Hello, dear lutenist friends!
I hope all of you are healthy and safe and making the best of your
lockdown time.
I wanted to spread the word about a new online continuo class that
Prof. Joseph Gascho and I are offering. Iâd be grateful if youâd spend
a moment thinking
Many thanks to everyone for their advice and pointers to some excellent
resources!
Plenty of study coming up... :-)
Regards
.. mark.
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Don't go crazy over this.
Arpeggio: I think it was Telemann who said: "Playing continuo is not
chopping cucumbers."
He meant the harpsichord, but still a valid point.
Play clear bass notes and make nice clouds above to fill rhythmic voids
of the singer.
If the voice has rhy
Hi Mark,
Everyone has given solid advice. However, the things suggested are for
the long term project of learning historically-informed continuo
practice. That's great, but it's frankly not very helpful starting in a
pinch. The olden ones thought about harmony very differ
st
don't
> take so much care and do your best for now. As I told, I see no big
> problem with d-minor tuning.
> In Monteverdi's times continuo is more simple in terms of harmony,
my
> teachers (like Andrew Lawrence King) told me to avoid complicated
>
care and do your best for now. As I told, I see no big
> problem with d-minor tuning.
> In Monteverdi's times continuo is more simple in terms of harmony, my
> teachers (like Andrew Lawrence King) told me to avoid complicated
> figuring most of the time.
> 53 or 6 chords,
est for now. As I told, I see no big
problem with d-minor tuning.
In Monteverdi's times continuo is more simple in terms of harmony, my
teachers (like Andrew Lawrence King) told me to avoid complicated
figuring most of the time.
53 or 6 chords, 7/6 and 4/3 suspensions are good so
atment
and several examples can also be found in Agazzari's "Del suonare
sopra'l basso" and Bianciardi mentioned above.
Turning to the instrument, you can use your high range, which absents
on theorbo. But archlute has high range as well, and it's the other
con
Some tips about little passages, passing notes and rhythmical treatment
and several examples can also be found in Agazzari's "Del suonare
sopra'l basso" and Bianciardi mentioned above.
Turning to the instrument, you can use your high range, which absents
on theorbo. B
1] by way of
> specific example, and I want to create a passable continuo line to
> support the singers (potentially with me singing one of lines).
>
> I come armed with my lute, an a-historic Dm 13c lute, a certain
amount
> of theory, but no real clue apart from "pla
Don't arpeggiate.
[1]https://davidvanooijen.wordpress.com/continuo-playing-on-baroque-lut
e-lesson-four-first-practical-step/
On Wed, 5 Feb 2020 at 03:36, Mark Probert <[2]probe...@gmail.com>
wrote:
Hi, all.
A bit of an open-ended question here. Suppose I gi
> On Feb 4, 2020, at 6:31 PM, Mark Probert wrote:
>
> Suppose I given a piece of early
> Baroque music, take Monteverdi's duet "Ardo e scoprir"[1] by way of
> specific example, and I want to create a passable continuo line to
> support the singers (potenti
Hi, all.
A bit of an open-ended question here. Suppose I given a piece of early
Baroque music, take Monteverdi's duet "Ardo e scoprir"[1] by way of
specific example, and I want to create a passable continuo line to
support the singers (potentially with me singing one of l
Let's say:
Bass line and chords played by guitars or keyboards.
I hate to see Stage Pianos excluded from the continuo gig :)
On 12.09.19 23:28, Howard Posner wrote:
The rhythm guitar and bass
Sent from my iPhone
On Sep 12, 2019, at 14:02, Leonard Williams
wrote:
If one is tryi
The rhythm guitar and bass
Sent from my iPhone
> On Sep 12, 2019, at 14:02, Leonard Williams
> wrote:
>
> If one is trying to explain the concept of continuo on theorbo to a
> non-early music person, would it be safe to compare it to the rhythm
> guitarist in a modern
If one is trying to explain the concept of continuo on theorbo to a
non-early music person, would it be safe to compare it to the rhythm
guitarist in a modern band?
Leonard Williams
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Dear Jorg,
I play continuo on theorbo and other plucked instruments and also
employ the mandora/gallichon in nominal D tuning with a string length
of 75cm (and also the large calchedon in nominal A tuning with sl 98cm)
where the instrument is appropriate - ie mostly second to last
I do on occasion. I have a huge 10-course in D 78cm or something
similar). Sometimes I chicken out and play transposed parts. If the
D-lute stint is a bit longer I bite the bullet and play at pitch. Not
so difficult (but I play easy continuo on it: early Italian music), no
Dear all,
I have got a big Mandora in D (renaissance tuning, NOT d-minor, NOT theorobo).
