Basso Continuo - Early Guitars and Vihuela2024-03-28T19:31:43Zhttp://earlyguitar.ning.com/forum/topics/basso-continuo?commentId=2111060%3AComment%3A24889&x=1&feed=yes&xn_auth=noActually Sanz has arranged th…tag:earlyguitar.ning.com,2011-07-28:2111060:Comment:248892011-07-28T21:40:57.746ZMonica Hallhttp://earlyguitar.ning.com/profile/MonicaHall
Actually Sanz has arranged the chords in his labyrinth according to Amat's system of notation as explained in his book "Guitarra espanola". Amat arranged the chords in a circle of 5ths starting with E major/minor and ending with B major/minor and numbered them 1-12. The numbers are in the triangles at the top of the columns. Far from being new, Amat's system dates back to 1596. It is more logical than alfabeto.
Actually Sanz has arranged the chords in his labyrinth according to Amat's system of notation as explained in his book "Guitarra espanola". Amat arranged the chords in a circle of 5ths starting with E major/minor and ending with B major/minor and numbered them 1-12. The numbers are in the triangles at the top of the columns. Far from being new, Amat's system dates back to 1596. It is more logical than alfabeto. I got it here:
http://www.omi…tag:earlyguitar.ning.com,2011-07-28:2111060:Comment:248842011-07-28T19:45:12.510ZChris Despopouloshttp://earlyguitar.ning.com/profile/ChrisDespopoulos
<p>I got it here:</p>
<p><a href="http://www.omifacsimiles.com/index.html" target="_blank">http://www.omifacsimiles.com/index.html</a></p>
<p> </p>
<p>I believe there are places where you can find images of the actual pages online. As I recall, there was a site in Spain that had it. But since I got the facsimile, I have lost all those links.</p>
<p>I got it here:</p>
<p><a href="http://www.omifacsimiles.com/index.html" target="_blank">http://www.omifacsimiles.com/index.html</a></p>
<p> </p>
<p>I believe there are places where you can find images of the actual pages online. As I recall, there was a site in Spain that had it. But since I got the facsimile, I have lost all those links.</p> They were being trained to ea…tag:earlyguitar.ning.com,2011-07-27:2111060:Comment:248632011-07-27T16:08:56.331ZMonica Hallhttp://earlyguitar.ning.com/profile/MonicaHall
They were being trained to earn a living certainly. However I think it is questionable whether the baroque guitar was still very popular in Vivaldi's era as Scot suggests.
They were being trained to earn a living certainly. However I think it is questionable whether the baroque guitar was still very popular in Vivaldi's era as Scot suggests. You are very correct Jelma, "…tag:earlyguitar.ning.com,2011-07-27:2111060:Comment:248622011-07-27T15:59:55.379ZScot Tremblayhttp://earlyguitar.ning.com/profile/ScotTremblay
<p>You are very correct Jelma, "girls" doe not equate with "amateurs". I apologize for that implication, it certainly was not intended.</p>
<p> </p>
<p>I merely wanted to point out that Vivaldi appeared not to have had a prejudice against very many, if any, instruments and to look to the "girls school" (actually an orphanage, the Pio Ospedale della Pieta) at which he taught for proof. His output from the repertoire he created for them (and even later) occassionally featured instruments not…</p>
<p>You are very correct Jelma, "girls" doe not equate with "amateurs". I apologize for that implication, it certainly was not intended.</p>
<p> </p>
<p>I merely wanted to point out that Vivaldi appeared not to have had a prejudice against very many, if any, instruments and to look to the "girls school" (actually an orphanage, the Pio Ospedale della Pieta) at which he taught for proof. His output from the repertoire he created for them (and even later) occassionally featured instruments not commonly found in the Baroque orchestra. Including mandoline and Tromba marina.</p>
<p> </p>
<p>With that in mind I suspect a "jangling" Baroque guitar would have been a pleasure to him and not out of place. And considering the popularity of the instrument during his era it's likely many of the orphans played guitar and it made it's way into the continuo section of the orchestra...on occassion.</p>
<p> </p> Hi Edward, I'd say firstly le…tag:earlyguitar.ning.com,2011-07-27:2111060:Comment:248602011-07-27T10:54:05.469ZJelma van Amersfoorthttp://earlyguitar.ning.com/profile/JelmavanAmersfoort
<p>Hi Edward, I'd say firstly learn all the basic chordshapes from an alfabeto table. Then learn the fretboard geography as well as you can and find or invent all the other chords (7s and 4# etc) by yourself. That's what I do.</p>
<p> </p>
<p>And what also works for me is to find some baroque guitar tablature from the same period & country as the piece you're trying to play BC for, to see what was done in that particular time and place. Like: if I have to accompany French songs from 1750 I…</p>
<p>Hi Edward, I'd say firstly learn all the basic chordshapes from an alfabeto table. Then learn the fretboard geography as well as you can and find or invent all the other chords (7s and 4# etc) by yourself. That's what I do.</p>
<p> </p>
<p>And what also works for me is to find some baroque guitar tablature from the same period & country as the piece you're trying to play BC for, to see what was done in that particular time and place. Like: if I have to accompany French songs from 1750 I try to find some French songs or solo repertoire with original tablature from ca. 1750 to see what was done.</p> But Scot, 'girls' does not au…tag:earlyguitar.ning.com,2011-07-27:2111060:Comment:248582011-07-27T10:45:23.410ZJelma van Amersfoorthttp://earlyguitar.ning.com/profile/JelmavanAmersfoort
But Scot, 'girls' does not automatically imply 'amateurs'! I understand these girls were trained to be professional musicians and they were very good.
