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" <firstname.lastname@example.org> 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 > > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html