Dear Lex, A particular commonly occurring situation requiring the bass line to be realised on the theorbo higher than the upper melodic line is where the tenor sings a notated e' (ie that on the lowest line of treble clef) but sounding an octave lower (ie the e in the bass clef) and the BC line has a low G# 6 (ie on bottom line of bass clef). If G natural is also frequently required in the piece (as often found) then on a theorbo in A (with 6 fingered courses as most usual historically) there is no low G# and the player is obliged to take the bass an octave higher - ie top space of the bass clef and thus higher than the singer's note. The situation is much the same where the tenor has a d and the theorbo BC is obliged to take a f# in the bass. Other types of specific examples include Caccini's 'Reggami per pieta' where the singer has a low F# which has to be played by the BC an octave higher since there are necessary low F naturals elsewhere in the piece.
Chromatic notes are solved in the same way: by putting odd notes (or even an entire passage) up an octave - see Ballard 'Methode pour apprendre.... theorbe' (1660) page 10 especially which gives examples in staff notation and in tablature showing the necessary octave transposition for chromatic notes. rgds Martyn --- On Sat, 17/12/11, Lex Eisenhardt <eisenha...@planet.nl> wrote: From: Lex Eisenhardt <eisenha...@planet.nl> Subject: Re: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier question: {was: Agazzari guitar [was Re: Capona?]} To: "Monica Hall" <mjlh...@tiscali.co.uk>, "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk> Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu> Date: Saturday, 17 December, 2011, 8:58 Dear Martyn, Is there evidence for raising the bass on the theorbo, to even above the other voices? I understand that chromatic notes in the bass can be a problem, but do we know how they solved that? Lex ps could you please stop sending the whole thread of the discussion together with your newest posts? ----- Original Message ----- From: "Martyn Hodgson" <[1]hodgsonmar...@yahoo.co.uk> To: "Monica Hall" <[2]mjlh...@tiscali.co.uk> Cc: "Vihuelalist" <[3]vihuela@cs.dartmouth.edu> Sent: Saturday, December 17, 2011 9:46 AM Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier question: {was: Agazzari guitar [was Re: Capona?]} > > Thanks Monica, > > But I still don't see, and you don't explain, how other changes (such > as raising the bass an octave in a theorbo realisation) differs > substantially from doing the same sort of thing on the guitar > > As said, maybe we just have to agree to disagree...... > > rgds > > Martyn -- References 1. http://us.mc817.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk 2. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk 3. http://us.mc817.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html