Thank you Lex,
However I believe you might have missed the point I was trying to make:
these collections are so full of this melodic punctuated with full
chords style that they do not just represent a few isolated
examples but rather reflect a lack of interest in a full through bass
line (my understanding of your position is that you believe there is
almost always a proper through bass line and so you feel the need for
bourdons to play it). The nice Granata examples further represent this
'insitutional' view of not over bothering about a full through bass
line
Martyn
--- On Tue, 8/2/11, Lex Eisenhardt <eisenha...@planet.nl> wrote:
From: Lex Eisenhardt <eisenha...@planet.nl>
Subject: [VIHUELA] Re: The stringing of the baroque guitar - again
To: "Stuart Walsh" <s.wa...@ntlworld.com>, "Martyn Hodgson"
<hodgsonmar...@yahoo.co.uk>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>, "Monica Hall"
<mjlh...@tiscali.co.uk>
Date: Tuesday, 8 February, 2011, 10:25
> I don't know what others are thinking of, but I mentioned that the
> similarity between much (especially Italian) guitar writing and
that
> for unaccompanied violin by such as Schmelzer, Biber, Matteis had
> struck me some years ago. Almost all guitar composer exhibit this
in
> pieces from time to time but some particular ones which I recall
being
> examplars of the fashion were: Pellegrini(1650), Carbonchi(1640),
> Pesori(1648), Coriandoli(1670), Valdambrini (1646/7), Bottazzari
> (1663), Granata (various).......
As I remarked earlier, it is probably a matter of different
genres/compositional strategies. Foscarini's Gagliarda la Passionata
could serve as an example of a
predominantly melodic line interspersed with occasional chords. Still
the bass line is implied and sometimes played. Several dances from
Corbetta's 1639 book are written like that. And in some of the works of
the composers you have listed there is a similar tendency. But as a
description of the repertoire of the second half of the seventeenth
century it definitely falls short.
Lex
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