Dear Lex,
See Boyes list for sources naming, guitar, lute, theorbo on title page.
But, of course, this is self-selective so excludes sources not naming
these instruments ie bowed and/or keyboard.
Certainly bowed basses were used in purely instrumental works by Marini
and his contemporaries - which may account for lack of figuring in the
1622 ritornelli. As I asked earlier: does this imply no chordal
accompaniment in these (just a single line bass)?
Incidentally, I'm not suggesting bowed bass for the songs if the
theorbo is present - only if the guitar is used without the theorbo.
And if the guitar and theorbo were both present then the theorbo need
only play the bass line - a mode which is documented. Indeed to avoid
too much plucking I would certainly favour a single line plucked bass
if the guitar was present - thus there need be no clash of harmonies as
you fear. But even if the theorbo player wished to add chords they
would see the vocal (and alfabeto line) line and adjust accordingly (
in practice simply carry over preceding 65 over the g in the bass) to
avoid the chordal clash you fear.
rgds
M
--- On Mon, 25/4/11, 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: Monday, 25 April, 2011, 12:47
> On the face of it chitarrone/theorbo might seem appropriate for M's
> songs (since, of course, it is mentioned on the title page either
with
> guitar or as the [preferred?] alternative)
I was thinking of the theorbo playing a harmony on G while the guitar
would be doing an F major at the same moment. With a bowed string there
would of course only be the G in the bass.
Do we have indications that bowed string bass instruments were used in
this repertoire, in combination with plucked (or strummed) bass?
> - but I find the more
> substantial difference in tonal characteristics between a plucked
and
> bowed bass allows the guitar to be heard better in such an ensemble
and
> a seperation of the two parts to be readily distinguished (but was
this
> what was wanted?). Rather similar in fact to the popular pairing
of
> the theorbo with (chamber)organ rather than with the plucked
> harpsichord.
best wishes, Lex
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