The strict application of Foscarini's fourth rule leads to new questions.
In
many places we first have a chord (for example A major = letter I), then
comes a single 3 on the second line of the tab (the note d') and then the
strumming continues while there is nothing in the tab. The most obvious
solution is to return to the original chord, but it is unclear. If the
original chord should be strummed in full again, what about the single
note?
The fourth rule does not apply in this circumstance. It is covered by
Foscarini's Fifth rule.
And if there is a number following after [the letter] either above or
below, you should ensure that this can be heard clearly and distinctly,
whether the stroke is made up or down. If after any such number you find
another stroke WITHOUT a letter, this stroke belongs to the preceding
letter which should be repeated. This rule applies in general to many of
the pieces that you may play, and among others it is appropriate to the
"Corrente, dette la Favorita" found on page 60.
I do wish you lot would actually read these introductions......
This really excludes the idea that all the passing notes should always be
accomapnied the chords even if this is possible.
Not always, but in certain situations.
The situations are clearly covered in Foscarini's two rules.
By the way, a situation which is very similar to the ex 5 from my article
(Lute 47) can be found halfway the fourth line of Foscarini's p. 32. All
strummed, and probably including all courses.
It also occurs on the first line preceding Chord I+ without a stroke mark.
Who is to say which is intended given the inconsistency of Fosco's notation.
In both contexts a 3-part chord makes
more sense. But we have gone over all this before.
This is a very obscure source and there are different ways of
interpreting it. I wouldn't myself regard it as good scholarly practice
to jump to conclusions about anything in it.
Then don't
I am not doing - I think there at least three different ways of interpreting
the passage. I was merely suggesting an alternative way of looking at things
and have never committed myself to one view or the other. It seems that you
have as you haven't even suggested the possiblity that some of the chords
might include fewer than five courses (6/4s excepted).
I will have to repeat that I have never intended to say that barre's did
not exist. But it seems they were avoided in the _early_ stage, when the
guitar and its stringing were emerging.
Which early stage? How do you know? Even the table of chords in the
Cancionero de Bezon includes chords G, H, M and possibly K although it is
difficult to read.
Moreover all of the songs are in keys which have no key signature or one
flat so that some of the chords are not much use any. The songs are not
necessarily intended to be performed at written pitch. The whole point
of Amat's tables etc. is to enable the player to transpose to a pitch
that suites the singer. This would involve the other chords.
The table is of the sort of pedantry which we often find in tutors.
With which you no doubt are very familiar but dont understand how to use.
Monica
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