I am not sure whether there is any point in replying to this if Lex has
already left the list but in case anyone is interested..........
And if there is a number following after [the letter] either above or
below, you should ensure that this can be heard clearly and distinctly,
whether the stroke is made up or down. If after any such number you
find
another stroke WITHOUT a letter, this stroke belongs to the preceding
letter which should be repeated. This rule applies in general to many of
the pieces that you may play, and among others it is appropriate to the
"Corrente, dette la Favorita" found on page 60.
I admit that it takes some effort to understand. It says indeed that you
have to play the 'number following after [the letter]' in such a way that
it can be heard clearly and distinctly. Together with the rest of the
chord or not?
Of course. If you look at the examples which he gives it is obvious that
what he is describing is a 4-3 suspension and that the altered note is
included in the first chord and resolved in the second. If Lex does get
this message I would refer him to Gary Boyes' dissertation on Granata p.51
where Gary has translated the rule and given a musical example. What
Foscarini is describing is quite different from what is happening in the
Pedruil example.
Which early stage? How do you know? Even the table of chords in the
Cancionero de Bezon includes chords G, H, M and possibly K although it is
difficult to read.
Same pedantry, although it is interesting to see that a number of barre
chords are lacking from the chart.
The chart has not been completely filled in. The barre chords are used in
the alfabeto texts and passacalles notated in alfabeto.
After pushing the 'send' button I will immediately unsubscribe from the
[VIHUELA] list. Again, and for the same reason.
Well - as we say over hear "If you can't stand the heat stay out of the
kitchen."
Monica
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