Dear Monica,
It really is easier just think of it as an Fmajor chord held over a G
which is anticipating the cadence and creating a momentary passing
dissonance which is then resolved.
If I really had to figure it I'd simply put the well used figuring
sign - a dash - under the first G in the pass to show the previous
harmony is held over until the next beat (G4 ) ........
I'm slowly losing the will to live .......
regards
Martyn
--- On Mon, 25/4/11, Monica Hall <mjlh...@tiscali.co.uk> wrote:
From: Monica Hall <mjlh...@tiscali.co.uk>
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Date: Monday, 25 April, 2011, 15:40
> Re the second half of M's Il Verno - I think you're wrong and are
> imposing a retrospective modern judgement on an earlier style.
Meanwhile - happy to say that I have come up with the perfect solution
for
me at least.
On F you play iib7
On G you play V7/4 i.e. the F and the C in the voice part are the the
dominant 7th combined with the suspended 4th. Both the 7th and the
4th are
prepared in the previous chord and resolve correctly at the cadence.
Not being a continuo player these solutions are not immediatly obvious
to me
and whether the resulting harmony is 20th century or 17th century I
don't
know but this way you also retain the hemiola effect in the
accomapniment.
O happy day - the sun is shining.
Rgds
Monica
> >> alfabeto asequence was created to which tunes (and bass) were
> later
> >> added.
> I think the point is not that alfabeto sequences were created out
of
> the
> blue and then melodies added to them. Rather existing well
defined
> alfabeto sequences with their basses were used as the basis of some
of
> the
> songs. The other point which Dean tries to illustrate is that
rather
> than
> just adding alfabeto chords to the bass line regardless of the
voice
> part
> whoever provided the alfabeto has tried with some success to fit
well
> defined sequences of alfabeto chords - particularly I IV I to
the
> melodies with their bass lines.
> >> 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.
> It is not so much the hemiola - the harmony implied does not make
> sense.
> The sequence iib7 V4-3 I is absolutely standard and occurs
> frequently
> in Marini. When it does he treats it as a 4-3 suspension in the
> guitar part -
> because iib7 is not an option on the guitar. Can you give me an
> instance
> where the two harmonies are superimposed in the way that you think
they
> should be here. What notes would you add to the g in the bass
when
> the melody
> has f-c.
> >
> > Indeed not. But with voice + alfabeto the hemiola would coincide,
> while
> > with voice + alfabeto + bass I see more difficulty.
> The difficulty is determining what the correct bass note and
harmony
> is.
> It has nothing to do with the alfabeto.
> Regards
> Monica
> > To get on or off this list see list information at
> > [1][1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
> --
>
> References
>
> 1. [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
--
References
1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