But Scot, 'girls' does not automatically imply 'amateurs'! I understand these girls were trained to be professional musicians and they were very good. I don't think there is any ev…tag:earlyguitar.ning.com,2011-07-26:2111060:Comment:248392011-07-26T18:41:25.840ZMonica Hallhttp://earlyguitar.ning.com/profile/MonicaHall
I don't think there is any evidence that capos were used on the baroque guitar when playing continuo or anything else. By the middle of the 18th century a 6-course instrument would probably have been used. Was the 6-course lute tuned in G still in use anywhere in the 18th century?
I don't think there is any evidence that capos were used on the baroque guitar when playing continuo or anything else. By the middle of the 18th century a 6-course instrument would probably have been used. Was the 6-course lute tuned in G still in use anywhere in the 18th century? Capos are mentioned in early…tag:earlyguitar.ning.com,2011-07-26:2111060:Comment:247722011-07-26T11:44:09.483ZTonyyyyhttp://earlyguitar.ning.com/profile/Tonyyyy
<blockquote><p>Capos are mentioned in early sources. Is there any evidence that a capo was used when playing continuo on the guitar?</p>
</blockquote>
<p> </p>
<p>This does sound like an an appealing solution both for ease of playing and also sound quality (my Thomann sounds bright and attractive with capo on second or third , and a little bit subdued without capo). I found a reference to a brass one piece capo from mid-1700's…</p>
<blockquote><p>Capos are mentioned in early sources. Is there any evidence that a capo was used when playing continuo on the guitar?</p>
</blockquote>
<p> </p>
<p>This does sound like an an appealing solution both for ease of playing and also sound quality (my Thomann sounds bright and attractive with capo on second or third , and a little bit subdued without capo). I found a reference to a brass one piece capo from mid-1700's <a href="http://www.sternercapo.se/Capomuseum/Read/history.htm" target="_blank">http://www.sternercapo.se/Capomuseum/Read/history.htm</a> Any earlier evidence of use on guitars and lute?</p>
<p>I have a traditonalflamenco cejilla which I think doesnt look too out of place on my baroque guitar</p> I have seen a large collectio…tag:earlyguitar.ning.com,2011-07-26:2111060:Comment:247702011-07-26T00:37:26.819ZJuan Pablo Pirahttp://earlyguitar.ning.com/profile/JuanPabloPira
<p>I have seen a large collection of 18th century villancicos from Spain, México, Perú and Guatemala. Judging by the fact that most of them are in C, F, G and their relative minors (makes sense considering the keys that were better suited to 1/4-comma tuning) , the guitar seems a bit complicated for the continuo realization. Don't you think that a lute with the 1st and 6th courses in G would work better than a guitar... chord shapes would be much easier. How about a guitar using a capo on the…</p>
<p>I have seen a large collection of 18th century villancicos from Spain, México, Perú and Guatemala. Judging by the fact that most of them are in C, F, G and their relative minors (makes sense considering the keys that were better suited to 1/4-comma tuning) , the guitar seems a bit complicated for the continuo realization. Don't you think that a lute with the 1st and 6th courses in G would work better than a guitar... chord shapes would be much easier. How about a guitar using a capo on the third fret?</p>
<p>Capos are mentioned in early sources. Is there any evidence that a capo was used when playing continuo on the guitar?</p> The link worked, I've downloa…tag:earlyguitar.ning.com,2011-07-22:2111060:Comment:247282011-07-22T20:25:07.704ZOlav Fyllinghttp://earlyguitar.ning.com/profile/OlavFylling
The link worked, I've downloaded the sonatas. I'll look closer at them later. Thank you.
The link worked, I've downloaded the sonatas. I'll look closer at them later. Thank you.