I personally don't want to argue this point. First because I'm not
qualified, and secondly because it's not really what I was saying.
Monica, you're absolutely right that by definition it's not continuous
bass when playing derived harmonies in the alfabeto. I was only
supposing tha
Hello everyone-
I hope I'm going about this the right way, by just responding in the
thread rather than going back to individual messages from the last 24
hours.
Thanks very much to all who took the time to listen to recordings I've
posted. For those who may have missed that mes
Ah - I think I know what's happening - you've got the wrong end of the
stick:
I am glad you know what is happening. It all depends on which end of the
stick one has got hold of.
I'm not (and have not as far as I can see) suggesting that an
alfabeto accompaniment necessarily converts i
Eh! This was in answer to a direct question about this one particular
matter from Lex! Not a continuation of your mail... I think you've
got confused - with respect,
Sorry - but I don't think so. You dragged in the theorbo which is
completely irrelevant when considering how to acco
Eh! This was in answer to a direct question about this one particular
matter from Lex! Not a continuation of your mail... I think you've
got confused - with respect,
rgds
M
--- On Sat, 17/12/11, Monica Hall wrote:
From: Monica Hall
Subject: Re: [VIHUELA] Re:
That is all perfectly clear - but has absolutely nothing to do with playing
an alfabeto accompaniment - because the guitar is not going to try and
reproduce the bass part in any way.
You seem to be me to be confusing two unrelated sets of circumstances.
Monica
- Original Message -
F
Dear Lex,
A particular commonly occurring situation requiring the bass line to be
realised on the theorbo higher than the upper melodic line is where the
tenor sings a notated e' (ie that on the lowest line of treble clef)
but sounding an octave lower (ie the e in the bass clef) an
Dear Martyn,
Is there evidence for raising the bass on the theorbo, to even above the
other voices? I understand that chromatic notes in the bass can be a
problem, but do we know how they solved that?
Lex
ps could you please stop sending the whole thread of the discussion together
with your
Thanks Monica,
But I still don't see, and you don't explain, how other changes (such
as raising the bass an octave in a theorbo realisation) differs
substantially from doing the same sort of thing on the guitar
As said, maybe we just have to agree to disagree..
rgds
Ma
