This is an important point: if the aim is HIP, then this is it. Many three-part works written during the early chanson period were "given new life" by the addition of a fourth part. Some of these extra parts are quite ingenious, providing a complete change in chord structure (not that the composers of the time were harmony-focused).
In the first book of music printed with moveable type, Petrucci's Harmonice Musices Odhecaton, eight and possibly 10 pieces have been treated this way. Many of the added parts are overtly marked "si placet". Examination of the si placet literature shows that some of the extra pieces move all over the place in wide jumps, trying to fill in the harmony without violating voice rules. (And this may well have grown into the fifth-part name, vagans, wandering.) It's a way for modern HIP musicians to show their musicianship the way that the original folk did. ray On 4/30/08, Ed Durbrow <[EMAIL PROTECTED]> wrote: > Another way would be to create a new part. This was done in the old days and > we have contra-parts for Francesco Fantasias and many other pieces. > > > On Apr 28, 2008, at 9:48 PM, Herbert Ward wrote: > > > > > The obvious method for making a duet from a solo is > > to simply divide the notes between the two lutes, > > usually giving the melody notes to one lute and the > > remaining notes to the other lute. > > > > Are there any more sophisticated considerations > > for endevours of this type, which can be formulated > > into textual rules? I ask because sometimes > > the above method seems to change the character of > > the piece somewhat. > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > Ed Durbrow > Saitama, Japan > [EMAIL PROTECTED] > http://www9.plala.or.jp/edurbrow/ > > > >
