Eh! This was in answer to a direct question about this one particular
matter from Lex! Not a continuation of your mail....... I think you've
got confused - with respect,
rgds
M
--- On Sat, 17/12/11, Monica Hall <mjlh...@tiscali.co.uk> wrote:
From: Monica Hall <mjlh...@tiscali.co.uk>
Subject: Re: [VIHUELA] Re: Strumming as basso continuo {was: Return
to earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>, "Lex Eisenhardt"
<eisenha...@planet.nl>
Date: Saturday, 17 December, 2011, 12:32
That is all perfectly clear - but has absolutely nothing to do with
playing
an alfabeto accompaniment - because the guitar is not going to try and
reproduce the bass part in any way.
You seem to be me to be confusing two unrelated sets of circumstances.
Monica
----- Original Message -----
From: "Martyn Hodgson" <[1]hodgsonmar...@yahoo.co.uk>
To: "Lex Eisenhardt" <[2]eisenha...@planet.nl>
Cc: "Vihuelalist" <[3]vihuela@cs.dartmouth.edu>
Sent: Saturday, December 17, 2011 11:47 AM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier
question: {was: Agazzari guitar [was Re: Capona?]}
>
> Dear Lex,
>
> A particular commonly occurring situation requiring the bass line
to be
> realised on the theorbo higher than the upper melodic line is where
the
> tenor sings a notated e' (ie that on the lowest line of treble
clef)
> but sounding an octave lower (ie the e in the bass clef) and the BC
> line has a low G# 6 (ie on bottom line of bass clef). If G natural
is
> also frequently required in the piece (as often found) then on
> a theorbo in A (with 6 fingered courses as most usual historically)
> there is no low G# and the player is obliged to take the bass an
octave
> higher - ie top space of the bass clef and thus higher than the
> singer's note. The situation is much the same where the tenor has a
d
> and the theorbo BC is obliged to take a f# in the bass.
> Other types of specific examples include Caccini's 'Reggami per
pieta'
> where the singer has a low F# which has to be played by the BC an
> octave higher since there are necessary low F naturals elsewhere in
the
> piece.
>
> Chromatic notes are solved in the same way: by putting odd notes
(or
> even an entire passage) up an octave - see Ballard 'Methode pour
> apprendre.... theorbe' (1660) page 10 especially which gives
examples
> in staff notation and in tablature showing the necessary octave
> transposition for chromatic notes.
>
> rgds
>
> Martyn
>
>
> --- On Sat, 17/12/11, Lex Eisenhardt <[4]eisenha...@planet.nl>
wrote:
>
> From: Lex Eisenhardt <[5]eisenha...@planet.nl>
> Subject: Re: [VIHUELA] Re: Strumming as basso continuo {was:
Return
> to earlier question: {was: Agazzari guitar [was Re: Capona?]}
> To: "Monica Hall" <[6]mjlh...@tiscali.co.uk>, "Martyn Hodgson"
> <[7]hodgsonmar...@yahoo.co.uk>
> Cc: "Vihuelalist" <[8]vihuela@cs.dartmouth.edu>
> Date: Saturday, 17 December, 2011, 8:58
>
> Dear Martyn,
> Is there evidence for raising the bass on the theorbo, to even
above
> the
> other voices? I understand that chromatic notes in the bass can be
a
> problem, but do we know how they solved that?
> Lex
> ps could you please stop sending the whole thread of the discussion
> together
> with your newest posts?
> ----- Original Message -----
> From: "Martyn Hodgson" <[1][9]hodgsonmar...@yahoo.co.uk>
> To: "Monica Hall" <[2][10]mjlh...@tiscali.co.uk>
> Cc: "Vihuelalist" <[3][11]vihuela@cs.dartmouth.edu>
> Sent: Saturday, December 17, 2011 9:46 AM
> Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
> earlier
> question: {was: Agazzari guitar [was Re: Capona?]}
> >
> > Thanks Monica,
> >
> > But I still don't see, and you don't explain, how other changes
> (such
> > as raising the bass an octave in a theorbo realisation) differs
> > substantially from doing the same sort of thing on the guitar
> >
> > As said, maybe we just have to agree to disagree......
> >
> > rgds
> >
> > Martyn
>
> --
>
> References
>
> 1.
>
[12]http://us.mc817.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
.uk
> 2.
[13]http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 3.
[14]http://us.mc817.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.e
du
>
>
> To get on or off this list see list information at
> [15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. http://us.mc817.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
2. http://us.mc817.mail.yahoo.com/mc/compose?to=eisenha...@planet.nl
3. http://us.mc817.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
4. http://us.mc817.mail.yahoo.com/mc/compose?to=eisenha...@planet.nl
5. http://us.mc817.mail.yahoo.com/mc/compose?to=eisenha...@planet.nl
6. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
7. http://us.mc817.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
8. http://us.mc817.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
9. http://us.mc817.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
10. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
11. http://us.mc817.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
12. http://us.mc817.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
13. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
14. http://us.mc817.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
