Julie Ingram - Grandma

the required number of votes, based on the performing staff at his disposal. Accompaniment performed by G.-b.on organ and harpsichord included elements of improvisation based on this harmony. Earlier all G.-b. was used in the “Church Concerts” (“Concerti ecclesiastici”) by A. Bankieri (1595) and “The Representation of the Soul and Body” (“La rappresentazione di Anima e di Corpo”) by E. Cavalieri (Spanish 1600). Consistent use of G.-b. finds in “100 church concerts” (“Cento concerti ecclesiastici ...”) by L. Viadana (1602), who was long considered the inventor of G.-b. In the preface to this work, Viadan speaks of the reasons that prompted him to use G.-b .; the rules of digital and performance according to G.-b. Such indications are also contained in the works of A. Bagnieri (L'organo suonarino, 1607), A. Agazzari (Sacrae cantiones, 1608), M. Pretorius (Syntagma musicum, III, 1619; Faksimile-Nachdruck, Kassel Basel-L.-NY, 1958). As a composition method G.b. It is a vivid expression of homophonic-harmonious. letters, but as a system of notation bears a polyphonic imprint. vertical concepts - understanding the chord as a set of intervals. Chord notation methods: the absence of numbers (and other indications) indicates diatonic. triad;