download.pdf - 6.3Mb - Viola da Gamba Society

Chelys 7 (1977), article5
[71]
11.. The 3rd in a minor key should be raised at a close, (Coprario f.3r,
Campion C6r), but not in the treble, rather an inward part. (Simpson
D.V. p.18, Compendium p.29, Mace p.227, North p.84).
12. Consecutive 5ths and 8ves are forbidden. (Morley p.243, 245, 256,
Coprario f.2v, Butler p.56, 63, 64, Simpson D.V. p.15, 18, Compendium
p.29-30, J. Jenkins by implication [North p.226], Mace p.226,
North p.224-7, Purcell p.91) (Locke rules 1 and 10 forbids only
between outside parts)
13. Never double the leading note. (Morley p.243, Coprario f.3r, Campion
C4v, Simpson D.V. p.19, Compendium p.32, Purcell p.129).
14. Never play a note sharp in one part and natural in another. (Simpson
D.V. p.15, Locke rule 1, Mace p.226).
15. Contrary motion to the bass is good. (Coprario f.8v-9r, Butler p.60,
Locke rule 10).
16. The three upper parts should be close together at a distance from the
bass. (Simpson D.V. p.18, Compendium p.29, Locke rule 9, Mace
p.230, Purcell p. 129). Locke and Mace say that the figures should be
counted from an octave above when the bass is low, i.e. the octaves of
the intervals may be used at will. Coprario numbers all intervals in full.
17. When the bass is stationary it is good to change the position of the upper
parts. (Coprario illustrates f.8v-9r, Campion C7r, Simpson
Compendium p.32, Purcell, p.100).
18. When the left hand has running notes, it is only necessary to play a
chord on the first of each group. (Campion C7r, Simpson D.V. p.20,
Locke rule 8, Mace p.229, North p.74, 79, 86).
19. The treble may play in 3rds (or l0ths or 17ths) with the bass. (Morley
p.246, Campion C8v, Butler p.51, 57, Simpson D.V. p.15, Locke rule 8,
Mace p.229, Purcell illustrates, p.89, 100).
The two upper parts may play in 3rds. (North p.78, Purcell p.115).
Purcell actually refers to ‘Thorow-Bass’ in this connection on p.117.
20. The treble may play in 6ths with the bass. (Butler p.57, Simpson D.V.
p.15, Purcell illustrates, p.89, 100).