Hall ; [3]Stewart McCoy
Cc: [4]Vihuelalist
Sent: Sunday, February 06, 2011 3:31 PM
Subject: Re: [VIHUELA] Re: Where to end?
I just posted some recordings, and thankfully I did so before reading
this:
>>I have no problem with the pavanas played without bourdons. Try
I just posted some recordings, and thankfully I did so before reading
this:
>>I have no problem with the pavanas played without bourdons. Try
listening
>>to Gordon Ferries - or Chris on this list perhaps has recorded it.
Just
>>bear in mind
>>that the opening phrase will be
Actually I spoke of polyphony. The definition in Grove Online is a bit
longer.
Actually the two terms mean much the same thing - at least in England. In
fact we tend to use the term polyphony more specifically to refer to music,
particularly sacred music, of the 16th century and earlier rat
cs.dartmouth.edu] On
Behalf Of Monica Hall
Sent: 04 February 2011 21:25
To: Roman Turovsky
Cc: Vihuelalist
Subject: [VIHUELA] Re: Where to end?
I was under impression is that ALL preclassical music is essentially
2-voice, and the bass line is implied even in unaccompanied melodies.
I agree that th
That is stretching the definition of counterpoint to suit your own
purposes.
Actually I spoke of polyphony. The definition in Grove Online is a bit
longer.
What matters is that the voices can be heard (and
brought out) as independent lines.
Not by you anyway!
With all the flaws it ma
I was under impression is that ALL preclassical music is essentially
2-voice, and the bass line is implied even in unaccompanied melodies.
I agree that the bass part is implied even in unaccompanied melodies. That
is why it is not essential to have a bass part at all in baroque guitar
music
I take polyphony as different of Renaissance counterpoint. As a texture
consisting of two or more independent melodic voices. Even the so-called
brise type of writing (in certain works of Bartolotti and Corbetta) can be
seen as polyfonic because it is not in one (accompanied or unaccompanied)
I was under impression is that ALL preclassical music is essentially
2-voice, and the bass line is implied even in unaccompanied melodies.
And the composing was done from bass up, not the other way around.
RT
From: "Lex Eisenhardt"
I don't think there is very much "polyphony" in the true sense
I don't think there is very much "polyphony" in the true sense of the word
i.e.continuous 2 or 3-part writing in Foscarini or Bartolotti (or Corbetta
for that matter). And where there is it doesn't work very effectively.
I take polyphony as different of Renaissance counterpoint. As a textu
My experience with Sanz and fully re-entrant tuning is that there are
two voices, but not necessarily divided into melody and bass. Why
can't two sopranos or tenors sing together?
Exactly. The fact that the parts cross is acceptable and anyone used to
listening to baroque guitar musi
quot;
To: "Vihuelalist"
Sent: Friday, February 04, 2011 1:05 PM
Subject: [VIHUELA] Re: Where to end?
>Yet again - re-entrant tunings have nothing to do with campanelas.
What
>Sanz says is
>This is the reason - when making trills, slurs and other ornaments
with the
>l
> We seem to agree on Visee (most of his guitar works are probably not
conceived on other instruments though) and a quick look on the many
pizzicato works of Foscarini and Bartolotti will reveal that there is
true polyphony in those. Same of course with Guerau, for example.
I don't thin
Well, I was very careful to say 'which is often the case with
Foscarini, Bartolotti, Visee etc.'
We seem to agree on Visee (most of his guitar works are probably not
conceived on other instruments though) and a quick look on the many
pizzicato works of Foscarini and Bartolotti will
keyboard?) as
the staff notation versions?
--- On Fri, 4/2/11, Lex Eisenhardt wrote:
From: Lex Eisenhardt
Subject: [VIHUELA] Re: Where to end?
To: "Vihuelalist"
Date: Friday, 4 February, 2011, 13:24
>
>> What ambiguous tone quality?
>
My experience with Sanz and fully re-entrant tuning is that there are
two voices, but not necessarily divided into melody and bass. Why
can't two sopranos or tenors sing together?
>>The one side is what we think we hear. The other is that if music has
>> two or more voices, which is
What ambiguous tone quality?
How often do you listen to other people playing this music?
Quite often. The sound of the the instrument itself is not ambiguous; I get
the impression that different players make different choices. To put it like
this, some are better at presenting the poly
>Yet again - re-entrant tunings have nothing to do with campanelas.
What
>Sanz says is
>This is the reason - when making trills, slurs and other ornaments
with the
>left hand, the bourdon interferes with them because it is a thick
string
>and the other is thin, and therefor
his list a few times.
__
From: Martyn Hodgson
To: Vihuelalist ; Lex Eisenhardt
Sent: Fri, February 4, 2011 6:14:36 AM
Subject: [VIHUELA] Re: Where to end?
Lex has a reasonable point in suggesting that Murcia probably h
Do we know anything about his intensions with regard to tuning?
The answer is no. This new manuscript does include some notes explaining how
the guitar, violin, harp, tiple and bandurria can be tuned to play together,
but they are not coherant enough to work out the stringing and may not have
Lex has a reasonable point in suggesting that Murcia probably had a
particular tuning in mind. If we are aiming to try and recapture the
sounds these early players made and heard this surely ought to be the
focus of our search.
With regard to disjointed part writing indicating a p
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