The best way to handle non standard tablature features is to write your own program. I find myself hacking in features quite often. The problem is that sometimes the features have to be taken out later.
http://www3.cs.dartmouth.edu/~wbc/tab-serv/tablature.cgi?Capirola/Capirola_Padoana.pdf Wayne > From: "Denys Stephens" <[EMAIL PROTECTED]> > Subject: Re: Mudarra's bordon > > Dear Leonard, > Thanks for that information - it's good to know > about that edition. I wonder if he has a tab program > that can handle the split course? I often find myself > trying to reproduce features from non-standard early > tablature that break the rules. I seem to remember > getting stuck on trying to reproduce unmeasured > tablature as the programs don't like not to have bar lines! > > Best wishes, > > Denys > > > > ----- Original Message ----- > From: "Leonard Williams" <[EMAIL PROTECTED]> > To: "Lute List" <lute@cs.dartmouth.edu> > Sent: Monday, May 30, 2005 1:02 PM > Subject: Re: Mudarra's bordon > > > > On 5/30/05 7:39 AM, "Denys Stephens" <[EMAIL PROTECTED]> wrote: > > > > Denys and Michael-- > > Miles Dempster's complete edition of Capirola successfully notates > > the split third course. Interesting effect. It's possible to rewrite the > > tablature to play all the necessary notes without splitting, but the > > acoustic effect is not the same. > > > > Leonard Williams > > > > > > > There is one other point to watch out for in the Lyre Music edition > > > I have referred to above - the famous "Padoana belissima" (Alla > Venetiana) > > > by Capirola has in the original a section using the technique of > "splitting" > > > (i.e. dividing) > > > the third course into its two component strings and playing different > > > notes on them. This completely defeats modern tab programmes > > > and the relevent sections in the edition have been rewritten in an > attempt > > > to bypass the > > > problem. However, I think that it's a shame to lose this technical > feature > > > from the piece - it's not hard to play and draws a unique sound from the > > > lute. > > > To see the original you need the SPES Facsimile of the Capirola > manuscript > > > or the 1955 Otto Gombosi edition of it. > > > > > > If you really like Dalza there's no better way to get to know the music > > > than to get a copy of the original, the "Intabulatura de lauto Libro > Quarto" > > > published by Petrucci in Venice, 1508. There are quite a few > typographical > > > errors in the print to watch out for but lots of very enjoyable music. > > > I think the facsimile published by Minkoff is currently in print. > > > > > > Best wishes, > > > > > > Denys > > > > > > > > > > > > > > > > > > ----- Original Message ----- > > > From: "Michael Thames" <[EMAIL PROTECTED]> > > > To: "lute net" <lute@cs.dartmouth.edu>; "Denys Stephens" > > > <[EMAIL PROTECTED]> > > > Sent: Sunday, May 29, 2005 10:24 PM > > > Subject: Re: Mudarra's bordon > > > > > > > > >>> Dear Michael, > > >>> Dalza uses a tuning where both the fifth and sixth > > >>> courses are tuned a tone lower than "normal" - see > > >>> folio 27v of his book where the instructions > > >>> are included at the beginning of the piece. > > >> > > >>> Best wishes, > > >> > > >>> Denys > > >> > > >> Thanks Denys, > > >> I only have a few Xeroxed copies of some Dalsa. Which book > would > > >> you recommend? > > >> I have three editions by Dick Hoban which are great, and was > > >> considering ordering the Italian dance music, which I'm sure has lots > of > > >> Dalsa. > > >> However, I still don't understand the notation I guess. > > >> The "a" below the 6th course would normally indicate an open 7th > > > course > > >> but this means to tune the 6th course down a step?. Why would there be > 2 > > >> different open "a" one for the 6th and one to indicate the tuning? > > >> > > >> Michael Thames > > >> www.ThamesClassicalGuitars.com > > >> ----- Original Message ----- > > >> From: "Denys Stephens" <[EMAIL PROTECTED]> > > >> To: "lute net" <lute@cs.dartmouth.edu> > > >> Sent: Sunday, May 29, 2005 1:18 PM > > >> Subject: Re: Mudarra's bordon > > >> > > >> > > >>> Dear Michael, > > >>> Dalza uses a tuning where both the fifth and sixth > > >>> courses are tuned a tone lower than "normal" - see > > >>> folio 27v of his book where the instructions > > >>> are included at the beginning of the piece. > > >>> > > >>> Best wishes, > > >>> > > >>> Denys > > >>> > > >>> > > >>> > > >>> ----- Original Message ----- > > >>> From: "Michael Thames" <[EMAIL PROTECTED]> > > >>> To: <lute@cs.dartmouth.edu>; <[EMAIL PROTECTED]> > > >>> Sent: Sunday, May 29, 2005 5:55 PM > > >>> Subject: Re: Mudarra's bordon > > >>> > > >>> > > >>>>> Plenty of examples, the earliest being several piece in the > >Capirola > > >>> lute > > >>>>> book. > > >>>> > > >>>>> Kenneth Be > > >>>> > > >>>> Glad this question came up, as I'm confused about this. I can see > > > in > > >>> for > > >>>> instance in Padonana by Capriola is pretty straight forward, but what > > >>> about > > >>>> a Pavana alla Ferrarese by Dalsa, that indicates tuning the 6th > course > > >>> down > > >>>> a step yet at the same time shows an open "a'' on the 6th courses as > > >> well? > > >>>> Michael Thames > > >>>> www.ThamesClassicalGuitars.com > > >>>> ----- Original Message ----- > > >>>> From: <[EMAIL PROTECTED]> > > >>>> To: <lute@cs.dartmouth.edu> > > >>>> Sent: Sunday, May 29, 2005 7:36 AM > > >>>> Subject: Re: Mudarra's bordon > > >>>> > > >>>> > > >>>>> In a message dated 5/27/2005 7:10:12 AM Eastern Standard Time, > > >>>>> [EMAIL PROTECTED] writes: > > >>>>> I don't know whether any 16th century lute music involves tuning the > > >> 6th > > >>>>> course down a tone. Perhaps someone on the list can tell us. > > >>>>> > > >>>>> Plenty of examples, the earliest being several piece in the Capirola > > >>> lute > > >>>>> book. > > >>>>> > > >>>>> Kenneth Be > > >>>>> > > >>>>> -- > > >>>>> > > >>>>> To get on or off this list see list information at > > >>>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >>>>> > > >>>> > > >>>> > > >>>> > > >>>> > > >>>> > > >>> > > >>> > > >>> > > >>> > > >> > > >> > > >> > > >> > > >> > > > > > > > > > > > > > > > > > > > >
