Just in case you are not on the Ning site, here is a link to a fun
'duo' by Fuenllana, or Josquin really. It is intersting how someone
could just take two voices from a four-voice texture and make a solo
out of them - not something many arrangers do today.
Further to the below, I've skimmed through the entire 'Libro secondo'
of Chrysander's 'Cantate con strumenti' to see if any answers to the
question of certainty in the Ms scoring can be found. Always, of
course, assuming C accurately transcribed the Ms in his edition.
It's a bit
I'm not quite convinced.
There are only 7 measures at in the third section where the bass line
is significantly different between the second system (which you are
proposing as a continuo part for the guitar) and and the 3rd system,
the bass line part. (There are a couple of octave
I am not convinced either.
You don't write at the top of a piece Cantata spagnuola a voce sola e
chitarra if the chitarra does not have a significant role to play.
It is true that there are quite long passages where you have only the bass
line and the treble line is silent. This suggests
Perhaps I should have said One doesn't
I agree with you that the piece as it appears in the manuscript poses a
number of problems not the least of these being the possibility that
Handel wasn't sufficinetly familiar with the guitar to write a suitable
part for it.
I
Three very simple tunes - first and third from Elizabeth Cromwell's
guitar book ('The cannaris' and 'The Sheprd's dance') and 'Over the
Mountains' which I'm almost sure (!) I wrote out from the De Gallot MS.
- for a guitar in fully re-entrant tuning.
