Therese this situation from Foscarini p.32 can be considered
as
> a 'cadentia duriuscula' anyway, with or without the open first string. The
> criterium for such a figure is that one of the voices is stationary on one
> and the same note, while the bass moves to the f
>
> > I think we touch at a crucial point here. When we speak of guitar
continuo
> > there are very different treatises involved from writers departing from
> very
> > divergent views. Their publications date from over a century.
>
> They also represent practices in different parts of Europe - in p
> 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 s
> > How do you know that he had just begun on the "French" tuning? Or that
the
> > bourdon was new to him? You simply don't know whether that was the case!
>
> In fact he could have played on other tunings for ages, indeed. It is how
I
> interpreted what you say in your booklet on p. 22: 'The re-e
> This brings new blood in the discussion. Several authors, like Robert
> Strizich, have supposed that in the instruction books on accompaniment on
> the theorbo, from France from the 2nd half of the 17th century (Fleury,
> Bartolotti and Grenerin...) the inversions of chords have been messed up.
> > I don't think that any of the music is intabulated for one tuning
rather
> > than another.
>
> This really is no more than a supposition. It is well possible that some
> composers held entirely different views on this.
But this also is no more than a supposition!
>
> > (I prefer not to cal
I am not sure if this message reached the list as I got a return message
saying that the address had been blacklisted. I am sending it again as Lex
has commented on it - and of course I intend to comment on his reply!
Monica
>
> > > How do you know that he had just begun on the "French" tuning? O
> > 1. There is a reference to this method of stringing in Nassarre who
says
> >
>
> You are right. I forgot about him. He's really late though (1724).
But certainly writing retrospectively!
>
>
> > 2. This method of stringing is also clearly set out in staff notation
in
> > the English ms of J
> 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
> > I borrowed the term "chords as harmonic units without a functional
> > bass" from Gary Boye who uses it when referring to the continuo
exercises
> of
> > Granata and Valdambrini.
>
> This theory certainly applies to Valdambrini. But not to many exercicses
of
> other composers, like Granata, a
> > Have a look on p. 71 of the same book, LGR, last full bar of the
> > second line. Do you suppose the dot above the d cipher on the 4th
> > course means to leave that particular note out while still
> > maintaining a barre? Otherwise you have the resolution note sounding
> > against a dominant c
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