Dear Stewart,
As you'll have seen from recent (and indeed earlier) postings, my view
is also that most contemporary strumming indications (ie first decades
of 17th century) only give a rough indication of some of the more
sophisticated patterns I believe were employed - perhaps
Dear Lex,
Well, it just goes to show how such a protracted exchange can become as
Chinese whispers. I had gained the impression that this (ie
principally avoidance of inversions in alfabeto) was the issue -
including of course non-BC bourdon use with which it is inextricably
The shift had taken place by then. I don't know if you have seen the 1622
edition of Sanseverino's guitar book
but it includes six songs with what are in effect written out guitar
accompaniments. It gives you a clear idea of how he expected the songs
to
be accompanied.
Sanseverino's six
Dear Chris,
I have in mind pieces like this Calata ala spagnola from Dalza's
collection printed in 1508:
[1]http://www.gerbode.net/ft2/sources/dalza_intabulatura_v4_1508/50v.pn
g
The piece is constructed on a simple, repeated bass line giving
root-position chords. In
Thanks much...
In practice, I'm moving slowly back in time. I will have to come to
grips with the Renaissance sooner or later, in terms of understanding
and practice. Well, that's the goal, at any rate. You open great
areas to explore. In fact, I'm confronted with choosing which
Sanseverino's six (dance-) songs are accompaniments to well-known
melodies.
Obviously you haven't seen them. (They are not the same songs included in
the 1620 edition). They are songs which were currently in the repertoire at
the time - Rontani's Caldi sospiri to name but one. This had
Them's my sentiments too!!!
Monica
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Vihuela List vihuela@cs.dartmouth.edu; Stewart McCoy
lu...@tiscali.co.uk
Sent: Friday, November 19, 2010 8:42 AM
Subject: [VIHUELA] Re: Valdambrini's evidence
Dear
I'll let Lex do that first.
Monica
- Original Message -
From: [1]Martyn Hodgson
To: [2]Vihuelalist ; [3]Lex Eisenhardt ; [4]Monica Hall
Sent: Friday, November 19, 2010 10:51 AM
Subject: Re: [VIHUELA] Re: Valdambrini's evidence
Dear Lex,
Well, it just
Dear Monica,
Many thanks for your reply to my email about strumming. We agree that a
good guitarist wouldn't always feel obliged to strum every available
string of a chord all the time. We also agree that guitarists had long
been happy with the wrong inversion of a chord - in particular, second
To answer Martyn's question I can only summarize my position:
I think that it is possible that players ('amateurs' or not) have left out
the fifth course in certain occasions.
No more no less
To which I should add however:
that I suppose there have individually different approaches and
Indeed, the Platonic chord..
--- On Fri, 19/11/10, Chris Despopoulos despopoulos_chr...@yahoo.com
wrote:
From: Chris Despopoulos despopoulos_chr...@yahoo.com
Subject: [VIHUELA] Re: Valdambrini's evidence
To: Stewart McCoy lu...@tiscali.co.uk, Vihuela List
My understanding was that inversions were against the rules until the Middle
Baroque.
RT
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Vihuela List vihuela@cs.dartmouth.edu; Stewart McCoy
lu...@tiscali.co.uk
Sent: Friday, November 19, 2010 9:21 AM
Subject:
Thanks for your message.
I agree with what you say. I think Chris has gone into more detail about
this in a later message.
There are definite advantages to a re-entrant tuning when it comes to
placing music on the fingerboard of a 5-course instrument - even when
accompanying a bass line.
Sanseverino's six (dance-) songs are accompaniments to well-known
melodies.
Actually, I checked them this morning. Leading Musicologists nowadays
treat such repertoire as dance-songs.
Which Leading Musicologists? Even songs by Rontani connected with the
Florentine school? How could you
Dear Stewart
To this I would ask, why is that guitarists in the 17th century chose
to
string their guitars without bourdons? By doing that, they
drastically
reduce the overall range of the instrument, and different courses end
up
duplicating each other by sounding
You asked me what I thought of Alexander Dean's views, to which I answered
quite seriously.
I think you could have explained it using simpler, more direct language
rather than using wordy acaemicspeak..
My goodness. Apparently you have not understood a word of it. As you seem to
have
You haven't anwered my questions. I will repeat them.
Which Leading Musicologists nowadays treat which songs as dance-repertoire?
Even songs by Rontani connected with the
Florentine school? How could you dance
to Caldi sospiri? Which songs are you referring to? I have even found a
version of
I can't summarize it in a single sentence but I hope I can explain briefly.
I think the reason for including alfabeto in these song books is because
they were
not intended to be
accompanied in the same way as they would be on the theorbo or keyboard.
There is no point in doing something
Dear Monica,
I agree that it is probably best to move on now, but please don't think
the thread has not been worthwhile. I have learned a lot about the
baroque guitar and its music, in particular about Landi's songs, and I
value what you, Lex, Martyn and others have had to say on the subject.
In
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