(C) 2004, 2004 Center for Computer Assisted Research in the Humanities. ID: {viv/roger/op1/rv069/stage2/01/04} TIMESTAMP: DEC/10/2005 [md5sum:f9201dd658fe2f57d5e6b9e6ad88f1c2] 10/04/04 Fran Bennion WK#:01,05 MV#:1 RV 69 / Estienne Roger (No. 363), Amsterdam [facs.] Vivaldi Op.1, No 5 in F Major Movement 1 - Preludio Basso continuo (Organo) Group memberships: score score: part 4 of 4 &1 The old "+", "x" figured bass notations in Roger were replaced by the easier to read "#" as a figure or an addition to a figure. When "/" & "\" crossed through numbered figures in Roger, we modified the numbers with a "#", "b" or a natural, as was appropriate. &1 Pv4.02 $ Q:4 K:-1 T:1/1 C:22 D:Largo F3 2 1 e d [ f1 6 A3 1 1 s d =[ F3 1 1 s d ]] C3 2 1 e u [ f1 6 E3 1 1 s u =[ C3 1 1 s u ]] F3 2 1 e d [ f1 6 A3 1 1 s d =[ F3 1 1 s d ]] C3 2 1 e u [ f1 6 E3 1 1 s u =[ C3 1 1 s u ]] measure 2 F3 2 1 e d [ f1 6 A3 1 1 s d =[ G3 1 1 s d ]] A3 2 1 e d [ A2 2 1 e d ] Bf2 2 1 e d [ f1 6 D4 1 1 s d =[ C4 1 1 s d ]] f1 6 B3 2 1 e n d [ B2 2 1 e n d ] + measure 3 C3 2 1 e d [ E4 1 1 s d =[ D4 1 1 s d ]] f1 6 C#4 2 1 e # d [ C#3 2 1 e # d ] D3 2 1 e d [ F4 1 1 s d =[ E4 1 1 s d ]] f1 6 D4 2 1 e d [ D3 2 1 e d ] measure 4 f1 6 P C1:Y75 E3 2 1 e d [ F3 2 1 e d = C4 2 1 e d = C3 2 1 e d ] F3 2 1 e d [ f1 6 A3 1 1 s d =[ G3 1 1 s d ]] A3 2 1 e d [ A2 2 1 e d ] measure 5 Bf2 2 1 e d [ Bf3 1 1 s d =[ A3 1 1 s d ]] f1 7 G3 2 1 e u [ f1 6 G2 2 1 e u ] f1 # P C1:Y85 A2 2 1 e d [ A3 1 1 s d =[ G3 1 1 s d ]] f1 6 F3 2 1 e d [ E3 1 1 s d =[ D3 1 1 s d ]] measure 6 f2 6 5 G3 2 1 e d [ E3 2 1 e d = f1 # P C1:Y82 A3 2 1 e d = A2 2 1 e d ] D3 2 1 e d [ f1 6 F3 1 1 s d =[ E3 1 1 s d ]] F3 2 1 e d [ D3 2 1 e d ] measure 7 f2 7 n P C1:Y77 G3 2 1 e d [ C3 2 1 e d = f1 n P C1:Y85 G3 2 1 e d = G2 2 1 e d ] C3 2 1 e d [ f1 6 A3 1 1 s d =[ Bf3 1 1 s d ]] C4 2 1 e d [ Bf3 2 1 e d ] measure 8 f1 6 A3 2 1 e d [ f1 f C4 1 1 s d =[ Bf3 1 1 s d ]] f2 6 5f P C1:Y71 A3 2 1 e d [ A2 2 1 e d ] f2 5 4f P C1:Y80 Bf2 2 1 e d [ f1 3 P C1:Y72 Bf3 1 1 s d =[ C4 1 1 s d ]] f1 6 D4 2 1 e d [ C4 2 1 e d ] measure 9 f1 6 B3 2 1 e n d [ f1 6n D4 1 1 s d =[ C4 1 1 s d ]] f2 6 5 B3 2 1 e n d [ B2 2 1 e n d ] f2 5 4 P C1:Y78 C3 2 1 e d [ f1 3 C4 1 1 s d =[ Bf3 1 1 s f d ]] &1 &1 There was not a flat on the B3 in Roger but it was implied for harmonic reasons, where the key often reverts to the key signature at the ends of measures. &1 f1 6 A3 2 1 e d [ f1 6 G3 2 1 e d ] measure 10 F3 2 1 e d [ f1 6 A3 1 1 s d =[ F3 1 1 s d ]] C3 2 1 e u [ f1 6 E3 1 1 s u =[ C3 1 1 s u ]] F3 2 1 e d [ f1 6 A3 1 1 s d =[ F3 1 1 s d ]] C3 2 1 e u [ f1 6 E3 1 1 s u =[ C3 1 1 s u ]] measure 11 F3 2 1 e d [ f1 6 A3 1 1 s d =[ G3 1 1 s d ]] A3 2 1 e d [ A2 2 1 e d ] Bf2 2 1 e d [ f1 6 P C1:Y72 D4 1 1 s d =[ C4 1 1 s d ]] f1 6 B3 2 1 e n d [ B2 2 1 e n d ] measure 12 C3 2 1 e d [ E4 1 1 s d =[ D4 1 1 s d ]] f1 6 C#4 2 1 e # d [ C#3 2 1 e # d ] D3 2 1 e d [ F4 1 1 s d =[ E4 1 1 s d ]] f1 6 D4 2 1 e d [ D3 2 1 e d ] measure 13 C3 2 1 e d [ F3 2 1 e d = C4 2 1 e d = C3 2 1 e d ] F3 2 1 e d [ f1 6 A3 1 1 s d =[ G3 1 1 s d ]] A3 2 1 e d [ F3 2 1 e d ] measure 14 f1 7 G3 2 1 e d [ f1 6 A3 1 1 s d =[ Bf3 1 1 s d ]] f2 5 4 C4 2 1 e d [ f1 3 P C1:Y78 C3 2 1 e d ] F2 8 1 h u F mheavy2 /END