Dear Martyn,
Sorry if that wasn't clear. I think Marini's alfabeto to his songs is really
better than the chords to his op. 22 from 1655. In Il Verno there is a very
interesting example of what I would consider as 'chordal variation' with an
extra L chord in bar 14.
Wouldn't the guitar have been silent in the ritornelli? Or would the
ritornelli perhaps been left out when singing to your guitar at home,
sitting on your bedside?
best, Lex
Dear Lex and Monica,
I'm replying at the top ( the preffered protocol) but also taking the
(very little) trouble of pasting in the text I wish to expand/query:
-------------------------------------------------
I really don't think the alfabeto in Marini's 1622 collection (Scherzi
e Canzonette) is so very wrong. True, on a simplistic view of the
parts, one may say that where the bass and upper parets inplies one
chord the guitar occasionaly has another. But this is very often in
situations like P 26 in Il Verno bar 6 where one might assume a Dm7
chord from the staff notation but the guitar has a G4 chord. In
practice of course the two are perfectly acceptable with each other and
are simply an inversion of the very common 65 chords often found
leading up to cadences in this repertoire. Similarly 3rd bar from the
end 3rd beat there's an F chord in the alfabeto agaoinst a Dm chord in
the parts - but again this is perfectly acceptable being an inversion
of a 65 chord. The whole thing is littered with such examples. I've
played these in concert quite a few times and they generally go down
well - not as well as the exellent corbetta songs. The Grenerin vocal
settings seem a bit palid in comparison with these.
What you failed failed to note and point out was that the instrumental
ritornelli are scored for ' Violino, e Chitarone' and have no alfabeto
attached to them. There's no suggestion that the guitar and theorbo
played together for the songs but , conversely, no prohibition on such
a performance.
rgds
Martyn
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