[VIHUELA] Re: Guitar continuo example
Hello Monica, I've just returned from an extended Easter break and am catching up with emails, but this is more interesting than most Pitch standards come first to mind when thinking of any reason why the guitar part and the keyboard part should be a tone higher than the others. In short, if the chitarra. and the spinetta were generally kept at a tone below other instruments they would need such a part to enable them to play with the other instruments. Perhaps being more for domestic use than for formal concerts and thus not requiring so much 'brightness' might explain this practice. regards Martyn --- On Mon, 9/5/11, Monica Hall mjlh...@tiscali.co.uk wrote: From: Monica Hall mjlh...@tiscali.co.uk Subject: [VIHUELA] Re: Guitar continuo example To: Rockford Mjos rm...@comcast.net Cc: Vihuelalist vihuela@cs.dartmouth.edu Date: Monday, 9 May, 2011, 17:49 Yes - that seems very likely. Singers/players would be listed in payrolls under just one heading. Multi tasking. Out of 16 people listed 13 are singers. Having looked more closely at the guitar part - it doesn't look very suitable for guitar - it goes down to E below the bass stave in places although these could be played an octave higher. The guitar part seems to be also for the spinetta - either/or perhaps. Has anyone tried to fit the parts together? Can anyone think of any reason why the guitar part and the keyboard part should be a tone higher than the others? Interesting. Monica - Original Message - From: [1]Rockford Mjos To: [2]Monica Hall Cc: [3]Vihuelalist Sent: Monday, May 09, 2011 5:16 PM Subject: Re: [VIHUELA] Guitar continuo example If we are looking for possible guitarists to take that second hand-plucked part, Reggio comes to mind, though listed in the court payroll as a bass (singer) [See STMF 1961, p. 308] Kenneth Sparr had this comment: During the period 1652-1654 Queen Christine of Sweden had a company of Italian musicians and actors employed. Among these musicians you find the theorbist and guitarist Angiol Michele Bartolotti as well as the singer, lutenist and guitarist Pietro Francesco Reggio. [4][1]http://www.tabulatura.com/SWEGUIT.htm -- R On May 9, 2011, at 10:23 AM, Monica Hall wrote: Thanks for sharing the info with us. Your delving into this collection is enormously useful. It does look as if the guitar is supposed to be playing along with everyone else. But the list of artists in Albrici's ensemble paid in 1653 includes Bartolotti as the only theorbo player, one violinist/violist and one keyboard player. All of the rest of the artists seem to be singers. Perhaps they also played various instruments. Monica - Original Message - From: Rockford Mjos [5][2]rm...@comcast.net To: [6][3]vihuela@cs.dartmouth.edu Cc: Lex Eisenhardt [7][4]eisenha...@planet.nl Sent: Monday, May 09, 2011 5:38 AM Subject: [VIHUELA] Guitar continuo example While browsing the online Duben collection I stumbled upon a Sinfonia by Albrici with a part listed for Chitarra. It brought to mind Lex's inquiries about specific mention/uses of the guitar as a continuo instrument. Sinfonia a 6./Primo Tono./di/Sig:r Vincenzo Albrici./1654. You can have a look here: [8][5]http://www2.musik.uu.se/duben/presentationSource.php?Select_Dn r 66 On part 08 click on Browse Part. It's standard bass clef notation with figures. -- R -- To get on or off this list see list information at [9][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[7]rm...@comcast.net 2. mailto:[8]mjlh...@tiscali.co.uk 3. mailto:[9]vihuela@cs.dartmouth.edu 4. [10]http://www.tabulatura.com/SWEGUIT.htm 5. mailto:[11]rm...@comcast.net 6. mailto:[12]vihuela@cs.dartmouth.edu 7. mailto:[13]eisenha...@planet.nl 8. [14]http://www2.musik.uu.se/duben/presentationSource.php?Select_Dnr 9. [15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.tabulatura.com/SWEGUIT.htm 2. http://uk.mc263.mail.yahoo.com/mc/compose?to=rm...@comcast.net 3. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu 4. http://uk.mc263.mail.yahoo.com/mc/compose?to=eisenha...@planet.nl 5. http://www2.musik.uu.se/duben/presentationSource.php?Select_Dnr 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 7. http://uk.mc263.mail.yahoo.com/mc/compose?to=rm...@comcast.net 8. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk 9.
