Hi Stephan,
thanks for your compliments. You are speaking german very well!
I think Stewart (McCoy by the way) and I would agree. I guess he was
thinking in terms of continuo where the "important" note would always be
the bass. There is no problem with rolling a chord for instance to
spread the duration of the hearable sound ("booooooooom dadeldum" or
something similar). This are liberties you have in forming your continup
part. But the bass notes need to come together in the comlete continuo
section (otherwise the listener would hear a bass voice sounding rather
like a machine gun "tacktacktack"). This of course applies for baroque
continuo in general.
In the baroque solo music as Ed pointed out there were much more
liberties which (I have to admit) lead in my case to use much more
rolling in renaissance music, too.
Actually this isn't wrong if you bear in mind that it's a grace. You can
use graces often or seldom - as you wish and as the music suggests.
I attended a masterclass by Dolores a while ago and she stressed much
the use of arpeggios (she meant rolling) especially as grace. She
suggested to use it in the slow vihuela pieces I was introducing as well
as in Toccatas by Kapsberger (here one may listen to Hoppy's recording -
he took very much liberties when performing these pieces).
I also would like to forward her opinion one should listen to the vocal
models before working on an intabulation - the example of the "Cancion"
by Narvaez and the vocal model lead to a different approach (thinking in
double time, the runs rather graces than "important" notes).
A different discussion is BTW the term "in time". One of my teachers
told me there would be "notes more on the right side of a bar and others
to be more on the left side" meaning not every note should be played
exactly as it's position in a bar would suggest. One example would be a
"Wiener Walzer" which is played dotted but written straight.
Best wishes
Thomas
Am Don, 2004-05-27 um 02.56 schrieb Stephen Arndt:
> My thanks to both Stewart Craig and to Thomas Schall for responding to =
> my inquiry. Stewart and Thomas, I am wondering whether you two agree on =
> the proper way to roll a chord, though you both seem to agree that the =
> use of such rolls should be very sparing. Stewart, you wrote:
>
> "The important thing is to start rolling on the beat, not before it. The =
> bass note should fall on the beat with the other notes following. =
> Unfortunately lots of players roll in such a way that the treble note =
> falls on the beat, which means they have to start rolling before the =
> beat."
>
> If I understand you correctly, there are no exceptions to beginning the =
> roll on the beat. Thomas, you wrote:
>
> "Another question is which note to play on the beat. If you play a =
> melody, most times the melody note should be on the beat. In an =
> accompaniment, the bass note (or the most significant tone) should make =
> it on the beat."=20
>
> It seems that you, Thomas, are recognizing two distinct cases--one in =
> which the high note of the chord forms part of the melody line and =
> another in which it does not, which determines which note is to be =
> played on the beat.=20
>
> So, I am wondering whether you two really disagree or whether the =
> disagreement is not real but merely apparent.
>
> Actually, I started thinking about this issue when I was listening to a =
> CD entitled "The Art of the Lute in Renaissance France. Volume 1: Early =
> to Mid 16th Century" performed by Edward Martin to accompany the Lyre =
> tablature publication by the same title. Edward, in the brief time that =
> I have been a member of this e-mail group, I have noticed that you have =
> contributed to the discussions. I have greatly enjoyed your playing on =
> this CD and have listened to it repeatedly, paying particular attention =
> to your style. It seems to me that you make a fairly liberal use of =
> rolled chords on this CD, and I would be very interested in any comments =
> you might have about your use of them.
>
> Best regards to all,
>
> Stephen Arndt
>
> P. S. an Thomas: Ich m=F6chte diese Gelegenheit nehmen, Ihnen zu sagen, =
> wie viel Ihre Internetseite mir gefallen hat-besonders die Fotos, die =
> Tonaufnahmen und, vor allem, die Tablaturen, einige von welchen w=E4ren =
> anderswo nicht so leicht zu finden. Vielen Dank f=FCr die gute Arbeit!
> --
--
Thomas Schall
Niederhofheimer Weg 3
D-65843 Sulzbach
06196/74519
[EMAIL PROTECTED]
www.lautenist.de / www.tslaute.de/weiss
--
