Dear Martyn
expertise. Look at the list of printed music with lute, theorbo and
guitar in
[1]http://www.library.appstate.edu/music/lute/continuo.html
It's an interesting list. However - I think the point is that what appears
on the title page is just a general summary of the most usual instruments
which might be used for the accompaniment without any further details.
Most of the books were not seen through the press by the composers, still
less was the music specifically composed for certain instruments. Many of
them seem to specify only the theorbo or lute. No printer is going to list
every instrument or combination of instruments which might be used for the
accompaniment. There is nothing to prevent people who wanted to accompany
them with the pandora or angelique from doing so - never mind the guitar.
It is just the way music is published - as it is today.
You can't derive hard and fast performance rules from what are really only
publisher's blurbs.
Monica
M
From: Lex Eisenhardt <eisenha...@planet.nl>
Subject: [VIHUELA] Re: Grenerin
To: "Vihuelalist" <vihuela@cs.dartmouth.edu>, "Martyn Hodgson"
<hodgsonmar...@yahoo.co.uk>
Date: Wednesday, 20 April, 2011, 14:04
Marini's familiarity with alfabeto is clearly shown in his introduction
to the 1622 collection. He has introduced a number of cadences with 4-3
suspensions, such as .A. A B etc. We find these again in the songs. The
preface speaks of the intent of 'il autore', and it seems clear that
Marini wanted to use the guitar for accompaniment, and use his new
alfabeto cadences.
The reason for some songs not having alfabeto could be that this is his
first collection with guitar. The type of songs is not very different
from the ones in his collection of 1620, in which there is no alfabeto.
There are a number of anthologies of other composers in which only part
of the songs have alfabeto. Often it were the 'most appropriate'
(simpler) songs that were inscribed with guitar chords. That could as
well be the case here, I have not looked.
best, Lex
> Dear Lex,
>
> Thank you for this, I thought you were speaking about the 1622
> collection (that's what it says below) not Op 22. While not
necessarily
> disagreeing with you that Marini may have been the person who added
the
> alfabeto signs for the printer to set 1622 - how do we know this?
>
> Yes - the Cm chord in the open position (indicated by an * rather
than
> G3 or even the passing dissonant L) is nice. Note that later in the
bar
> it lies over an ascending D in the bass (incidentally he doesn't
use L
> here) - yet again showing that these sort of passing dissonances
were
> (and are) perfectly acceptable and, in my view, add to the harmonic
> spice of the music.
>
> Indeed the guitar would probably be tacet in the ritornelli - I
thought
> I'd indicated this.
>
> Finally you'll have noted that some of the pieces 'A due voci'
don't
> have alfabeto: I have no idea why some do and others don't.
>
> rgds
>
> M
To get on or off this list see list information at
[2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. http://www.library.appstate.edu/music/lute/continuo.html
2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
