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......
I admit that it takes some effort to understand. It says indeed that you
have to play the 'number following after [the letter]' in such a way that it
can be heard clearly and distinctly. Together with the rest of the chord or
not?
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.
Mmmm, more sense...
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.
Same pedantry, although it is interesting to see that a number of barre
chords are lacking from the chart.
I was thinking of the usual suspects, the 'Bologna' Ms, the Riccardianas,
Fondo Landau-Finaly, Montesardo 1606 etc. Clearly, given the nature of the
harmonic language of the time, chords M, H and G could be hardly escaped,
although there certainly are songs and dances, particularly the more folksy
ones, that manage to do without.
After pushing the 'send' button I will immediately unsubscribe from the
[VIHUELA] list. Again, and for the same reason.
Lex
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