I may try to play some continuo with it as it’s quite sonorous.
Has anybody experiences with this?
Thanks
Jörg
To get on or off this list see list information at
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Hi everyone,
A while ago I was corresponding with a lutenist who said, regarding the really
large theorbos in Monteverdi:
‘I believe the really big ones were intended for playing bass lines - probably
mostly single line, but ornamented in a way that was normal then but is
considered a bit weir
Hi everyone,
And here you have the last one :)
We have interviewed Pablo Zapico about the intensive classes that he is
teaching mainly here in Spain about basso continuo.
Hopefully he will publish a book about the topic quite soon.
[1]http://cuerdaspulsadas.es/blog/cursos
full score. Too many page turns.
>
> A related question: what did continuo players use back in the day, i.e., when
> did we start publishing part music as a score? That's a common practice in
> modern editions, but most of the 16th and early 17th century music that I've
&
A melody line is handy, especially for recitative but I'd rather not deal with
a full score. Too many page turns.
A related question: what did continuo players use back in the day, i.e., when
did we start publishing part music as a score? That's a common practice in
modern editions
wrote:
It's always nice to have the score, or the melodic line, in the
continuo part. I've done a lot of cutting and pasting to avoid
inconvenient page turns.
> On Mar 15, 2017, at 6:25 AM, Edward Chrysogonus Yong
<[2]edward.y...@gmail.com> wrote:
&g
It’s always nice to have the score, or the melodic line, in the continuo part.
I’ve done a lot of cutting and pasting to avoid inconvenient page turns.
> On Mar 15, 2017, at 6:25 AM, Edward Chrysogonus Yong
> wrote:
>
> Dear Lutenetters who play basso continuo,
> Is the
ong
> wrote:
>
> Dear Lutenetters who play basso continuo,
> Is there a preference either way for playing from bass part or full
> score, assuming both have the same figures?
> I find that playing from a score means I can get my bearings better but
> have to flip
Dear Lutenetters who play basso continuo,
Is there a preference either way for playing from bass part or full
score, assuming both have the same figures?
I find that playing from a score means I can get my bearings better but
have to flip pages more, no easy task when both hands are
Indeed, unless you set your lutes on fire, the Baroque flamboyant has
little to do with the history of music.
I have been personally guilty of over simplification, mostly because I
had to organize my computer folders according to some kind of scheme. I
won't go into the kind of geographical dist
> On Jan 21, 2016, at 9:16 PM, howard posner wrote:
>
> "Baroque" is a n art historians’ term
I decided to abort that message, but hit send instead of delete.
I was going to [not] point out that "baroque music” means no more than “music
written during the period that art historians, for rea
> On Jan 21, 2016, at 2:32 PM, jsl...@verizon.net wrote:
>
> Finally, the very term "baroque" was coined to describe extravagant or
> even bizarre ornamentation. The divisions of Bassano and his
> contemporaries can be viewed as examples of this style.
"Baroque" is a n art historians’ term
eble recorder (in F).
In my experience, recorder players (or non-plucked instrument players
generally) playing just for fun, like to sight read a lot of material.
I'm looking for simple continuo lute parts.
But I do recognise the huge amount of work you have put into your
arrang
Sent: Thursday, January 21, 2016 10:07 AM
To: s.wa...@ntlworld.com; Lute@cs.dartmouth.edu
Subject: [LUTE] Re: looking for Baroque music for treble recorder with continuo
for 8-course Renaissance lute
Stuart and All,
I'd try to find some of the London Pro Musica division viol series on
Stuart and All,
I'd try to find some of the London Pro Musica division viol series on
popular songs like "Susanne Un Jour" and "Frais et Gailliard" with
divisions by Bassano and others.
The divisions for recorder or viol are challenging, but the c
I know it's much the best thing to learn continuo but I wonder if anyone
can recommend some ready-to-play continuo parts to go with music for
treble recorder. It seems the recorder player is very competent.
I've got an 8-course Ren lute.