[VIHUELA] Re: Guitar continuo example
Dear Ralf, Prima la musica is a very reputable small publishing firm (one man I think - Brian Clark) producing limited runs of specialist early music editions. I'd guess the ARR tag is used, as by other commercial publishers, to try and ensure they are paid a royalty when anyone uses their edition for public performance or commercial recording. This practice has, I think, become even more widespread since the court case a few years ago involving Hyperion records. I'm not taking sides - merely giving what may be the reason for the practice. MH --- On Mon, 9/5/11, R. Mattes r...@mh-freiburg.de wrote: From: R. Mattes r...@mh-freiburg.de Subject: [VIHUELA] Re: Guitar continuo example To: Rockford Mjos rm...@comcast.net, Monica Hall mjlh...@tiscali.co.uk Cc: Vihuelalist vihuela@cs.dartmouth.edu Date: Monday, 9 May, 2011, 19:53 On Mon, 9 May 2011 12:56:20 -0500, Rockford Mjos wrote Kremberg and others assume a guitar tuned in D so, of course, a transposing part would mean thinking E-tuned guitar shapes on a D instrument (for example). And the spinetta is also a transposing instrument? Might well be parts written for instruments at different pitch levels (not unheard of even in Bach's time). When I play continuo on guitar I transpose out of range bass lines (in my head) as needed. Looking at the parts, I think there's plenty of bass already. I also wonder about the Tacet instructions. On some parts I see Spinetta tacet, but not chitarra tacet. In the shared chitarra/ spinetta part Spinetta tacet appears to be crossed out. I came across the beginning here, though it does not show the Spinetta to be a transposing part, nor that Chitarra is also listed (first!) on that part. (Perhaps preface material or edition notes address these oversights.) [1]http://www.primalamusica.com/PDFs/APR09/ALB001.pdf [2]http://www.primalamusica.com/albrici-3030-0.html [chitarra not mentioned here, either] What an obnoxious edition! All rights reserved - yeah, right! They probably bought the performance rights from Signore Albrici himself. Cheers, Ralf Mattes To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.primalamusica.com/PDFs/APR09/ALB001.pdf 2. http://www.primalamusica.com/albrici-3030-0.html 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Guitar continuo example
On Tue, 10 May 2011 09:35:05 +0100 (BST), Martyn Hodgson wrote Dear Ralf, Prima la musica is a very reputable small publishing firm (one man I think - Brian Clark) producing limited runs of specialist early music editions. This might well be - looking at their website gives that impreession. But ... I'd guess the ARR tag is used, as by other commercial publishers, to try and ensure they are paid a royalty when anyone uses their edition for public performance or commercial recording. This practice has, I think, become even more widespread since the court case a few years ago involving Hyperion records. .. I still fail to see what gives them the right to do so. All rights reserved means what it says: _All rights_, not just you can't legaly photocopy this music. Royalties? A _composer_ (and a performer, in case of recordings) gets royalties, _not_ a publisher (note: in the US a composer might sell/sign over these rights to a publisher, but I doubt Sign. Albrici did this). They simply claim rights they do not hold. Does it matter? Unfortunately yes. Next time I perform this little gem in a public performance I have to prove to some dork from german GEMA that noone holds performance right on the piece. An a quick google will lead him to this edition (unfortunately, in Germany, thank's to the GEMA Vermutung one has to prove that some music is free, not the other way round, as it should be). If 'Prima la musica' is a member of some copyright association then GEMA might sue me (on behalf of Prima la Musica). Which might result in me having to counter-sue Prima la musica for unjustly claiming performance right - probably _not_ what they intended I'm not taking sides - merely giving what may be the reason for the practice. I might sound grumpy but this seems to become a unhealthy habbit recently. Cheers, Ralf Mattes MH --- On Mon, 9/5/11, R. Mattes r...@mh-freiburg.de wrote: From: R. Mattes r...@mh-freiburg.de Subject: [VIHUELA] Re: Guitar continuo example To: Rockford Mjos rm...@comcast.net, Monica Hall mjlh...