This is one of the most interesting and informative videos I've ever seen on TH-cam. I'm a beginner in Continuo practice and by now I'm teaching myself and sometimes I get lost or stuck, so this information is very useful to me. Please keep up the good work, can't wait for your new videos! Thank you.
Víctor Gallardo there is a great Hungarian book I was using in my solfege class at the Kodály Institute. As I said, it’s completely in Hungarian, but you won’t have too many problems understanding.
Wonderful! I like very much the approach and the style. The way the images are used and move is really beautiful and very attractive. And, most important, the information is objective, useful and helpful! As for doubling the solo part, of course doubling was the general practice, as Elam tells us, but it is possible that Agazzari differs from his contemporaries because he takes the stilo recitativo in account, is also referring to that style when he explains that basso continuo has been invented for practical reasons (Per tre cagioni dunque `e stato messo in uso questo modo: prima per lo stile moderno di cantar recitativo). A similar attitude is expressed by Marco da Gagliano in the preface to his opera La Dafne (1608).
+Therese de Goede Thanks Therese! Why do you take it that stilo recitativo means not doubling? Cavalieri constantly doubles during recitatives (only main notes of course). Gagliano write not to "riperquotare la consonanza cantata" - that is, not to repeat with the singer all the little notes one finds in a recitative; to play only the first notes is enough. This is something worth mentioning when recitative started to be notated, although kind of obvious to us. This is at least how I understands it.
+Early Music Sources So we totally agree! As you pointed out that doubling all the parts of the composition was a long standing Renaissance practice and only mentioned that Agazzari's remark related to avoiding making mistakes, it was not clear to me that you were aware of the relation between stilo recitativo and the avoidance of doubling. Of course It is just a matter of what meaning we give to terminology. What do we consider exactly as "doubling"? If Da Gagliano and Agazzari suggest not to double the solo voice, my interpretation is indeed that they simply ask not to double EVERY note. Of course they didn't ask us to avoid doubling at all costs (in the way I was trained when I was a student:-)). However, only doubling the main notes can certainly be considered as "not doubling", compared to the practices of Luzzaschi and his contemporaries.
Well done! As a harpsichordist and bc organist, I've had to do my own research into these questions, and the answers you came to matched my own! Looking forward to the next video!
@UCJOiqToQ7kiakqTLE7Hdd5g I don't know if you know this or not, the written out realization for Corelli's 12 Sonatas for Violin & Continuo Op 5 was done by another well known composer named Antonio Tonelli.
What I want to know is why does basso continuo exist in the first place? Wouldn't it be easier for composers and performers if the accompaniment was completely written?
The finer details weren’t as important as just notating the chords themselves, and basso continuo was the way of notating chords back then. It would have just saved time and ink to not come up with a full realization
Wonderful video and channel! Might I ask - and forgive me if you've answered this elsewhere - about the paucity of figures in many early continuo parts. In cases of absent figures, do you think there was an expectation that keyboardists would a) consult the other parts, b) operate according to some convention, c) something else? I am thinking of cases for example where one cannot discern whether a root-position chord should be major or minor, things like this. As a continuo player, I feel like I'm cheating when I have to write in the figures based on the score or the other parts. And I always wonder what they did at the time.
How does Monteverdi fit in in the sources? I often hear ham referred to as “the inventor of the b.c.” but he’s not on your list of sources 🤔Maybe it’s just a myth about him 😉
Beautiful and interesting video, I'm waiting for the next part. But it's funny that Mr Rotem speaks about almost only Italian authors and is possible to understand that probably he knows Italian very well... Why do not put subtitles in Italian or realise an Italian version? Italian - you know - is the language of music, isn't it? :D
accompanement should also not follow the singer, but maintain a steady beat, where singer can swing and catch up with tactus every so often. about the number of voices: it's not as important as not having the continuo higher than A440 and never starting spreading before the beat. "Not doubling the soprano part" relates to this.
Man! this is so not inviting! I know some people are really into the Baroque music and know every word of the style but you really should make more engaging videos. So that more people could understand it and could relate to it. No wonder the genre is disappearing. KEEP THINGS SIMPLE
Wow. In 5 sentences you managed to say absolutely nothing I can agree with. In fact, if you inverted all your statements they might make some sense. In my own words: this is perfectly clear, beautifully presented, and very useful to its intended audience, and no -- interest in baroque music is NOT in decline (though the baroque period itself ended ca. 1750).
and a legend was born.
So that was the beginning of your beautiful channel! Well done, all the episodes you post are amazing!
Great video! There is a realization of Caccini's Amarilli in Musical Banquet which was used for the Hitchcock edition.
Really great, looking forward to future videos!
This is one of the most interesting and informative videos I've ever seen on TH-cam.
I'm a beginner in Continuo practice and by now I'm teaching myself and sometimes I get lost or stuck, so this information is very useful to me.
Please keep up the good work, can't wait for your new videos! Thank you.
Víctor Gallardo there is a great Hungarian book I was using in my solfege class at the Kodály Institute. As I said, it’s completely in Hungarian, but you won’t have too many problems understanding.
Donna Cianciosi hello Donna, what’s the name of that book? Do you have a digital copy of it? Thanks
Very well realized video!! We need more of this!!!
Extremely practical, compact and precise material (and pleasant to follow), Elam, congratulations. Wow, thanks for sharing it.
What an incredible contribution this channel/website is...thank you!
A nice & tantalizing sampler of what's to come. I continue my struggle in procuring music of this genre. A real challenge.
