I do not know how this was done in the folk music tradition. But if we ta=
ke
a broader look at the scene of European music in "olden times" -
Renaissance/Baroque - the answer would definitely be "jazz" style.
The art of improvisating on bass (chord) progressions, on melodic formula=
s,
etc. was highly developed and admired, and it was expected that a good
musician should play the tunes "his way". Excellent manuals were written =
to
teach the art of improvisation, as those of Ortiz and Simpson.
And even in cases where the tune was played comparatively "straight", the
accompaniment should be improvised. The bass line was given, and on this
base line there were built chords according to certain rules. But the
practical realizing of these chords, was left to the discernment of the
musician.
And here is the joy and beauty of playing baroque harp: there exist
practically no harp parts at all. It is all left to the taste and ability=
of
the continuo musicians. So when I play continuo, I play from the bass lin=
e,
filling in with chords, some elaboration of the bass line when I feel lik=
e
it, some ornamenting or countermelody in the descant when I feel like it,
etc. Playing in a continuo group gives great freedom and scope for being
modest, creative ... or whatever.
Here is a small story to illustrate this freedom: Some years ago, when I =
was
quite new to the double harp, feeling rather unsure and lacking routine, =
I
was at a weekend course and was put to the task of playing continuo to a
string quintet playing a pavane by Brade. After we had practiced for a
while, I managed to stumble in on averagely the first bass note of each
measure, putting some occasional chords on top, when I was lucky. The
teacher at the course came in to hear how we were doing. After listening =
for
a while, she said that this will be OK, so keep on, guys. And looking
directly at me, she said: "And I like the good taste and restraint you ar=
e
showing in not over-embellishing the continuo part, K=E5re!" (I still ca=
n't
help laughing every time I come to think of that incident....) :-)))
There exist rules for continuo playing, but fantasy is more important. Th=
e
same goes for playing the tunes "jazzy".=20
Rules are written in order to be broken - but style is important. And, as
Andrew Lawrence-King said: As long as it SOUNDS right, it IS right!
It seems that through the times folk and "art" music have influenced each
other, so it may perhaps not be completely wrong to apply these principle=
s
to folk music, too.
Happy harping!
--=20
- K=E5re Albert Lie