@tiscali.co.uk Cc: Vihuelalist vihuela@cs.dartmouth.edu Date: Monday, 9 May, 2011, 19:53 On Mon, 9 May 2011 12:56:20 -0500, Rockford Mjos wrote Kremberg and others assume a guitar tuned in D so, of course, a transposing part would mean thinking E-tuned guitar shapes on a Dinstrument (for example). And the spinetta is also a transposing instrument? Might well be parts written for instruments at different pitch levels (not unheard of even in Bach's time).When I play continuo on guitar I transpose out of range bass lines(in my head) as needed. Looking at the parts, I think there's plenty of bass already. I also wonder about the Tacet instructions. On some parts I seeSpinetta tacet, but not chitarra tacet. In the shared chitarra/ spinetta part Spinetta tacet appears to be crossed out. I came across the beginning here, though it does not show the Spinetta to be a transposing part, nor that Chitarra is also listed (first!) on that part. (Perhaps preface material or edition notesaddress these oversights.) [1]http://www.primalamusica.com/PDFs/APR09/ALB001.pdf [2]http://www.primalamusica.com/albrici-3030-0.html [chitarra not mentioned here, either] What an obnoxious edition! All rights reserved - yeah, right! They probably bought the performance rights from Signore Albrici himself. Cheers, Ralf Mattes To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.primalamusica.com/PDFs/APR09/ALB001.pdf 2. http://www.primalamusica.com/albrici-3030-0.html 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- R. Mattes - Hochschule fuer Musik Freiburg r...@inm.mh-freiburg.de
[VIHUELA] Re: Guitar continuo example
Dear Ralf, I recall that the heart of the Hyperion case was that the editor had introduced new material into the edition by virtue of the new typesetting and perhaps there were also corrections/performance practice notes and the like - I can't recall the exact details. Many of us were, and remain, puzzled at the ruling and for a short time it seemed that Hyperion (a fairly small specialist label) might have to close (its costs were quite significant). Happily that proved not to be the case. Finally, 'All rights reserved' refers to rights assigned to such a publication by the law: it is by virtue of such legal rulings that publishers hold these rights. If you're interested in the bacground and legal arguments, there are summaries of the case, known as Sawkins v Hyperion Records Ltd 2005, on various sites such as [1]www.4-5graysinnsquare.co.uk/news/index.cfm?id=1391 regards Martyn --- On Tue, 10/5/11, R. Mattes r...@mh-freiburg.de wrote: From: R. Mattes r...@mh-freiburg.de Subject: Re: [VIHUELA] Re: Guitar continuo example To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Rockford Mjos rm...@comcast.net, Monica Hall mjlh...@tiscali.co.uk Cc: Vihuelalist vihuela@cs.dartmouth.edu Date: Tuesday, 10 May, 2011, 10:27 On Tue, 10 May 2011 09:35:05 +0100 (BST), Martyn Hodgson wrote Dear Ralf, Prima la musica is a very reputable small publishing firm (one man I think - Brian Clark) producing limited runs of specialist early music editions. This might well be - looking at their website gives that impreession. But ... I'd guess the ARR tag is used, as by other commercial publishers, to try and ensure they are paid a royalty when anyone uses their edition for public performance or commercial recording. This practice has, I think, become even more widespread since the court case a few years ago involving Hyperion records. ... I still fail to see what gives them the right to do so. All rights reserved means what it says: _All rights_, not just you can't legaly photocopy this music. Royalties? A _composer_ (and a performer, in case of recordings) gets royalties, _not_ a publisher (note: in the US a composer might sell/sign over these rights to a publisher, but I doubt Sign. Albrici did this). They simply claim rights they do not hold. Does it matter? Unfortunately yes. Next time I perform this little gem in a public performance I have to prove to some dork from german GEMA that noone holds performance right on the piece. An a quick google will lead him to this edition (unfortunately, in Germany, thank's to the GEMA Vermutung one has to prove that some music is free, not the other way round, as it should be). If 'Prima la musica' is a member of some copyright association then GEMA might sue me (on behalf of Prima la Musica). Which might result in me having to counter-sue Prima la musica for unjustly claiming performance right - probably _not_ what they intended I'm not taking sides - merely giving what may be the reason for the practice. I might sound grumpy but this seems to become a unhealthy habbit recently. Cheers, Ralf Mattes MH --- On Mon, 9/5/11, R. Mattes [2]r...