nor key which matched this. Both Guerau and Murcia include
passacalles in common time.
The real point is that these dances were not Italian in the first place,
but Spanish. By the time they were taken up in Italy they may have acquired
other charactersitics.
Monica
-
e passacalles in
common time.
The real point is that these dances were not Italian in the first place, but
Spanish. By the time they were taken up in Italy they may have acquired other
charactersitics.
Monica
----- Original Message -
From: Martyn Hodgson
To: Monica Hall ; Vihuela Net
huela Net
Sent: Sunday, November 04, 2007 12:55 PM
Subject: Re: [VIHUELA] Re: advice on 'passacailles'/chaconnes
I can't agree with this Monica: that all that distinguished the two forms was
the harmonic formula. As outlined in my earlier response, it is primarily the
placin
I can't agree with this Monica: that all that distinguished the two forms was
the harmonic formula. As outlined in my earlier response, it is primarily the
placing of the accent and number of beats in a bar (especially in the earlier,
original, form) - as also mentioned, this soon became co
I am still not exactly sure which ones you are referring to without the
folio numbers. There is a Passacaille in A minor called Bonne (which I
think just means good in the context), on f. 27v. It is possible that this
is by Bartolotti. It looks sort of Italian. The passacaille on f. 27 and
t
Monica Hall wrote:
I am curious to know which ones you are playing. The relationship
between the two forms is complex.
In Gallot from f.117to .f.123v some of the the pieces are called
passacaglio and others chiacona. All are actually from Corbetta's 1643
book. They don't have individual ti
Martyn Hodgson wrote:
The ciaconna (lItaly early 17thC) was originally fast with a syncopated triple rythm:
l l l l 0 / l 0 l 0 (where l = a crotchet; 0 = semibreve; / = bar line) with the accent on the second crotchet of each bar. As well as for dance movements, various composers w
I am curious to know which ones you are playing. The relationship between
the two forms is complex.
In Gallot from f.117to .f.123v some of the the pieces are called passacaglio
and others chiacona. All are actually from Corbetta's 1643 book. They don't
have individual titles but in the inde
The ciaconna (lItaly early 17thC) was originally fast with a syncopated
triple rythm:
l l l l 0 / l 0 l 0 (where l = a crotchet; 0 = semibreve; / = bar line)
with the accent on the second crotchet of each bar. As well as for dance
movements, various composers wrote vocal pieces to
