The shift had taken place by then. I don't know if you have seen the 1622
edition of Sanseverino's guitar book
but it includes six songs with what are in effect written out guitar
accompaniments. It gives you a clear idea of how he expected the songs
to
be accompanied.
Sanseverino's six (dance-) songs are accompaniments to well-known melodies.
The songs of Marini, Berti and so many others were new compositions,
provided with the harmony of a basso continuo. The alfabeto
could well have been inscribed by the composer himself, as we assume of
Biagio Marini, for example.
I get the impression that Alex Dean thinks it was a two way process. But
perhaps I have not understood what he is saying, Do you?
Several people have assumed that the guitar was 'at the forefront of the
revolution from the horizontal to the vertical' (Craig Russell). We could
discuss Alex Dean's thesis here, which perhaps not many will have read. It
is a very complexe issue, and my point of view (for now) would be that the
guitar was deeply involved in a genre (of little songs) in which we can
recognise very specific compositional strategies. Dean gives good examples
of a modular compositional style, based on small, sequenced melodic and
rhythmic motives. For me the question remains where it all began. Is the way
the alfabeto accompaniment is shaped a reaction on an broader autonomous
development or should it be seen as a driving force? [could we please have
this discussion in Dutch ?:~) ]
It seems to me that the simplicity of clear-cut standard progressions of the
dance-like accompaniment of the omnipresent guitar could well have
influenced the developments in some ways. After all, the idea behind the
genre of villanella, scherzo or arietta is a sincere simplicity, to which
plain strummed accompaniment suits so well. I have more doubts about the
role of the guitar in the transition to tonal thinking. It could be that
alfabeto harmony (whatever that is) merely reflects what was going on in the
outside musical
world.
The experienced theorbist-guitarist could use lute tablature for this
purpose.
And a performer?
Surely they are one and the same?
No they are not.
We cannot tell how someone like Foscarini, of whom we have no songs,
would have shaped his accompaniment to a song by Marini or Landi. But we are
so fortunate to have his BC instructions, even if they are late.
Lex
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