----- Original Message ----- From: "Stuart Walsh" <s.wa...@ntlworld.com>
To: "michael.f...@notesinc.com" <michael.f...@notesinc.com> Cc: <vihuela@cs.dartmouth.edu> Sent: Thursday, April 14, 2011 11:43 PM Subject: [VIHUELA] Re: Granata
On 14/04/2011 22:28, michael.f...@notesinc.com wrote:Dear List, I have recently finished editing all the known chamber music for Baroque guitar and strings, including all these "Capricci" by Granata. I noted the light figured bass markings here and in Granata's Sonata (1659) for the same instrumentation (in which the violin is *not* a mere doubling). However, I decided not to include any continuo realizations, because the guitar already provides a nice sketch of the harmonies. (This decision was reached partly in conference with Monica.) That said, please let me point out three "Simphonies" by Henry Grenerin for two violins, guitar, and "basse" with figures, where the figures are specified to be for a theorbo. We should probably consider the theorbo/chitarrone to be a good continuo instrument for Granata's music as well. MikeMike I've been looking through more of Granata's "Novi Capricci" (1674). For a start I feel a little unsettled by some of the tablature. Why are g#s (you'd think, first string fourth fret) sometimes put on the second course at the ninth fret? There are other awkward moments too where you might expect a guitarist to smooth things out... and just be a it more guitaristic.. And the guitar doesn't always merely double the top string part. Most strikingly, there are places where the guitar harmony simply doesn't match the bass part. For example, the D minor Giga (p.18). In bars 6,7 and 10 the guitar is playing a C chord in inversion and the bass line seems to indicate F major. And in the B minor Alemanda, there is a point where the guitar plays an alfebeto B minor and the bass line (on a strong beat, not a passing note) has the note G. As far as I can see, you fairly often have to make small adjustments to get the parts to fit. And there would be far fewer issues if the guitar was fully re-entrant. If the guitarist read the music, not the notation, there would be no issues! It does look rather like like the guitar part is independent. Stuart I can't help thinking there is something odd going on.
Well - with the baroque guitar we can be pretty sure that something odd is going on. But I am inclined to agree with you that the guitar parts may have originally been independent of the string parts. If indeed they are the pieces which Corbetta says he pirated, or if they are actually by Corbetta rather than Granata, it could be that the versions printed in 1674 are re-arrangements of rather earlier pieces.
And needless to say I think you are right about them being intended for the re-entrant tuning. I think this is the most suitable for Granata's late books at least. But I am not sure about the G#s - haven't had time to go through and look at them.
Monica
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