Change the octave if the bass note is too high.
Always ask yourself if playing more notes really improves the music.
Playing lots of extra notes just because it is possible is not a good reason to play them. The cello and the viol can play beautiful bass lines without any chords, and should also remain beautiful when played with chords.
Use your ears (in the spirit of Baumgartner)
General Conclusions
Part 1 shows that it was common for the viol to realize basso continuo in the baroque period. In Part 2, along with the recorded examples in Appendix B, it is shown how I explored and developed basso continuo realization on the viol to a high level, using it regularly in concerts. Overall I feel that the techniques on which I worked fit very naturally with the viol.
Despite the lack of a specific method for realizing basso continuo on the viol, the rest of the historical evidence is supported by my positive practical experience of developing these
accompanying skills on the instrument. The instrument invited players to play harmonically then just as it does today. I would like to see basso continuo realization on the viol become more normal and more widespread – not as something to replace already established elements of the continuo group, but to add another unique colour.
Just as the historical and practical areas of my research complement each other in terms of the viol, so they do with the cello, however differently. Part 1 shows that the cello can play extra notes and chords above a bass but nothing points to it being a common practice until the late 18th Century in
opera recitative. There is always a certain vagueness that seems to surround the shreds of evidence that suggest the cello might have been realizing basso continuo. Similarly in Part 2, I found many possibilities to expand my harmonic capacity on the cello, but never felt entirely comfortable using this way of playing in accompaniment. I can, and I know how to, play plenty of extra notes above the bass on the cello, yet most of the time I now choose not to, unless it is for a special effect.
The practice of accompanying opera recitative with chords on the cello is something I did not know about before beginning this research. This surprises me for a couple of reasons, firstly that it is so well documented and secondly that it must be a lot of fun! I am looking forward to exploring this practice, and I also hope to see it become more widespread.
I have been struck by one aspect of the old cello methods and that is the focus on harmony – to know where all the dissonances and their resolutions are and even use it to dictate fingering. This is a very interesting aspect of learning the cello and it is perhaps missing from today's cello teaching. When I began to study “baroque cello” at the Conservatorium van Amsterdam, I also took second study basso continuo lessons on the harpsichord. On retrospect, it would have made more sense to have taken basso continuo lessons on the cello because gaining this knowledge and the skill to use it (even if I choose not to most of the time) is an invaluable tool in interpreting any basso continuo line, and that is the primary job of a “baroque” cellist.
Appendix A: See separate Volume
Appendix B: Track list of audio examples
on CD
Track No.
Artist, Composer, Track Name and Info Comments
01 David Watkin and John Holloway, Corelli, Op.V (Novalis, 1996). Sonata 4, Adagio (extract) 02 Ibid, Allegro (extract)
03 Ibid, Vivace (extract) 04 Ibid, Adagio (extract) 05 Ibid, Allegro (extract)
06 David Watkin and John Holloway, Corelli, Op.V (Novalis, 1996). Sonata 5, Adagio (extract) 07 Ibid, Vivace (extract)
08 Ibid, Adagio (extract) 09 Ibid, Vivace (extract) 10 Ibid. Giga: Allegro (extract)
11 David Watkin and John Holloway, Corelli, Op.V (Novalis, 1996). Follia (extract)
12 Robert Smith and Academia Montis Regalis. Avison, Concerto Grosso (extract)
I play the concertino cello, and add a couple of extra
notes.
13 Ibid As above
14 Ibid Chords played on repeat, not
the first time. 15 R. Smith and ensemble, Liebhold, Cantata
Movement. Playing “fretted” bass violin. 16 R. Smith and M. Arbouz, Lawes, “Speak speak at
last reply”
Lyra style realization on viol. 17 R. Smith and M. Arbouz, Lanier, “Weep no more” As above
18 R. Smith and M. Arbouz and A. Verhage, Purcell, “What a sad fate”
Song on a ground with theorbo and viol continuo.
19 R. Smith and Les Elements, Campra, Arion recit. “lirone” style – sustained chords on viol, with theorbo. See also Appendix A, Ex.32. 20 R. Smith and Les Elements, Bernier, Aminte et
Lucrine recit.
Solo viol accompaniment See also Appendix A, Ex.33.
21 Ibid As above
22 R. Smith and Les Elements, Boismoitier, Diane et Acteon recit
As above
23 Ibid Viol, then theorbo
accompaniment. 24 R. Smith and R. Kimura, Francoeur, violin sonata
VI.
Solo viol Accompaniment. 25 Ars Antique Austria, Gunar Letzbor. (Arcana A
901, 1996), Biber, Mystery Sonata 1
Arco and pizzicato used 26 Paolo Pandolfo (Improvisando 2006), Cipriano de
Rore, Ancor che col partire Improvised accompaniment 27 Cecilia Bartoli (Opera Proibita, 2005), Handel,
Appendix C: Log of basso continuo
realizations to date
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