On Apr 25, 2011, at 10:47 PM, Monica Hall wrote:
You should play 4 down/up/down/up strokes on the 1st, 2nd and 3rd
courses and 2 - down/up on the 4th/5th.
That's assuming that Corbetta himself has not got in a muddle.
Hope
that helps.
Thanks for semi-clearing
Dear Martin
> Well, here I can certainly agree with you: Gmin with Gmaj seems
> crackers.
>
> But out of interest could you give me the specific example quoted?
Are
> we sure it's not S Stubbs thinking it ought to be Gm?
It was Dominic Robillard who said this...
"
Oh dear me no - can't agree here either. He's simply leaving as many
options open as possible.
I don't know how to explain what
I mean in a way that you will understand. I think he means that he has
tried to provide different accompaniments suited to different instruments.
What he avoid
Dear Monica,
Well, here I can certainly agree with you: Gmin with Gmaj seems
crackers.
But out of interest could you give me the specific example quoted? Are
we sure it's not S Stubbs thinking it ought to be Gm?
rgds
Martyn
--- On Thu, 28/4/11, Monica Hall wrote:
Oh dear me no - can't agree here either. He's simply leaving as many
options open as possible. What he avoids saying (except by implication
on the title page), is his preferred method of performance; mine, as
already said, is with theorbo with voice for songs and theorbo with
violin
Stephen Stubbs, while we were playing through some Kapsberger songs,
suggested that these dissonances were meant to be. The one I recall the
most was a G major in the alfabeto against a g minor in the written
continuo.
Well - I think he is wrong!!! Simply - whoever added the alfabeto did so
j
