Dear Martyn
My observations were withing the context of songs with an independent basso part in addition to the guitar alfabeto, such as the Marini 1622 collection. Clearly, if only the alfabeto were present then I'd generally expect only the guitar. I'd be very grateful if you'd read my postings with more care - it might save us both a lot of time!
The present discussion was indeed about Marini 1622, and I had that book in mind, not other collections with just text and alfabeto.
And yes, I do think that where an independent basso part is present and the guitar is strumming chords then the bass line is best played by another instrument: bowed bass, theorbo (just solo line?) or other. The alternative which you appear to be suggesting is that we dispense with the written bass line altogether if the guitar strums chords.
That seems a reasonable assumption, yes. As remarked earlier, there are very many collections with alfabeto + continuo. Many more than there are books with alfabeto without continuo bass. As I asked in my last message, where would the references be to voice + guitar + other bass line instruments? To not waste your time again: of course it can be argued that the many existing references would all apply to singing to the guitar a repertoire which had no continuo line. This doesn't completely convince me.
Now you say that having a bass in counterpoint to the melody is to be preferred. I think 'they' did not care much, while singing to the guitar was very much a matter of fashion/image.
Are you really sure this is what the various other people you mention really believe?
I have no idea what they believe, but in their (and others') writings I see no word about having found references to the guitar + bowed string, and I suppose anyone would have told so if he/she had read that somewhere.
best, Lex
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