@mh-freiburg.de wrote: From: R. Mattes [3]r...@mh-freiburg.de Subject: [VIHUELA] Re: Guitar continuo example To: Rockford Mjos [4]rm...@comcast.net, Monica Hall [5]mjlh...@tiscali.co.uk Cc: Vihuelalist [6]vihuela@cs.dartmouth.edu Date: Monday, 9 May, 2011, 19:53 On Mon, 9 May 2011 12:56:20 -0500, Rockford Mjos wrote Kremberg and others assume a guitar tuned in D so, of course, a transposing part would mean thinking E-tuned guitar shapes on a Dinstrument (for example). And the spinetta is also a transposing instrument? Might well be parts written for instruments at different pitch levels (not unheard of even in Bach's time).When I play continuo on guitar I transpose out of range bass lines(in my head) as needed. Looking at the parts, I think there's plenty of bass already. I also wonder about the Tacet instructions. On some parts I seeSpinetta tacet, but not chitarra tacet. In the shared chitarra/ spinetta part Spinetta tacet appears to be crossed out. I came across the beginning here, though it does not show the Spinetta to be a transposing part, nor that Chitarra is also listed (first!) on that part. (Perhaps preface material or edition notesaddress these oversights.) [1][7]http://www.primalamusica.com/PDFs/APR09/ALB001.pdf [2][8]http://www.primalamusica.com/albrici-3030-0.html [chitarra not mentioned here, either] What an obnoxious edition! All rights reserved -
[VIHUELA] Re: Guitar continuo example
On Tue, 10 May 2011 14:37:10 +0100 (BST), Martyn Hodgson wrote If you're interested in the bacground and legal arguments, there are summaries of the case, known as Sawkins v Hyperion Records Ltd 2005, on various sites such as www.4-5graysinnsquare.co.uk/news/index.cfm?id=1391 Thanks for the link. One intersting question: did the performers of the hyperion record actually _use_ the edition? Sacry quote: The response of the claimant, which the judge accepted, was that none of the music could have been played or performed by using any of the earlier extant Lalande scores. Poor old french musicians from the baroque - living in a time with such wonderfull music that they could not perform :-/ Cheers, Ralf Mattes To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Guitar continuo example
I believe they (Ex-Cathedra dir. Jeff Skidmore) did use the edition not, of course, expecting all the subsequent trouble. Mh --- On Tue, 10/5/11, R. Mattes r...@mh-freiburg.de wrote: From: R. Mattes r...@mh-freiburg.de Subject: Re: [VIHUELA] Re: Guitar continuo example To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: Vihuelalist vihuela@cs.dartmouth.edu Date: Tuesday, 10 May, 2011, 15:03 On Tue, 10 May 2011 14:37:10 +0100 (BST), Martyn Hodgson wrote If you're interested in the bacground and legal arguments, there are summaries of the case, known as Sawkins v Hyperion Records Ltd 2005, on various sites such as www.4-5graysinnsquare.co.uk/news/index.cfm?id=1391 Thanks for the link. One intersting question: did the performers of the hyperion record actually _use_ the edition? Sacry quote: The response of the claimant, which the judge accepted, was that none of the music could have been played or performed by using any of the earlier extant Lalande scores. Poor old french musicians from the baroque - living in a time with such wonderfull music that they could not perform :-/ Cheers, Ralf Mattes To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Copyrights (was Guitar continuo example)
That's an interesting summary to read. I think there's a gray area here between scholarly work and performance. There's no doubt that a scholar should get his (or her) due for intellectual exertions. The question is, what is that due? When a scholar publishes a historical text, then to see that text I have to buy it. The scholar gets paid. If I read from that text in a public performance, does the scholar deserve royalties for that reading? I don't know. Should publishers of new versions of the Bible collect royalties every time their versions are read in a sermon? I guess the lesson here is that you should go to the source. If the edition didn't add anything to the performance that couldn't have come from a reading of the original, then why didn't Hyperion just go to the original? The realization of a historical recording is not just a matter of playing notes. It's a matter of historical research -- players need to study their history. And if the edition of some music adds historical insight, then that is part of the realization. So does this mean that I can't play for profit any pieces in the Libro de Diferentes Cifras without setting aside royalties for F. A. Valdivia (and possible those who collaborated)? Even if I disagree with some of the edits and play the pieces differently? Thank goodness I'm an amateur! cud __ From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: R. Mattes r...