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


   --- 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
   Rule Fosco indicates that notes like these should be played as single
   notes ---
   Fourthly Particular care must  be taken when playing  those numbers
   are placed after an alfabeto letter.  These must be played singly; that
   to say you must pluck neither less nor more strings than those which
   shown.  In this way the true  effect of the ornamental notes  will be
   and the parts will follow clearly one  after the other which is what I
   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
   >> rather than inserting it into the chord - so  it is not comparable
   >> what Foscarini does - which is to introduce the 4th and then resolve
   > Foscarini does that all the time.
   Does what all the time?   Introduce the 4th into the chord and not
   it.  Can you give some examples.  That is not what he suggests in Rule
   >> 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.
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