Very well said! Best wishes Thomas
Am Die, 2004-07-27 um 20.14 schrieb Denys Stephens: > Dear Tom, > The thing to do, as you have already noticed, > is to use your ears - in learning a new piece you > need to explore the way the voices work for you > and bring it out in your performance. We don't have > Francesco's works in mensural notation except in modern > editions - which are an editor's interpretation and > therefore not an infallible guide to the composer's intentions. > The nice thing about tablature is that we do know where to > put our fingers - the only choice we have is which fingers > to use where! Although there are cases where one might guess > that a particular fingering might have been used for an > expressive effect, that sort of approach is IMHO much more > a feature of modern classical guitar playing than it is of lute playing. > The exciting thing about this is that every players interpretation of > a piece can be different - and equally valid. So making the move > from notation to tablature is not just changing one kind of > diagram for another, it's a change of musical culture that > invites you into a greater creative involvement with the music. > It's this point that those musicians who disparage the use of > tablature fail to understand. > > Best wishes, > > Denys > > > > ----- Original Message ----- > From: <[EMAIL PROTECTED]> > To: <[EMAIL PROTECTED]> > Sent: Tuesday, July 27, 2004 5:53 PM > Subject: Imitations > > > > Hi all, > > > > I'm playing some pieces by Francesco da Milano, which are technically not > too > > demanding. The problem I find is in recognising all the imitations in the > > various voices. In staff notation these would be obvious, but I find > myself > > initially going plink-plonk-plonk-plink till my ear tells me there's > actually > > something going on in there that needs to be brought out. > > > > Clearly this affects the fingering, so it would be nice to know if there > is a > > more 'sure-fire' way of seeing the counterpoint before I've played the > music > > through a few times just to get the notes. Coming from staff notation, I'm > > used to seeing the whole picture at one go, and find it a bit > disconcerting to > > realise after about half an hour that's I've not actually been playing > what Mr > > da Milano intended. Are there any tricks, things to look for, that can > save me > > from going down the wrong road, and enable me to learn the correct > fingering > > as I learn the piece, which would come from being able to see straight > away > > what's going on? All suggestions gratefully received. Cheers > > > > Tom Beck > > > > -- > > --