@mh-freiburg.de Cc: Vihuelalist vihuela@cs.dartmouth.edu Sent: Tuesday, May 10, 2011 9:37 AM Subject: [VIHUELA] Re: Guitar continuo example Dear Ralf, I recall that the heart of the Hyperion case was that the editor had introduced new material into the edition by virtue of the new typesetting and perhaps there were also corrections/performance practice notes and the like - I can't recall the exact details. Many of us were, and remain, puzzled at the ruling and for a short time it seemed that Hyperion (a fairly small specialist label) might have to close (its costs were quite significant). Happily that proved not to be the case. Finally, 'All rights reserved' refers to rights assigned to such a publication by the law: it is by virtue of such legal rulings that publishers hold these rights. If you're interested in the bacground and legal arguments, there are summaries of the case, known as Sawkins v Hyperion Records Ltd 2005, on various sites such as [1]www.4-5graysinnsquare.co.uk/news/index.cfm?id=1391 regards Martyn --- On Tue, 10/5/11, R. Mattes [1]r...@mh-freiburg.de wrote: From: R. Mattes [2]r...@mh-freiburg.de Subject: Re: [VIHUELA] Re: Guitar continuo example To: Martyn Hodgson [3]hodgsonmar...@yahoo.co.uk, Rockford Mjos [4]rm...@comcast.net, Monica Hall [5]mjlh...@tiscali.co.uk Cc: Vihuelalist [6]vihuela@cs.dartmouth.edu Date: Tuesday, 10 May, 2011, 10:27 On Tue, 10 May 2011 09:35:05 +0100 (BST), Martyn Hodgson wrote Dear Ralf, Prima la musica is a very reputable small publishing firm (one man I think - Brian Clark) producing limited runs of specialist early music editions. This might well be - looking at their website gives that impreession. But ... I'd guess the ARR tag is used, as by other commercial publishers, to try and ensure they are paid a royalty when anyone uses their edition for public performance or commercial recording. This practice has, I think, become even more widespread since the court case a few years ago involving Hyperion records. ... I still fail to see what gives them the right to do so. All rights reserved means what it says: _All rights_, not just you can't legaly photocopy this music. Royalties? A _composer_ (and a performer, in case of recordings) gets royalties, _not_ a publisher (note: in the US a composer might sell/sign over these rights to a publisher, but I doubt Sign. Albrici did this). They simply claim rights they do not hold. Does it matter? Unfortunately yes. Next time I perform this little gem in a public performance I have to prove to some dork from german GEMA that noone holds performance right on the piece. An a quick google will lead him to this edition (unfortunately, in Germany, thank's to the GEMA Vermutung one has to prove that some music is free, not the other way round, as it should be). If 'Prima la musica' is a member of some copyright association then GEMA might sue me (on behalf of Prima la Musica). Which might result in me having to counter-sue Prima la musica for unjustly claiming performance right - probably _not_ what they intended I'm not taking
[VIHUELA] Re: Guitar continuo example
The music could have been impossible to perform because of the condition of the manuscript. Some significant number of notes may have been obscured, for example. Or perhaps the music was scattered across different manuscripts or versions, and the editor compiled these instances into a single edition. You can't accept the assertion out of hand, but you can't reject it out of hand either. __ From: R. Mattes r...@mh-freiburg.de To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: Vihuelalist vihuela@cs.dartmouth.edu Sent: Tuesday, May 10, 2011 10:03 AM Subject: [VIHUELA] Re: Guitar continuo example On Tue, 10 May 2011 14:37:10 +0100 (BST), Martyn Hodgson wrote If you're interested in the bacground and legal arguments, there are summaries of the case, known as Sawkins v Hyperion Records Ltd 2005, on various sites such as www.4-5graysinnsquare.co.uk/news/index.cfm?id=1391 Thanks for the link. One intersting question: did the performers of the hyperion record actually _use_ the edition? Sacry quote: The response of the claimant, which the judge accepted, was that none of the music could have been played or performed by using any of the earlier extant Lalande scores. Poor old french musicians from the baroque - living in a time with such wonderfull music that they could not perform :-/ Cheers, Ralf Mattes To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[VIHUELA] Re: Guitar continuo example
