I am still not exactly sure which ones you are referring to without the
folio numbers. There is a Passacaille in A minor called Bonne (which I
think just means good in the context), on f. 27v. It is possible that this
is by Bartolotti. It looks sort of Italian. The passacaille on f. 27 and
t
Monica Hall wrote:
I am curious to know which ones you are playing. The relationship
between the two forms is complex.
In Gallot from f.117to .f.123v some of the the pieces are called
passacaglio and others chiacona. All are actually from Corbetta's 1643
book. They don't have individual ti
Martyn Hodgson wrote:
The ciaconna (lItaly early 17thC) was originally fast with a syncopated triple rythm:
l l l l 0 / l 0 l 0 (where l = a crotchet; 0 = semibreve; / = bar line) with the accent on the second crotchet of each bar. As well as for dance movements, various composers w
Although I have had some experience with dyslexic persons in the past, I am
not on expert on the subject. What I do in such circumstances is a great
deal based upon improvisation. Often I try to find out what works for a
certain student when I am faced with a problem. Although different
individuals
I am curious to know which ones you are playing. The relationship between
the two forms is complex.
In Gallot from f.117to .f.123v some of the the pieces are called passacaglio
and others chiacona. All are actually from Corbetta's 1643 book. They don't
have individual titles but in the inde
The ciaconna (lItaly early 17thC) was originally fast with a syncopated
triple rythm:
l l l l 0 / l 0 l 0 (where l = a crotchet; 0 = semibreve; / = bar line)
with the accent on the second crotchet of each bar. As well as for dance
movements, various composers wrote vocal pieces to
