Dear Lex,
Yes - I guess we are in general agreement abnout the process of
creation of these light songs - good!
Re the closing bars of Il Verno: as you'll see from my response to
Monica (also you'll note seconding your own position) I will stick to
what the printed page reveals especially when it has such a fine effect
in performance. Also note the clear position of the G (Fmaj) and .A.A
(G43) cadence above the staff notation - of course this might be
wrongly aligned (tho interestingly the alfabeto looks pretty well
aligned throughout this collection) but the alfabeto alignment
coincides with the literal position of the staff notation. In short,
with the two notations in agreement and anticipatory notes a feature of
instrumental music in the period we should to stick with the literal
reading. Please, let's not become old-fashioned (ie mid 20th century)
editors of such works and impose our retrospective judgements
automatically.
When you've time and the personnel to hand (mezzo and a bowed bass)
might I suggest you try the piece exactly as written.
regards
Martyn
--- On Sun, 24/4/11, Lex Eisenhardt <eisenha...@planet.nl> wrote:
From: Lex Eisenhardt <eisenha...@planet.nl>
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: "Vihuela Dmth" <vihuela@cs.dartmouth.edu>, "Martyn Hodgson"
<hodgsonmar...@yahoo.co.uk>
Date: Sunday, 24 April, 2011, 16:36
Dear Martyn,
thanks for your patience
> Your response seemed, to me, to say that you did indeed think that
an
> alfabeto asequence was created to which tunes (and bass) were later
> added. If I now understand you, yopu do not think this was the case
and
> agree with me that in these light airs the tune would have
generally
> come first to which harmony was later added.
We seem to almost agree. I suppose that composition is more of a
gradual process, with mutual influence of melody and harmony.
> Rehgarding Il Verno - yes I am sure. A hemiola in just the upper
part
> is by no means unkown in the Italian repertoire (vocal and
> instrumental) of the period. Look at Bounamente, Falconierio et al.
It
> also works very well in practice. We should not always aim to
smooth
> out these passing things as the 19th/20th century arrangers
sometimes
> attempted
Indeed not. But with voice + alfabeto the hemiola would coincide, while
with voice + alfabeto + bass I see more difficulty
best, Lex
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