(I have Peter Holman's two books 'T
amme, flats as well as sharps in the
continuo, and we each have to play two solo pieces for which we have to
be happily in tune with ourselves as well). I asked for 1/6 comma
meantone (aka Silbermann) and we agreed we'd give that a try today. It
was a lot better. Pitch is never a proble
his spurious conjectures,
especially on birth place, are somehow based on historical sources.
MH
>> From: howard posner
>> To: Lutelist
>> Sent: Friday, 28 February 2014, 23:32
>> Subject: [LUTE] Re: Bartolotti's continuo treatise
&
On Feb 28, 2014, at 2:17 PM, Monica Hall wrote:
> I think you are being disingenious. What Satoh actually says is
> "This is all my imagination and conjecture, based on the few documents
> concerning De Visee's life".
>
> How is the reader supposed to know what is based on these few documen
Sent: Friday, February 28, 2014 8:35 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
His own words leave no doubt and are far from misleading:
"This is all my imagination and conjecture [...] it was this
imagination that drove me to perform the pieces ..."
In other
His own words leave no doubt and are far from misleading:
"This is all my imagination and conjecture [...] it was this
imagination that drove me to perform the pieces ..."
In other words, the story in the CD-booklet is about motivation, not
about historical facts."
'nough said
egarded as deliberately misleading.
Monica
- Original Message -
From: "David van Ooijen"
Cc: "Lute List"
Sent: Friday, February 28, 2014 4:03 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
Monica wrote:
>>
In the liner notes to his recent
Monica wrote:
>>
In the liner notes to his recent CD Toyohiko Satoh claimed that De
Visee was Portuguese and came from a small town called Viseu near
Coimbra. This is pure fiction - there is no evidence at all that this
was so.
<<
Utterly, completely and absolutely OT. But
Thanks for the clarification. Also thanks to Monica for mentioning the doubtful
Portuguese connection.
On 28 Feb 2014, at 6:49 am, Jean-Marie Poirier wrote:
> True we do not know exactly where de Visée was from, but he was probably born
> in the Paris area and was active at court as early as
m the Low
Countries.
At the present time I don't think it is known where De Visee was born - in
France perhaps
Monica
- Original Message -
From: "Shaun Ng"
To: "howard posner"
Cc: "Lute List"
Sent: Thursday, February 27, 2014 7:05 PM
S
translated things.
As ever
Monica
- Original Message -
From: "Jean-Marie Poirier"
To: "Monica Hall"
Cc: "'Lute List'"
Sent: Thursday, February 27, 2014 5:58 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
Exactly Monica, but I tri
True we do not know exactly where de Visée was from, but he was probably born
in the Paris area and was active at court as early as 1680. In 1692 du Pradel
(aka de Blégny), in his list of masters for the guitar, mentions "de Vizé (a
very common spelling of his name at the time), à Luxembourg", w
I am going off topic here, but do we really know where Robert de Visée is from?
I recall finding an entry in a modern edition of Nicolas Blégny's Le livre
commode (1692) about a certain Visée (spelt differently). He is said to be from
one of the low countries, but I cannot remember which one. Of
rules;
>>the instrument requires it and above all it is necessary to satisfy the
>>ear.
>>
>>Monica
>>
>>- Original Message -
>>From: "Jean-Marie Poirier"
>>To: "Shaun Ng" ; "Monica Hall"
>>Cc: "
riginal Message -
>From: "Jean-Marie Poirier"
>To: "Shaun Ng" ; "Monica Hall"
>Cc: "'Lute List'"
>Sent: Thursday, February 27, 2014 4:41 PM
>Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
>
>
>> "E
the
ear.
Monica
- Original Message -
From: "Jean-Marie Poirier"
To: "Shaun Ng" ; "Monica Hall"
Cc: "'Lute List'"
Sent: Thursday, February 27, 2014 4:41 PM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
"Et je pr
Good point Howard ! :-) Another good reason to forget Google Translate ;-)
--
>
>On Feb 27, 2014, at 8:41 AM, Jean-Marie Poirier wrote:
>
>> Robert de Visée was obviously one of the best on the guitar, theorbo and
>> lute of his time, but his French grammar was not really spotless
On Feb 27, 2014, at 8:41 AM, Jean-Marie Poirier wrote:
> Robert de Visée was obviously one of the best on the guitar, theorbo and lute
> of his time, but his French grammar was not really spotless... ;-)
He was a Spaniard, and he used Google Translate.
