Here is another interesting continuo link. I've uploaded for a few days only the article by John Walter Hill on 'Realised Continuo Accompaniments from Florence, c.1600' (Early Music April 1983).
www.rmguitar.info/temp.htm It is a large file, over 7 megabites, but the main point can be extracted here. Hill located many lute/theorbo/keyboard realization of songs by Caccini and others of that period, and found (big intake of breath) parallel octaves and fifths. Those who claim to playing 'authentic' realizations by following written rules about omitting such things, might have to have a rethink... >>>Yet these parallelisms are found frequently in nearly every one of these Florentine realizations, whether for archlute or keyboard. It is often overlooked that even Viadana. the church musician. wrote, in 1602. 'The organ part is never under any obligation to avoid two Sths or two octave^'.'^ Guidotti. in his preface to Cavalieri's Rappresentazione di anima et di cop0 (Rome. 1 600), says 'two Sths are taken as occasion demands'. Caccini in his preface to Euridice (Florence, I6OO), writes 'I have not avoided the succession of two octaves or two 5th~'. Vincenzo Galilei, in his Dialogo of 158 1 ,26 had advised them all that two or more perfect consonances consecutively are to be allowed when three or more parts are sounding, advice upon which he elaborates in a treatise of c1590 in this way: 'The law of modern contrapuntists that prohibits the use of two octaves or two 5ths is a law truly contrary to every natural law of singing [solo song^].<<< Parallel octaves and fifths in 'NEARLY EVERY ONE'! Also note references to chords lacking any kind of third - just roots and fifths, in other words 'power chords' - much decried by the two Davids on this list. Rob MacKillop www.rmguitar.info To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
