Dear Monica, I agree that it is probably best to move on now, but please don't think the thread has not been worthwhile. I have learned a lot about the baroque guitar and its music, in particular about Landi's songs, and I value what you, Lex, Martyn and others have had to say on the subject.
In a couple of minutes I'll be off to The Plough for a couple of pints. Pity the three of you can't join me there. Best wishes, Stewart. -----Original Message----- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Monica Hall Sent: 19 November 2010 19:35 To: Martyn Hodgson Cc: Vihuelalist Subject: [VIHUELA] Re: Valdambrini's evidence I can't summarize it in a single sentence but I hope I can explain briefly. I think the reason for including alfabeto in these song books is because they were not intended to be accompanied in the same way as they would be on the theorbo or keyboard. There is no point in doing something which other instruments could do better. And if performers could or wanted to do so they would use the bass line provided. A different style of accompaniment is intended - one which is entirely strummed which can in its way be very effective. Later perhaps taste changed leading to a mixed or more varied style of accompaniment but I don't think that strumming ever went out of fashion. I responded cautiously to Lex's original message about the Landi songs because it was an interesting subject and I thought I might be able to shed some light on the problem. I am grateful to him to drawing my attention to the facsimile as I was familiar with some of the songs but had not previously seen the orignal score. However we have discussed all the rest of this previously and what happens is that we end up going round and round in circles. We obviously have very different ideas on the subject. The only reason for my continuing to take part in it is because I don't think that only one point of view should be put forward. But my time is limited. I think that it is a pity that we cannot find anything more worthwhile to discuss than the stringing of the 5-course guitar which is where it always ends up. Monica ----- Original Message ----- From: "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk> To: "Vihuelalist" <vihuela@cs.dartmouth.edu>; "Lex Eisenhardt" <eisenha...@planet.nl>; "Monica Hall" <mjlh...@tiscali.co.uk> Sent: Friday, November 19, 2010 10:51 AM Subject: [VIHUELA] Re: Valdambrini's evidence > > Dear Lex, > > Well, it just goes to show how such a protracted exchange can become as > Chinese whispers. I had gained the impression that this (ie > principally avoidance of inversions in alfabeto) was the issue - > including of course non-BC bourdon use with which it is inextricably > entwined. I can therefore see little practical difference between any > of these vigorously defended positions. If there is any significant > difference after all that has been said, would you and Monica kindly > (in a sentence) summarise the res as they see it. > > Martyn > --- On Fri, 19/11/10, Lex Eisenhardt <eisenha...@planet.nl> wrote: > > From: Lex Eisenhardt <eisenha...@planet.nl> > Subject: [VIHUELA] Re: Valdambrini's evidence > To: "Vihuelalist" <vihuela@cs.dartmouth.edu> > Date: Friday, 19 November, 2010, 9:49 > > Dear Martyn, > you wrote: > > However, I don't think this is quite the same as saying, as I > think Lex > does, that players (even the amateurs at which the tablatures are > often > aimed) would have routinely (perhaps even always) sought to avoid > inversions by selective strumming. > What makes you think that I believe that?? > I have no idea what was done routinely ('even [by] the amateurs'), > and > do not pretend to know what was (perhaps) always done. Nor what was > _ > never_ done, for that matter. > best wishes, Lex > -- > 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 >