--
To get on or off this list see list i
on the theorbo, guitar and lute,
>does not suggest any disdain towards the guitar.
>
>My feeling is that if we are to truly understand continuo from historical
>writings, it is important to consider writings for both instruments; after
>all, there is so much evidence that hist
ll"
Cc: "Lutelist"
Sent: Thursday, February 27, 2014 4:18 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
Monica,
I am not knocking the guitar. Campion's 'lack of embarrassment' shows that
it was perfectly fine to be known as both theorbo a
the guitar.
My feeling is that if we are to truly understand continuo from historical
writings, it is important to consider writings for both instruments; after all,
there is so much evidence that historical musicians (at least the
professionals) were multi instrumentalists. Did this also mea
gt;
>Please don't knock the guitar!!!
>
>
>
>Monica
>
>- Original Message -
>
>From: [1]Shaun Ng
>
>To: [2]Monica Hall
>
>Cc: [3]R. Mattes ; [4]Lutelist
>
> Sent: Thursday, February 27, 2014 8:28 AM
>
saying which springs
to mind (last in this sense being a shoemaker's model according to my
dictionary).
Monica
- Original Message -
From: "Geoff Gaherty"
To: "Lutelist"
Sent: Thursday, February 27, 2014 1:28 PM
Subject: [LUTE] Re: Bartolotti's continuo t
When I play (arch)lute or theorbo with harpsichord I'd like to think we
help eachother: the lute will make the sound of the harpsichord more
mellow whilst the harpsichord will give volume to the sound of the
lute. But one has to take care not to constantly double eachother. With
orga
On 27/02/14 9:07 AM, Eric Hansen wrote:
I saw that orchestra in Connecticut last Sunday. The lutenist strummed
quite bit, on a swan - neck Baroque lute. It looked to have a pick guard
installed. He was a fine player.
I was interested to see how both lute and harpsichord played most of the
time
I saw that orchestra in Connecticut last Sunday. The lutenist strummed
quite bit, on a swan - neck Baroque lute. It looked to have a pick
guard installed. He was a fine player.
Eric
On Feb 27, 2014 8:31 AM, "Geoff Gaherty" <[1]ge...@gaherty.ca> wrote:
On 27/02/14 3:43 AM, Will
E] Re: Bartolotti's continuo treatise
Campion actually says that he reccommends his pupils to take a few
lessons on the guitar before starting with the lute.
What I have found interesting is how Campion--who doesn't seem to be
embarrassed to call himself both a theorbo and guita
On 27/02/14 3:43 AM, William Samson wrote:
Not that I know anything about it, but the name 'chittarone' seems to
give the game away. The very idea has me salivating! Mighty
rasgueados on the theorbo, anyone?
I attended a concert by the Venice Baroque Orchestra in Santa Barbara
r
No stranger than the things that young people today stick through their
ears, noses, belly buttons and other body parts!
Geoff
Very true!
Monica
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On 26/02/14 2:44 PM, Monica Hall wrote:
It seems a strange thing to do to stick bits of black taffeta or velvet
or whatever on ones face - but I think they all had very bad skin (not
to mention rotten teeth) due to their unhealthy life style.
No stranger than the things that young people today
7;s have fun for a change!
__
From: Shaun Ng
To: Monica Hall
Cc: R. Mattes ; Lutelist
Sent: Thursday, 27 February 2014, 8:28
Subject: [LUTE] Re: Bartolotti's continuo treatise
>> Campion actually says that he reccommends his pupils to take a few
l
>To: Monica Hall
>Cc: R. Mattes ; Lutelist
>Sent: Thursday, 27 February 2014, 8:28
>Subject: [LUTE] Re: Bartolotti's continuo treatise
>
>
>>> Campion actually says that he reccommends his pupils to take a few lessons
>>> on the guitar before starting
a guitar accompaniment is not a vaild source
> for continuo realizations! Guitar players where actually known for there
> inability to play sophisticated music (and that's why everyone and their
> grandmother sneered at them)."
>
> There were a lot of amateur guitarists bu
I have read all the messages in order but there are rather a lot of them and
no reason why I should reply to all of them in detail. To repeat again what
you
actually said...
"First, as I've said before: a guitar accompaniment is not a vaild source
for continuo realizations! Guit
On Wed, 26 Feb 2014 20:10:03 -, Monica Hall wrote
Monica - are you still reading up? It's really hard to answer without
knowing which of my posts you have read so far.
