Dear Monica,
What's the point you're trying to make by repeating this:
'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.'
Surely it reads that he expects a strum ('stroke up or down') but that
one needs to ensure the melody is heard through any accompanying
harmont. ie precisely what I'm trying to put across to
you..................
Martyn
--- On Fri, 3/9/10, Monica Hall <mjlh...@tiscali.co.uk> wrote:
From: Monica Hall <mjlh...@tiscali.co.uk>
Subject: [VIHUELA] Re: stringing and performance
To: "Lex Eisenhardt" <eisenha...@planet.nl>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Date: Friday, 3 September, 2010, 12:23
> 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
> To get on or off this list see list information at
> [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