Today I have a small question: how about the explicit accompaniments that Manuel Rodrigues Coelho did for his 23 Magnificat sung verses?
I love this channel! very well done
Thank you so much for such a great job !!!!
If I had this vidéo insrtead of my teachers I would be better off today with continuo... thanks
Very good work,I loved the editing too.Please make more videos.😊
Wonderful! I like very much the approach and the style. The way the images are used and move is really beautiful and very attractive. And, most important, the information is objective, useful and helpful! As for doubling the solo part, of course doubling was the general practice, as Elam tells us, but it is possible that Agazzari differs from his contemporaries because he takes the stilo recitativo in account, is also referring to that style when he explains that basso continuo has been invented for practical reasons (Per tre cagioni dunque `e stato messo in uso questo modo: prima per lo stile moderno di cantar recitativo). A similar attitude is expressed by Marco da Gagliano in the preface to his opera La Dafne (1608).
+Therese de Goede Thanks Therese! Why do you take it that stilo recitativo means not doubling? Cavalieri constantly doubles during recitatives (only main notes of course). Gagliano write not to "riperquotare la consonanza cantata" - that is, not to repeat with the singer all the little notes one finds in a recitative; to play only the first notes is enough. This is something worth mentioning when recitative started to be notated, although kind of obvious to us. This is at least how I understands it.
+Early Music Sources So we totally agree! As you pointed out that doubling all the parts of the composition was a long standing Renaissance practice and only mentioned that Agazzari's remark related to avoiding making mistakes, it was not clear to me that you were aware of the relation between stilo recitativo and the avoidance of doubling.
Of course It is just a matter of what meaning we give to terminology. What do we consider exactly as "doubling"? If Da Gagliano and Agazzari suggest not to double the solo voice, my interpretation is indeed that they simply ask not to double EVERY note. Of course they didn't ask us to avoid doubling at all costs (in the way I was trained when I was a student:-)). However, only doubling the main notes can certainly be considered as "not doubling", compared to the practices of Luzzaschi and his contemporaries.
Therese de
Great one! It's always instructive to watch vids of you.
Fantastico Elamino!
Excellent video - clear and concise.
great work! thank you for sharing your knowledge
kudos for your work and for your very good Italian pronunciation!
Well done! As a harpsichordist and bc organist, I've had to do my own research into these questions, and the answers you came to matched my own! Looking forward to the next video!
Fantastic and very laconically!!! Bravo!
Absolument génial !!! MERCI !
I love the way Elam (who is awesome, and I'm looking forward to seeing my first PDQ gig) uses Professor Farnsworth...
Wow, I want to know more, now I go to the link in the description, thank you!
great! look forward to continue
such a good, clear, documented job! bravissimi ragazzi!
@UCJOiqToQ7kiakqTLE7Hdd5g
I don't know if you know this or not, the written out realization for Corelli's 12 Sonatas for Violin & Continuo Op 5 was done by another well known composer named Antonio Tonelli.
What I want to know is why does basso continuo exist in the first place? Wouldn't it be easier for composers and performers if the accompaniment was completely written?
The finer details weren’t as important as just notating the chords themselves, and basso continuo was the way of notating chords back then. It would have just saved time and ink to not come up with a full realization
@@Ekvitarius I see. Thanks for explaining!
Great job!
You guys rock!
great channel
could have some links with music as examples
You can play Basso Continuo on Piano as well.
Wonderful video and channel! Might I ask - and forgive me if you've answered this elsewhere - about the paucity of figures in many early continuo parts. In cases of absent figures, do you think there was an expectation that keyboardists would a) consult the other parts, b) operate according to some convention, c) something else? I am thinking of cases for example where one cannot discern whether a root-position chord should be major or minor, things like this. As a continuo player, I feel like I'm cheating when I have to write in the figures based on the score or the other parts. And I always wonder what they did at the time.
I'm a composer and would love to know how Baroque composers generally went about the process of composition. Ie from the basso first or melody etc?
Muito explicativo!
very nice!
wow your the best
How does Monteverdi fit in in the sources? I often hear ham referred to as “the inventor of the b.c.” but he’s not on your list of sources 🤔Maybe it’s just a myth about him 😉
Hay elam!
You can make a video on alla breve?
Tenk's!😃❤
I have a question: what is basso continuo?
nice!
Mooore, please!
disagree! dislike! How could I? This is to the point and full of good information.
Beautiful and interesting video, I'm waiting for the next part. But it's funny that Mr Rotem speaks about almost only Italian authors and is possible to understand that probably he knows Italian very well... Why do not put subtitles in Italian or realise an Italian version? Italian - you know - is the language of music, isn't it? :D
Mille gratze!!!!!!!!!!
accompanement should also not follow the singer, but maintain a steady beat, where singer can swing and catch up with tactus every so often.
about the number of voices: it's not as important as not having the continuo higher than A440 and never starting spreading before the beat. "Not doubling the soprano part" relates to this.
Man! this is so not inviting! I know some people are really into the Baroque music and know every word of the style but you really should make more engaging videos. So that more people could understand it and could relate to it. No wonder the genre is disappearing. KEEP THINGS SIMPLE
Wow. In 5 sentences you managed to say absolutely nothing I can agree with. In fact, if you inverted all your statements they might make some sense. In my own words: this is perfectly clear, beautifully presented, and very useful to its intended audience, and no -- interest in baroque music is NOT in decline (though the baroque period itself ended ca. 1750).