>
> For starters that would be a really bad bass line and completly spoils the
> cadential effect.
Then Corbetta is to blame, he does that sort of thing all the time.
>
> With the "French" tuning chord P would be in root position with F in the
> bass. The bass note of the next bar is definite
> They actually work just as well for the "French" tuning. The 5th course
is
> tuned in unison at the upper octave. When it is stopped at the 5th fret,
> the thin string of the 4th course - which is next to it - can be tuned in
> unison with it. When the 4th course is stopped at the 5th fret, th
With Bourbons!
-Original Message-
From: Howard Posner [mailto:[EMAIL PROTECTED]
Beethoven played vihuela?
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With Bourbons!
-Original Message-
From: Howard Posner [mailto:[EMAIL PROTECTED]
Beethoven played vihuela?
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> I certainly condone this discussion, but shouldn't it be happening
> here: ?
Beethoven played vihuela?
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- Original Message -
From: [EMAIL PROTECTED]
Date: Monday, September 5, 2005 2:07 pm
Subject: Re: [LUTE] Re: Beethoven influences
> Thanks, Eugene. I agree, it's OT for a Lute group. Most of the
> guitar lists, though, seem to have abdicated on historical discussion in
> favor of ch
- Original Message -
From: [EMAIL PROTECTED]
Date: Monday, September 5, 2005 1:37 pm
Subject: [LUTE] Re: Beethoven influences
>
> In a message dated 9/5/2005 1:15:06 P.M. Eastern Daylight Time,
> [EMAIL PROTECTED] writes:
>
> .what friendship???
>
>
> Their relationship as cited in
> > It's a pity that Sanz didn't tell anything about the rest of Italy.
Sanz'
> > book is published long after people like Bartolotti and Corbetta had
left
> > for France (and Britain).
>
> So what?
I wouldn't know if he meant to speak of those Great Masters (from the
north...) that had left long
I think it is the only one. A swallow?
(Not in the vocal counterpart.)
L.
> Some "Breaking news" as we say over here. I found one (only one so far)
> example of one of Corbetta's standard funny chords with open courses
rather
> than a barre
>
> Gavotte aymée du Duc de Monmouth [C major] p.12, b.
In the third bar it goes onto the 2nd course - it doesn't matter that there's
no strict voice leading throughout. As said many emls earlier, the style is
melody and flourishes with interspersed chords and odd accompanying notes when
he best considers. It is, in my view, the real genius of Corbet
> I should not have mentioned you in this way. First of all I must say that
I
> understand your position as a reviewer. Nowadays performers use all kinds
of
> tunings and I don't wish to dispute your right to express your opinion. In
> fact I should thank you for the many kind words you said abou
> How about the context? If we would suppose the tuning with 2 bourdons, the
P
> chord in the bar before would be 6-4, the bass connecting to the c in the
> 2nd bar of the line.
For starters that would be a really bad bass line and completly spoils the
cadential effect.
With the "French" tuning
> > The fundemental problem, it seems to me, is that because of the
> > peculiarity of the instrument, either solution sounds reasonably
> > acceptable.
>
> My doubts rest on different grounds. There are many books, also ones by
> Corbetta, of battuto-pizzicato music that include tuning charts. It
> I don't think we can say that he met Corbetta or Granata in Rome. Sanz
> thought very high of Corbetta and he may even have heared him somewhere.
> (Interesting thought).
Sanz says that he studied the guitar with Colista. He was clearly familiar
with works published by Foscarini, Kapsberger,
Some "Breaking news" as we say over here. I found one (only one so far)
example of one of Corbetta's standard funny chords with open courses rather
than a barre
Gavotte aymée du Duc de Monmouth [C major] p.12, b.7 Chord on 3rd beat is
an example of an altered standard alfabeto chord - in this in
> I must apologise for that - some of my comments aren't meant to be taken
> too seriously. I sometimes forget that you might understand what I am
> saying
> in a different way.
Immediately accepted. Let's all learn Dutch.
> That is really the whole point. Statements of any kind.
I'm afraid th
How about the context? If we would suppose the tuning with 2 bourdons, the P
chord in the bar before would be 6-4, the bass connecting to the c in the
2nd bar of the line. That chord would be c minor (root) and the next G major
in 6-3. The top melody is likely to be on the 4th c. How about the thir
What makes you so sure that the notes (ie both strings) of the 5th course are
'also supposed to sound at the upper octave'; doesn't this rather beg the
whole question?
Like you, my overall position remains that re-entrant tuning was in general use
but I'd also like to reserve judgement
> > Hi Monica,
> > No you're certainly not on my blacklist!
That's a relief! Sorry if this message is a mess but I sent it before I had
finished it and had to re-copy it.
> > > How should we decide if secondary evidence is irrelevant or not?
> > Bartolotti
> > > and Grenerin wrote for both inst
You are correct - but the notes on the 5th course are also supposed to sound
in the upper octave. This is a simple 6-4/5-3 cadence on G on the 3rd course.
Monica
Yes - I did, of course, discount examples where the melody is clearly on the
5th course.
Naturally with these tunings and
> I do, of course, well understand that modern general practice
> is for low basses to be 'closest to the floor' (hence my continuation
> dots..), my reason in raising this matter with you was that
> if strict part writing in BC was expected on the 17thC gtr
> (as, I understand, is yr view -
Thank you Lex,
Regarding posn of low octave on 4th and 5th courses:
I do, of course, well understand that modern general practice is for low basses
to be 'closest to the floor' (hence my continuation dots..), my reason in
raising this matter with you was that if strict part writing in BC
Thank you fr ths Lex,
I take yr points and, in particular, that Sanz was only recording his
recollection of Roman practice. Nevertheless, does it not represent a
compelling piece of contemporary (allbeit reported some 20 yrs after his visit)
evidence for re-entrant stringing rather than octave
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