Thank you for this Eloy.
But, of course, it might be said that 6 guitars, percussion and conch
shell is already excessive. The question is: what evidence do we have
that such instruments, and in such numbers, were expected by JG de
Padilla and his auditors in contemporary
Thanks Monica,
It is a realisation of the bass line but, because of the requirements
of the instrument, not always with the written bass part as the lowest
note on the guitar: I guess we'll just have to agree to differ on
this.
Incidentally, the practical considerations for
I thought one of the significant points of the period was a transition
to harmonic vs voice thinking. And that the guitar was well
positioned, if not instrumental, within that transition. So whether we
call it bajo continuo per se, it's consistent in my mind to consider
alfabeto a
Thanks Chris.
Your observation that '...whether we call it bajo continuo per se,
it's consistent in my mind to consider alfabeto a realization
(stylized, perhaps) of the bass..', certainly coincides with my view on
guitar basso continuo using alfabeto. And, it seems to me,
Hello-
I'm almost too late into the conversation, but this topic does pertain
to one of my current projects, so I'll put it out there
It seems to me that the debate centers on whether or not the simple
alfabeto chords will suffice as an accompaniment, without additional
Dear Martyn
Yes, 6 guitars is a very peculiar continuo band.
As I said, I remember no evidence of such a band, or particularly guitars,
playing at the cathedral in Padilla's times. But now that you mention it,
many years ago, an american musicologist told me something about the music
chapel of
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Chris Despopoulos despopoulos_chr...@yahoo.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, December 16, 2011 2:17 PM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question:
