Dear Martyn
It really is easier just think of it as an Fmajor chord held over a G
which is anticipating the cadence and creating a momentary passing
dissonance which is then resolved.
But why would you play an F major chord there at all? The note in the
voice part
is D - a 6th above
Dear Monica,
It really is easier just think of it as an Fmajor chord held over a G
which is anticipating the cadence and creating a momentary passing
dissonance which is then resolved.
If I really had to figure it I'd simply put the well used figuring
sign - a dash - under the
Oh dear
In Marini, why should not the bass line instrument (theorbo, bowed
bass) just play the bass line of the song since the guitar isn't
producing a bass line (and it's occasionaly of interest).
No reason at all - except that it might not fit with the harmony which I
have care
Re the second half of M's Il Verno - I think you're wrong and are
imposing a retrospective modern judgement on an earlier style.
Meanwhile - happy to say that I have come up with the perfect solution for
me at least.
On F you play iib7
On G you play V7/4 i.e. the F and the C in the voic
Dear Monica,
Oh dear
In Marini, why should not the bass line instrument (theorbo, bowed
bass) just play the bass line of the song since the guitar isn't
producing a bass line (and it's occasionaly of interest)
rgds
M
.
--- On Mon, 25/4/11, Monica Hall wrote:
Dear Monica,
It is tha bane of these sort of online exchanges that things said in
passing earlier are overlooked subsequently (Mea culpa too). So I
already excluded chord sequences like ground basses/harmonic
patterns and the like from what I was discussing - sorry if it wasn't
I was thinking of the theorbo playing a harmony on G while the guitar
would be doing an F major at the same moment.
If we are still talking about Marini surely the theorbo and guitar are not
meant to be playing together. It's either or - or have I lost the plot
completely? Are you not con
On Apr 18, 2011, at 1:07 AM, Monica Hall wrote:
In another chaconne [p.75] there is another batterie which I have
printed
previously (desia). etc.
I don't quite understand this. At another point in the instructions,
doesn't he state that stems going down are downstrokes and
Dear Martyn
No real disagreement with what you say in the first part of your
mailing below since we've secured general agreement that no one
believes the melodies were created from the alfabeto chord sequences.
Sorry - but I think you have misunderstood some of what I am saying. Some
Dear Lex,
See Boyes list for sources naming, guitar, lute, theorbo on title page.
But, of course, this is self-selective so excludes sources not naming
these instruments ie bowed and/or keyboard.
Certainly bowed basses were used in purely instrumental works by Marini
and his co
On the face of it chitarrone/theorbo might seem appropriate for M's
songs (since, of course, it is mentioned on the title page either with
guitar or as the [preferred?] alternative)
I was thinking of the theorbo playing a harmony on G while the guitar would
be doing an F major at the sam
Dear Lex,
Well - this is moving on from how M (and others) approached to job of
creating light songs and I really have no firm view either way; tho' we
certainly know all sorts of arrangements were employed at the time.
On the face of it chitarrone/theorbo might seem appropriate f
Ha ha - very Good!
To be fair it wasn't really a recommendation of interpretative powers
(tho' I hasten to say they are both excellent) but rather of an ability
to pick up 'mistakes' in the part writing to which a contemporary
auditor might object
M.
--- On Mon, 25/4/11, D
I can mail you a scan privately if you want.
Alexis Blumberg
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Ed Durbrow
Sent: maandag 25 april 2011 2:59
To: ROMAN TUROVSKY; vl
Subject: [VIHUELA] La Cocq Chaccone
Man, I thought the g
Well... Now to show how far off base I was.
I looked over my notes (finally), and found that it was neither trino,
tillo, nor trill. It was indeed called a tremolo! Apologies to all
for any confusion *that* may have caused. Also, I see in my notes that
i and m are indicated, but
When you've time and the personnel to hand (mezzo and a bowed bass)
might I suggest you try the piece exactly as written.
I thought you were suggesting voice, guitar and theorbo.
Do you think the combination of guitar and bowed bass would be a better
option in this repertoire?
best, Lex
> player in an established ensemble (both incidentally also academic
> musicologists!)
And this is supposed to be a recommendation ... ?
;-)
David - sorry, couldn't resist
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Dear Monica,
No real disagreement with what you say in the first part of your
mailing below since we've secured general agreement that no one
believes the melodies were created from the alfabeto chord sequences.
Re the second half of M's Il Verno - I think you're wrong and are
Dear Lex,
Yes - I guess we are in general agreement abnout the process of
creation of these light songs - good!
Re the closing bars of Il Verno: as you'll see from my response to
Monica (also you'll note seconding your own position) I will stick to
what the printed page reveals
We'll have to simply disagree here.
Whjilst havinmg no further historical evidence either way, all I can
say is that actual performance practice with a mezzo and bass viol
player in an established ensemble (both incidentally also academic
musicologists!) did not meet with anything
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