Dear Joachim,
yes I know, I have played all of those. But really I am interested in
this kind of off-beat figuration that thrives on thirds.
Dowland and maybe Huwet used those sometimes. Huwet was also from the
Netherlands and I read Dowland befriended Huwet in Wolfenbüttel.
I don't know who influenced whom, but maybe you know?
On 11.08.19 18:36, Joachim Lüdtke wrote:
Dear Tristan,
just in short (I am traveling and I don't have the sources at hand): You may
not find exactly the same accord arpeggios (another anachronism, ;) ), but you
will find similar things in different sets of variations on Conde Claros and
other tunes and models.
Best
Joachim
-----Original-Nachricht-----
Betreff: [LUTE] Re: Anachronistic playing style - Adriaenssen
Datum: 2019-08-10T12:55:41+0200
Von: "Tristan von Neumann" <tristanvonneum...@gmx.de>
An: "lute@cs.dartmouth.edu" <lute@cs.dartmouth.edu>
Dear Joachim,
I used this term to give the idea for someone who can't just look at it,
you know this is erbsenzahlery :)
And where is the same accuracy when trying to show me an example? ;-)))
By Condes Claros you mean those of Valderrabano I guess?
They are fancy, but not that fancy. I was looking for the exact figuration.
Trying to explain the figuration by saying that variations need
variation (...duh!) doesn't really tell me anything. ;-)
On 10.08.19 11:23, Joachim Lüdtke wrote:
Dear Tristan,
to be truely Alberti one would have to be a bass, ;), and it's anachronistic to
connect such figurations to Alberti because the source precedes the time of
Alberti (at least a bit).
You will find similar things in Spanish variations of e.g. Conde claros. I
think one could describe what we find there as a possible solution to the
question how to write (or play or improvise) variations on a rather slow moving
progression, if you have the scale runs already through.
Best
Joachim
-----Original-Nachricht-----
Betreff: [LUTE] Anachronistic playing style - Adriaenssen
Datum: 2019-08-09T02:38:53+0200
Von: "Tristan von Neumann" <tristanvonneum...@gmx.de>
An: "lute@cs.dartmouth.edu" <lute@cs.dartmouth.edu>
The "Passomeso in Basso" from Adriaenssen's Pratum Musicum 1584 features
two variations in a very odd anachronistic/visionary style:
It's basically the idea of "Alberti bass".
(m. 114 - 119 and 225 - 238)
http://gerbode.net/sources/Adriaenssen/pratum_musicum_1584/pdf/61_passomeso_in_basso.pdf
This style seems to come from nowhere, and it has to my knowledge never
been used afterwards.
But I haven't looked at everything.
Does anyone know any similar passage in that era?
And: is there a recording of the piece? It is probably the most
elaborate and creative Passamezzo ever.
I use it as exercise - feels like training for a marathon.
:)
T*
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