I have an opinion -- Giving that opinion may open me up to some
"clarification", which is why I'm giving it. In other words, if I'm
wrong about this, please let me know!
When playing the modern guitar, I'll choose to add the D on the 2nd
course (from high to low) or not, at will. Considerations include
practical (as Monica stated for chord changes), leading notes, or
general emphasis within the musical context. Everybody learns the G
chord (modern) in various ways, and then later sees other people
playing it with variations. At some point, one tries all the
variations at least once.
My opinion is that the Alfabeto is there to "get you playing the
guitar"... Same as rudimentary chord books today. See your typical
Ukulele book, for example. Sanz expanded on the Alfabeto with his
Labarinto, and makes the claim that with all these chords you can now
compose whatever variations you want (roughly paraphrased from
memory). But (again, my opinion) this is still a guideline meant to
illustrate the wonderful quality of the guitar, the displacement of
chord forms to other positions, yielding other chords. I believe
chords, as a concept, were fairly new at the time, and this Labarinto
was quite the innovation.
Further, my opinion is that you will reach a level of playing where
your taste dictates your answers to these types of questions, in the
given situation. This is the level you want to reach, and I think Sanz
would want you to reach it. If you don't know how or why to play a G
chord, by all means, use the Alfabeto religiously. If you have moved
to the next level, take the Alfabeto as a guideline, but add your own
flavor to the music.
I forget where I read it, and it was in the context of interpreting
Baroque music on the MODERN guitar, but somebody said (again,
paraphrased from memory), "In that time, any musician who failed to
improvise on a piece was a boring bird indeed." Something to that
effect. (I imagine Richelieu fell into that category... But that's
another topic.)
cud
__________________________________________________________________
From: Monica Hall <mjlh...@tiscali.co.uk>
To: David van Ooijen <davidvanooi...@gmail.com>
Cc: Vihuelalist <vihuela@cs.dartmouth.edu>
Sent: Sunday, September 9, 2012 5:23 PM
Subject: [VIHUELA] Re: G chord on Baroque Guitar
My ears have no problem with doubling the 3rd. As I pointed out
Chords B, & and N all have the major 3rd doubled. And the consonant
form of chord L has the minor 3rd doubled. That doesn't seem to have
bothered guitarists in the 17th century and it shouldn't bother you
today either.
I doubt whether you have encountered the dissonant form of Chord L in
your harmony lessons either. That is a purely practical device.
Monica
----- Original Message ----- From: "David van Ooijen"
<[1]davidvanooi...@gmail.com>
To: "Vihuelalist" <[2]vihuela@cs.dartmouth.edu>
Sent: Sunday, September 09, 2012 10:12 PM
Subject: [VIHUELA] Re: G chord on Baroque Guitar
> On 9 September 2012 23:08, Monica Hall <[3]mjlh...@tiscali.co.uk>
wrote:
>> I don't think that doubling the 3rd is an issue or that what people
learn in
>> their harmony lessons today is particularly relevant. I doubt
whether
>> guitarists at the beginning of the 17th century thought in those
terms.
>
> Neither do today's guitarists who chose for 33002(3), but their ears
> tell them it's the better choice. In harmony lessons you just learn
to
> give names to what your ears already told you. In other words, don't
> turn the argument around.
>
> David
>
> -- *******************************
> David van Ooijen
> [4]davidvanooi...@gmail.com
> [5]www.davidvanooijen.nl
> *******************************
>
>
>
> To get on or off this list see list information at
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--
References
1. mailto:davidvanooi...@gmail.com
2. mailto:vihuela@cs.dartmouth.edu
3. mailto:mjlh...@tiscali.co.uk
4. mailto:davidvanooi...@gmail.com
5. http://www.davidvanooijen.nl/