> > First, as I've said before: a guitar accompaniment is not a vaild source
> > for continuo realiz
t as a BC part? This is a vocal duo with written out theorbo
accompaniment. The theorbo bass voice is an independent voice.
Whether the bass is sung or not is irrelevant because the part in bass
clef functions as the continuo line. The theorbo bass is definitely not
"an independent voice&quo
First, as I've said before: a guitar accompaniment is not a vaild source
for continuo realizations! Guitar players where actually known for there
inability to play sophisticated music (and that's why everyone and their
grandmother sneered at them).
This is an outrageous remark.
, February 26, 2014 6:01 PM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
Quite right Monica. Exactly what I corrected in a later post... mouche =
artificial beauty spots
Best,
Jean-Marie
--
This translation is a bit nearer the mark but the phrase
que d'y trouver d
ussion.
>
>May indeed supply a more idiomatic translation of the passage in due
>course
>
>Monica.
>
>
>
>
>- Original Message -
>From: "Jean-Marie Poirier"
>To: "'Lute List'"
>Sent: Tuesday, February 25, 2014 5:44 PM
&g
ot;'Lute List'"
Sent: Tuesday, February 25, 2014 5:44 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
Thank you Howard but Google is not completely up to point. Here is my
translation, not very far from Google's but...
There was at court (of Charles II of England)
Agreed Howard ! Google translations made my day a couple of times and I always
advised my students to resort to it when they felt depressed and needed a bit
of fun to brighten up !
Speaking of the great Bill, his monologue in Hamlet sifted through Google
translator into French is a pure masterp
On Feb 25, 2014, at 9:44 AM, Jean-Marie Poirier wrote:
> Thank you Howard but Google is not completely up to point.
Im shocked SHOCKED -- to hear it.
> At first sight but a bit more accurate than Google I hope ;-) !
Sorry, but theres simply no way to improve on the toilet was beautiful,
a "mouche" was an artificial beauty spot actually !
Jean-Marie
--
>Its getting a bit OT, but I think in the context 'mouche' on the ladies'
>dressing tables refers to something other than 'flies'. I've found another
>possible meaning: patch or ornament related to taffeta.
>
>Mile
Here is what you get from the Dictionary of the French Academy, 1694 :
Mouche : Certain petit morceau de taffetas noir que les Dames se mettent sur le
visage, ou pour cacher quelques eleveures, ou pour faire paroistre leur teint
plus blanc.
a "mouche" was a tiny spot of black taffeta that Ladies
Its getting a bit OT, but I think in the context 'mouche' on the ladies'
dressing tables refers to something other than 'flies'. I've found another
possible meaning: patch or ornament related to taffeta.
Miles Dempster
On Feb 25, 2014, at 12:44 PM, Jean-Marie Poirier wrote:
> Thank you Howa
Thank you Howard but Google is not completely up to point. Here is my
translation, not very far from Google's but...
There was at court (of Charles II of England) a certain Italianwho was famous
for the guitar. He had genius for music, and he wa the only one who could do
something with the guit
On Feb 25, 2014, at 8:44 AM, Jean-Marie Poirier wrote:
> Here is the passage in question (I am confident that you can read French) :
For those who canât, I will helpfully offer a translation from Google
Language Tools. I think it speaks for itself.
"He had some Italian in the Court, famous
On Tue, 25 Feb 2014 07:41:43 -0800 (PST), Christopher Wilke wrote
> Ralf,
>
> On Tue, 2/25/14, R. Mattes wrote:
>
> > There is no such thing as "harmony below bass". Please, get
> > all out of your Berkeley Jazz shoes, now.
>
> No, everyone keep your shoes on, please! In fact, 17th century
> playe
#x27;s music is quite often so sophisticated that it is
very hard to play properly.
It is a bit too simple to brush aside all the treatises for continuo
realization on the guitar. They are perfectly justified and are the reflection
of a common practice at the time.
Here is the passage in question (I
#x27;s music is quite often so sophisticated that it is
very hard to play properly.
It is a bit too simple to brush aside all the treatises for continuo
realization on the guitar. They are perfectly justified and are the reflection
of a common practice at the time.
Here is the passage in question (I
Hodgson
; Monica Hall
Sent:
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
On Tue, 25 Feb 2014 09:52:18 + (GMT), Martyn Hodgson wrote
>
>
Thank's for this.
