|
Back to articles
Andrew
Lawrence-King: Continuo Summit
by Nancy Hurrell
Published in the Journal of The Historical
Harp Society,Fall 2002-Winter 2003
Andrew Lawrence-King began the class by giving us simple
rules to follow in creating a continuo part from figured bass. Following a
review of basic theory we began thinking about the stress in Italian words,
which is usually on the middle syllable with the first and third syllables
weak. Thus we began to think in terms of 'good' and 'bad' syllables, and then
notes. There are specific techniques to use on 'good' syllables (strong beats):
a low note followed by many arpeggiated notes, loud and long. In contrast a
'bad' note could be a single note played lightly, or even not played at all. On
a rest in the singer's part, we learned to play 'impulse' chords, with a quick
intake of breath before striking a bright quick chord.
We put these and many other techniques to use in Peri's
'Euridice' and 'Al fonte, al prato'. We learned the difference between aria: a
melodic variation over a bass; and recitative: bass moves more slowly with the
voice reciting several notes above it. The class consisted of nine harp
students and also players of the lute, guitar, gamba, accordian as well as
singers. Techniques to accompany recitative were translated from instrument to
instrument and examples of organ were given (the 'impulse chord' on an organ is
to let go!). On Thursday and Friday the class changed to a masterclass format.
Small ensembles performed prepared pieces (I played with a lute and singer.).
Here we learned of the importance of the 'tactus' to keep the piece together.
The tactus also gives us freedom to be creative within the framework. It needs
to be steady enough ["locked into tactus-land!"] that it becomes interesting
when freedoms are used.
We learned how certain instruments can fulfill different
elements of the job. An organ for example lacks articulation but is good for
sustain, in contrast to the harp. And it is important to think like the singer.
We must know the meaning of the words and where the singer takes a breath as
well as which words are 'good' and 'bad'. Andrew Lawrence-King has a wonderful
way of pulling examples from ordinary life to make a point, like the motion of
a swing on a playground (swing the tactus). There were several amusing examples
of the perils of accompanying singers, and solutions to them, like
accommodating 'late bloomer' notes with a slow arpeggio! It was an incredibly
rich experience being in the class with daily 'gems of wisdom' passed on to us.
Already we look forward to Andrew Lawrence-King's return to the HHS workshops,
hopefully in the very near future.
TOP
OF PAGE |
