The exercises in the books by Corbetta et al include examples showing
which
alfabeto chords match the the notes of the bass part e.g. The Regola per
sonar sopra la parte on p.70 on Corbetta's are surely intended to help
the
player devise a strummed accompaniment.
This type of rule of
evidence Peter has for using the guitar
in this way.
Monica
- Original Message -
From: Martyn Hodgson
To: [EMAIL PROTECTED] ; 'Monica Hall' ; 'Vihuelalist'
Sent: Friday, January 18, 2008 8:40 AM
Subject: Re: [VIHUELA] Re: tablature, alfabeto and BC
Two dances
To: Vihuelalist
Cc: [EMAIL PROTECTED]
Subject: [VIHUELA] Re: tablature, alfabeto and BC
- Original Message -
From: Monica Hall
To: Martyn Hodgson
Cc: vihuelalist [EMAIL PROTECTED]
Sent: Thursday, January 17, 2008 3:58 PM
Subject: Re: [LUTE] Re: tablature, alfabeto and BC
Well - the short answer
the guitar in
this way.
Monica
- Original Message -
From: Martyn Hodgson
To: [EMAIL PROTECTED] ; 'Monica Hall' ; 'Vihuelalist'
Sent: Friday, January 18, 2008 8:40 AM
Subject: Re: [VIHUELA] Re: tablature, alfabeto and BC
Two dances in fact.
I know of no specific named
: [VIHUELA] Re: tablature, alfabeto and BC
Peter Holman was criticised for doing this in some of reviews - who
referred to silly strummers.
Although the guitar was popular - this was probably amongst amateurs as a
solo instrument or as an accompaniment to the voice.
It would be interesting
On 1/18/2008, Monica Hall [EMAIL PROTECTED] wrote:
In things like the Cavalieri the singer probably accompanied himself on
stage, rather than the guitar being part of the continuo group.
I suppose the on-stage playing was most often played by the continuo
group. There are several examples
Related to this: are you aware if any lists of players at the 17thC/early 18thC
Italian Opera Houses listing theorbos, harpsichords players also showing
guitarists.?
Martyn
The theorbist can also play the guitar. Normally not at the same time...
True... but that doesn't prove that the
The modern use of the 'baroque' guitar in period ensembles is as much due to
the frequently misguided tastes of directors/conductors, who often crave the
exotic thinking that without it audiences attention will wander, as to
guitarists (and harpists etc) putting themselves forward.
MH
For some reason I didn't get your original message but for what it is worth
these are my thoughts ...
Lex Eisenhardt [EMAIL PROTECTED] wrote:
There is an interesting parallel to the rapid decline of alfabeto song
after
1630. At about the same time the first instructions appeared for the use
: tablature, alfabeto and BC
Monica,
Related to this: are you aware if any lists of players at the 17thC/early
18thC Italian Opera Houses listing theorbos, harpsichords players also showing
guitarists.?
Martyn
Monica Hall wrote:
Subject: [VIHUELA] Re: tablature, alfabeto and BC
aware if any lists of players at the
17thC/early 18thC Italian Opera Houses listing theorbos, harpsichords
players also showing guitarists.?
Martyn
Monica Hall wrote:
Subject: [VIHUELA] Re: tablature, alfabeto and BC
these are my thoughts ...
Lex Eisenhardt wrote
PROTECTED]
Subject: [VIHUELA] Re: tablature, alfabeto and BC
- Original Message -
From: Monica Hall
To: Martyn Hodgson
Cc: vihuelalist [EMAIL PROTECTED]
Sent: Thursday, January 17, 2008 3:58 PM
Subject: Re: [LUTE] Re: tablature, alfabeto and BC
Well - the short answer is no!
The guitar
Very interesting
Monica
- Original Message -
From: bill kilpatrick [EMAIL PROTECTED]
To: vihuela@cs.dartmouth.edu
Sent: Thursday, January 17, 2008 6:40 PM
Subject: [VIHUELA] Re: tablature, alfabeto and BC
taken from here:
http://www.dolmetsch.com/musictheorydefs.htm
(Italian
, alfabeto and BC
Monica,
Related to this: are you aware if any lists of players at the
17thC/early 18thC Italian Opera Houses listing theorbos, harpsichords
players also showing guitarists.?
Martyn
Monica Hall wrote:
Subject: [VIHUELA] Re: tablature, alfabeto and BC
these are my
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