Has anyone said ALL passing notes are always accompanied. In the below
you say : 'This really excludes the idea that all the passing notes
should always be accompanied the chords even if this is possible'.
As far as I'm concerned I believe it can be used according to 'taste';
if I understand you aright it should never be used
Martyn
--- On Fri, 3/9/10, Monica Hall <mjlh...@tiscali.co.uk> wrote:
From: Monica Hall <mjlh...@tiscali.co.uk>
Subject: [VIHUELA] Re: stringing and performance
To: "Lex Eisenhardt" <eisenha...@planet.nl>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Date: Friday, 3 September, 2010, 9:09
>> This is an important point - because he does often indicate that
>> up-strokes should be played with the thumb - which is not very
>> practical - I have tried it.
>
> In this context? How does he indicate that?
I had in mind a specific example - in the Spagnoletta on p.8. In the
second section on the first line, the 6 following Chord M seems to be
intended to be played as a single note and has a down stroke. In his
fourth
Rule Fosco indicates that notes like these should be played as single
notes ---
Fourthly Particular care must be taken when playing those numbers
which
are placed after an alfabeto letter. These must be played singly; that
is
to say you must pluck neither less nor more strings than those which
are
shown. In this way the true effect of the ornamental notes will be
felt
and the parts will follow clearly one after the other which is what I
intend.
This really excludes the idea that all the passing notes should always
be accomapnied the chords even if this is possible.
>> The problem there is that you are introducing the fourth after the
chord
>> rather than inserting it into the chord - so it is not comparable
with
>> what Foscarini does - which is to introduce the 4th and then resolve
it
>
> Foscarini does that all the time.
Does what all the time? Introduce the 4th into the chord and not
resolve
it. Can you give some examples. That is not what he suggests in Rule
5.
>
>
>> Pedruil is interesting because it does seem to be a very early
example of
>> experimenting with the mixed style.
>
> I see no good reason
Well you wouldn't of course. Once you have made up your mind you are
not willing to consider alternative ideas. Even if we assume that the
passage is to be strummed throughout there is no reason to assume that
all the open courses should be included in all the chords. You have
left out the 5th course in two places in your example 3 and in the
final chord of your example 5. It seems that as far as you are
concerned it is more important to eliminate 6/4 chords than meaningless
dissonance. It would make more sense to treat the third chord as a
3-part one.
This is a very obscure source and there are different ways of
interpreting it. I wouldn't myself regard it as good scholarly
practice to jump to conclusions about anything in it. There are one or
two places in the alfabeto pieces whether there are figures although I
am not sure how these should be interpreted.
I would also point out that there are dots after several of the stroke
marks. They are there for a purpose.
One other point on a different subject. In the examples in Alex
Dean's dissertation chords G, H and M are regularly used and these are
all played with a barre. Moreover all of the songs are in keys which
have no key signature or one flat so that some of the chords are not
much use any. The songs are not necessarily intended to be performed
at written pitch. The whole point of Amat's tables etc. is to enable
the player to transpose to a pitch that suites the singer. This would
involve the other chords.
Monica
>
>
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