Yes - that seems possible. But why would the continuo group need to include guitar and spinetta as well as cembalo (harpsichord), organ and theorbo. It seems quite a large ad hoc group of instruments. Monica - Original Message - From: [1]Martyn Hodgson To: [2]Monica Hall Cc: [3]Vihuelalist Sent: Tuesday, May 10, 2011 9:20 AM Subject: Re: [VIHUELA] Re: Guitar continuo example Hello Monica, I've just returned from an extended Easter break and am catching up with emails, but this is more interesting than most Pitch standards come first to mind when thinking of any reason why the guitar part and the keyboard part should be a tone higher than the others. In short, if the chitarra. and the spinetta were generally kept at a tone below other instruments they would need such a part to enable them to play with the other instruments. Perhaps being more for domestic use than for formal concerts and thus not requiring so much 'brightness' might explain this practice. regards Martyn --- On Mon, 9/5/11, Monica Hall mjlh...@tiscali.co.uk wrote: From: Monica Hall mjlh...@tiscali.co.uk Subject: [VIHUELA] Re: Guitar continuo example To: Rockford Mjos rm...@comcast.net Cc: Vihuelalist vihuela@cs.dartmouth.edu Date: Monday, 9 May, 2011, 17:49 Yes - that seems very likely. Singers/players would be listed in payrolls under just one heading. Multi tasking. Out of 16 people listed 13 are singers. Having looked more closely at the guitar part - it doesn't look very suitable for guitar - it goes down to E below the bass stave in places although these could be played an octave higher. The guitar part seems to be also for the spinetta - either/or perhaps. Has anyone tried to fit the parts together? Can anyone think of any reason why the guitar part and the keyboard part should be a tone higher than the others? Interesting. Monica - Original Message - From: [1]Rockford Mjos To: [2]Monica Hall Cc: [3]Vihuelalist Sent: Monday, May 09, 2011 5:16 PM Subject: Re: [VIHUELA] Guitar continuo example If we are looking for possible guitarists to take that second hand-plucked part, Reggio comes to mind, though listed in the court payroll as a bass (singer) [See STMF 1961, p. 308] Kenneth Sparr had this comment: During the period 1652-1654 Queen Christine of Sweden had a company of Italian musicians and actors employed. Among these musicians you find the theorbist and guitarist Angiol Michele Bartolotti as well as the singer, lutenist and guitarist Pietro Francesco Reggio. [4][4]http://www.tabulatura.com/SWEGUIT.htm -- R On May 9, 2011, at 10:23 AM, Monica Hall wrote: Thanks for sharing the info with us. Your delving into this collection is enormously useful. It does look as if the guitar is supposed to be playing along with everyone else. But the list of artists in Albrici's ensemble paid in 1653 includes Bartolotti as the only theorbo player, one violinist/violist and one keyboard player. All of the rest of the artists seem to be singers. Perhaps they also played various instruments. Monica - Original Message - From: Rockford Mjos [5][5]rm...@comcast.net To: [6][6]vihuela@cs.dartmouth.edu Cc: Lex Eisenhardt [7][7]eisenha...@planet.nl Sent: Monday, May 09, 2011 5:38 AM Subject: [VIHUELA] Guitar continuo example While browsing the online Duben collection I stumbled upon a Sinfonia by Albrici with a part listed for Chitarra. It brought to mind Lex's inquiries about specific mention/uses of the guitar as a continuo instrument. Sinfonia a 6./Primo Tono./di/Sig:r Vincenzo Albrici./1654. You can have a look here: [8][8]http://www2.musik.uu.se/duben/presentationSource.php?Select_Dn r 66 On part 08 click on Browse Part. It's standard bass clef notation with figures. -- R -- To get on or off this list see list information at [9][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[10]rm...@comcast.net 2. mailto:[11]mjlh...@tiscali.co.uk 3. mailto:[12]vihuela@cs.dartmouth.edu 4. [13]http://www.tabulatura.com/SWEGUIT.htm 5. mailto:[14]rm...@comcast.net 6. mailto:[15]vihuela@cs.dartmouth.edu 7. mailto:[16]eisenha...@planet.nl 8. [17]http://www2.musik.uu.se/duben/presentationSource.php?Select_Dnr 9. [18]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:hodgsonmar...@yahoo.co.uk 2. mailto:mjlh...@tiscali.co.uk 3. mailto:vihuela@cs.dartmouth.edu 4. http://www.tabulatura.com/SWEGUIT.htm