>
> I can't actually see that inverted 7 6 sequences dictate a non
> r
Ralf,
On Tue, 2/25/14, R. Mattes wrote:
> First, as I've said before: a guitar accompaniment is not a
> vaild source
> for continuo realizations! Guitar players where actually
> known for there
> inability to play sophisticated music...
Whether the music they played is &q
Ralf,
On Tue, 2/25/14, R. Mattes wrote:
> There is no such thing as "harmony below bass". Please, get
> all out of your Berkeley Jazz shoes, now.
No, everyone keep your shoes on, please! In fact, 17th century players
frequently utilized the option to play "harmony below the bass" by recognizin
n Let's-pretend". Not my way to aproach early music.
> However, we know that guitarists
> certainly did with alfabeto, in which identical finger shapes
> resulted in harmonic units that would change position dependent upon
> the tuning used.
First, as I've said before:
t;harmony below bass". Please, get all out of
your Berkeley Jazz shoes, now. If you play a realization like the given
Bartolotti example on a reentrant instrument you simply create a new
bass voice (and a pretty bad on, in this case). The continuo bass is the
lowest voice - that's not a co
Indeed - and, truth be told, I sometimes do it myself (ie adjusting the
bass line) when wanting a particularly strong chord not practicable
with the bass as found - especially when playing theorbo continuo in
opera, large cantatas and the like where there is usually at least one
tially re-arrange according to
dramatic context or idiomatic needs of the instrument.
Chris
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com
----
On Tue, 2/25/14, Martyn Hodgson wrote:
Subject: [LUTE] Re:
__
From: R. Mattes
To: Martyn Hodgson ; Monica Hall
; Lutelist
Sent: Monday, 24 February 2014, 17:23
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
On Mon, 24 Feb 2014 08:29:00 + (GMT), Martyn Hodgson wrote
>
study of Bartolotti which is mainly
concerned with the guitar I mentioned the continuo exercises briefly and
relying on Lynda Sayce commented that they were intended for a theorboed
lute without re-entrant courses. Someone contacted me and said he disagreed
with me!
I sure that Lynda is righ
On Mon, 24 Feb 2014 18:23:03 +0100, R. Mattes wrote
>
I hate to follow up my own posts.
> (f bflat) [1]. To be followed by a chain of 2nd chords ... Yes, we
> all know that a 7-6 chain can be inverted (double counterpoint) into
> a 2-3 chain but we also know this doesn't work with a third voice
>
On Mon, 24 Feb 2014 08:29:00 + (GMT), Martyn Hodgson wrote
> I don't have this work either - I think...
@Monica: are you by any chance refering to
https://www.facebook.com/media/set/?set=a.441553512620558.1073741827.253474818095096&type=1
(Bartolotti continuo and solo similar
ject: [LUTE] Bartolotti's continuo treatise
Does anyone have a copy of Bartolotti's continuo treatise - Table pour
apprendre a toucher le theorbe sur la basse continuo (1669). I haven't
been
able to trace one online.
Someone queried with me this recent suggestion that
On Sun, 23 Feb 2014 16:00:22 -, Monica Hall wrote
> Does anyone have a copy of Bartolotti's continuo treatise - Table
> pour apprendre a toucher le theorbe sur la basse continuo (1669). I
> haven't been able to trace one online.
I don't think that treaties is on
Does anyone have a copy of Bartolotti's continuo treatise - Table pour
apprendre a toucher le theorbe sur la basse continuo (1669). I haven't been
able to trace one online.
Someone queried with me this recent suggestion that the exercises are not
intended for a theorbo with a
On Sun, 19 Jun 2011 23:53:54 +0300, wikla wrote
> Dear (continuo-)lutenists,
>
> there are (at least) two examples of duets for two continuo
> instruments - only the numbered bass line written - but meant to be
> played as otherwise all improvised duet. The one I remembered and
Dear (continuo-)lutenists,
there are (at least) two examples of duets for two continuo instruments -
only the numbered bass line written - but meant to be played as otherwise
all improvised duet. The one I remembered and also found in the Net, is by
G. Strozzi, see
http://www.continuo.ca/files
Well, not only in keyboard continuo there shouldn't be no limits; also
plucked continuo is free - the only "limit" is that when it is good
(subjective!) it serves the the soloist/ensemble/orchestra/... And also
"serving" is subjective. Of course usually mastering the sty
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