Rather belatedly I feel I should warn the unwary not to take anything Craig
Russell says very seriously.
At the top of p. 155 of his article in The Cambridge Companion to the Guitar
he has set out a sequence of bizarre chords from Millioni and Monte's book
of 1678. Just one slight problem here - he has overlooked the fact that
the guitar is to be tuned differently i.e. A-c#-f#-c-e' . Once you do that
the chords work out as you would expect.
Just one of many howlers in the piece. And Cambridge University Press is
supposed to be a leading academic publisher!
A very merry Christmas or whatever to you all.
Monica
----- Original Message -----
From: "Chris Despopoulos" <despopoulos_chr...@yahoo.com>
To: "Monica Hall" <mjlh...@tiscali.co.uk>; "Martyn Hodgson"
<hodgsonmar...@yahoo.co.uk>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>; "Lex Eisenhardt"
<eisenha...@planet.nl>
Sent: Saturday, December 17, 2011 11:17 PM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question: {was: Agazzari guitar [was Re: Capona?]}
I personally don't want to argue this point. First because I'm not
qualified, and secondly because it's not really what I was saying.
Monica, you're absolutely right that by definition it's not continuous
bass when playing derived harmonies in the alfabeto. I was only
supposing that the harmonies are derived from the bass, and informed by
practice of bajo continuo. In that sense, it's a realization of
something, at any rate. And following on what I've read by Craig
Russell, it's possible to imagine that the guitar, limits, quirks, and
all, contributed to the development of harmonic thinking in this way.
__________________________________________________________________
From: Monica Hall <mjlh...@tiscali.co.uk>
To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk>
Cc: Vihuelalist <vihuela@cs.dartmouth.edu>; Lex Eisenhardt
<eisenha...@planet.nl>
Sent: Saturday, December 17, 2011 7:32 AM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
That is all perfectly clear - but has absolutely nothing to do with
playing
an alfabeto accompaniment - because the guitar is not going to try and
reproduce the bass part in any way.
You seem to be me to be confusing two unrelated sets of circumstances.
Monica
----- Original Message -----
From: "Martyn Hodgson" <[1]hodgsonmar...@yahoo.co.uk>
To: "Lex Eisenhardt" <[2]eisenha...@planet.nl>
Cc: "Vihuelalist" <[3]vihuela@cs.dartmouth.edu>
Sent: Saturday, December 17, 2011 11:47 AM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier
question: {was: Agazzari guitar [was Re: Capona?]}
>
> 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 <[4]eisenha...@planet.nl>
wrote:
>
> From: Lex Eisenhardt <[5]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" <[6]mjlh...@tiscali.co.uk>, "Martyn Hodgson"
> <[7]hodgsonmar...@yahoo.co.uk>
> Cc: "Vihuelalist" <[8]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][9]hodgsonmar...@yahoo.co.uk>
> To: "Monica Hall" <[2][10]mjlh...@tiscali.co.uk>
> Cc: "Vihuelalist" <[3][11]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
--
References
1. mailto:hodgsonmar...@yahoo.co.uk
2. mailto:eisenha...@planet.nl
3. mailto:vihuela@cs.dartmouth.edu
4. mailto:eisenha...@planet.nl
5. mailto:eisenha...@planet.nl
6. mailto:mjlh...@tiscali.co.uk
7. mailto:hodgsonmar...@yahoo.co.uk
8. mailto:vihuela@cs.dartmouth.edu
9. mailto:hodgsonmar...@yahoo.co.uk
10. mailto:mjlh...@tiscali.co.uk
11. mailto:vihuela@cs.dartmouth.edu
