Newsgroup: it.arti.musica.classica
Titolo: Per la Baciccia ma anche no :)

http://makeashorterlink.com/?M14A43B44
č un incrocio tra una viola ed un contrabbasso? :)
che roba č? (domanda seria)

 che roba č? (domanda seria)
Scusate se m'impiccio ma si fa prima cosi' :))
http://www.mediasoft.it/music/viola/viola.html

 che roba č? (domanda seria)
Viola bastarda.
A style of virtuoso solo bass viol playing favoured in Italy from about 1580
to about 1630, which condensed a polyphonic composition (madrigal, chanson
or motet) to a single line, whilst retaining the original range, and with
the addition of elaborate diminutions, embellishments and new counterpoint
(see Diminution (i)). The bastarda technique was not exclusive to the viol:
Francesco Rognoni (1620) explained that it could be performed on 'organs,
lutes, harps and similar instruments'; however, the viol's agility and three
and a half octave range made it 'the queen' of the bastarda style.
In 1584 Girolamo Dalla Casa (d 1601) published his Il vero modo di diminuir,
the earliest treatise to use the term 'viola bastarda'. Dalla Casa gave ten
examples of diminutions for viola bastarda (five based on madrigals and five
on chansons) of progressive difficulty starting with diminutions in quavers
and moving on to semiquavers, demisemiquavers and triplet demisemiquavers
over a range of D-f''. The other important treatise on viola bastarda
playing is Rognoni's Selva de varii passaggi (Milan, 1620). He cautioned
players against improvising more than six sequences in succession 'because
it would then be tedious and offensive', to avoid 'making parallel octaves
and 5ths with any of the parts', and he finally reminded them 'that it is of
greater worth to sustain one note with grace or a sweet and gentle stroke of
the bow than to make so many diminutions beyond that which is required'.
Dalla Casa wrote that 'you can [also] play these madrigals in company', and
suggested the lute as a possible supporting instrument (playing the original
composition). Sometimes viola bastarda diminutions were accompanied by viol
consort. However, in 1591 Giovanni Bassano recommended the accompaniment of
a 'plucked instrument' (lute or harpsichord) with a second instrument on the
bass line. The later bastarda compositions by Oratio Bassani [della Viola]
(d Parma 1615) and Vincenzo Bonizzi (d 1630) were provided with a continuo
bass.
39 viola bastarda compositions survive; the ten by Dalla Casa are the
earliest. Riccardo Rognoni's four pieces, published eight years later in
Passaggi per potersi essercitare, were the first to be truly idiomatic to
the viol, employing syncopated leaps and taking the instrument up to b'' on
the d' string. However, the most innovative settings of the school are the
two by Oratio Bassani on Lassus's Susanne un jour and Wert's Cara la vita
mia (both in GB-Lbl Add.30491). In these works Bassani uses the simple bass
part of his chosen madrigal as a foil for breathtakingly virtuoso
embellishments, generally freed from any further relationship to the
original composition. Bassani delights in bold dissonance and striking
syncopation; and the 'pasaggi d'imitationi' found in Riccardo Rognoni's
pieces are now developed within the sequence. Indeed these are perhaps the
most virtuoso viol pieces ever to be written. Bassani's nephew and pupil
Francesco Maria Bassani kept a pedagogic notebook, Regole di contrapunto,
which contains eight pieces, seven of which are probably by Oratio. Whilst
they do not make the same technical demands as the two in Add.30491, they
display a stylistic likeness; interestingly, two are toccatas over a free
bass-line, possibly intended as a prelude to the more extended madrigal
settings. The later compositions by Francesco Rognoni (son of Riccardo) and
Bonizzi return to the conservative method of embellishing the whole
contrapuntal work. Francesco Rognoni's publication contains some 'essempi
per sonar alla bastarda' which give suggestions of how to divide a bass
line.
All viola bastarda music is written for the standard viol tuning, of 4ths
with a 3rd in the middle. It most commonly uses the lowest string tuned to D
(i.e. like the modern bass viol) but sometimes the lowest string is a G
(i.e. using the range of a modern tenor) or an A; the later players of the
early 16th century, such as Bassani and Bonizzi, also used a tuning based on
a low A' or G'. Regarding the instrument's size, Francesco Rognoni, whose
compositions use the D tuning, stated: 'The viola bastarda . is an
instrument which is neither a tenor nor a bass viol, but which is between
the two in size'. However, the term in 16th-century descriptions seems to
refer to the instrument's function rather than to its size; in addition, the
wide pitch range of the lowest note for surviving works indicates that viols
of different sizes were used as appropriate (or as available).
During the 50 years that the viola bastarda flourished the technique
developed from one that found its roots in the prima pratica to the latest
seconda pratica style, experimenting with highly virtuosic and rhetorical
improvisation over a supporting continuo bass. The legacy of the viola
bastarda technique can be seen in the new idiomatic violin music of
Monteverdi and Marini, and also in the English lyra viol music and the
practice of divisions on a ground. There are two examples of viola bastarda
music outside Italy. In London in 1613, the Italian, Angelo Notari, who
worked at James I's court, published diminutions in bastarda style on the
tenor and bass parts of Cipriano de Rore's madrigal Ben qui si mostra il
ciel, and the dulcian player in Vienna, Bartolemeo de Selma y Salaverde,
included three bastarda settings in his Primo libro of 1636.
References to the viola bastarda by Praetorius and Adam Jarzebski are
misleading. Praetorius, in his Syntagma musicum, ii (1618, 2/1619), gave a
variety of tunings that would appear to be more appropriate to the lyra viol
than the viola bastarda. Jarzebski used the title 'viola bastarda' for the
bass viol part in his trio and quartet sonatas, which are of a modest range
and only occasionally ornamented with divisions. (Jarzebski's misnomer may
have arisen because he worked at the court of Sigismund III of Poland where
Francesco Rognoni had also been employed.)

 che roba è? (domanda seria)
Ti hanno già risposto seriamente, a quanto pare...
:-)
Io vorrei provarle tutte (e possederle tutte, ovviamente): fino ad ora ho
suonato il basso e ho provato il soprano. Il prossimo sarà il tenore.
E pensare che avevo anche trovato chi me lo avrebbe venduto...sigh...sono
troppo povera...
:-(
Ciao, Cicciopiccio
Baciccia

 :-)
(no, io non ho risposto seriamente.Leggi l'articolo e vedrai che era una
bufalotta.
Cioè, una mezza bufalotta)
Seria è la Veronica.
Io no. Mai.
Z.
--
"- Alors Zazie? Pourquoi tu veux l'être, institutrice ?
- Pour faire chier les mômes".

 Viola bastarda.
Viola bastarda: strumento musicale della famiglia degli archi che quando lo
suoni emette esattamente le note che vuole lui. Se lo sfreghi con l'arco
suona come un organo a canne, se lo batti con la mazza strilla come una
tromba, se ci soffi tintinna come un'arpa. Esistono consort di viole
bastarde, ma suonano solo quando vogliono, di solito quando il pubblico non
č presente.
La viola bastarda č stata anche impiegata in quartetto d'archi, ma č sempre
un quarto indietro o in avanti agli altri strumenti. Il suonatore di viola
bastarda si chiama violista bastardo. Mette sempre male con l'ispettore
d'orchestra i colleghi, č un ruffiano del direttore e di solito si da malato
ai concerti del sabato sera per andare a gozzovigliare con gli amici.
Il mio amico flautista Pino sostiene comunque che la Viola bastarda č la sua
ex fidanzata che lo ha lasciato per un secondo trombone.
Filippo

 ex fidanzata che lo ha lasciato per un secondo trombone.
ROTFL