Dear Stewart: Addressing the question of crosses, Arthur Ness' edition of Francesco da Milano reproduces these as 'plus' signs in the duet arrangements from Matelart, 1559 (Ness Appendix C, Nos. 17-23). I always assumed that they represent hold signs. I'm sure Arthur can clear up which copy he used as a source.
Best wishes, Ron Andrico & Donna Stewart [EMAIL PROTECTED] [2]http://www.mignarda.com ______________________________________________________________ From: "Stewart McCoy" <[EMAIL PROTECTED]> To: "Lute Net" <lute@cs.dartmouth.edu> Subject: [LUTE] Matelart Fantasia Terza Date: Sun, 27 Aug 2006 14:10:58 +0100 >Dear All, > >I have been looking at Matelart's Fantasia Terza from his >_Intavolatura de Leuto_ (Rome, 1559). The book is published in >facsimile as Joanne Matelart, _Intavolatura de Leuto_, ed. Orlando >Cristoforetti, Archivum Musicum 10 (Florence: SPES, 1979), and there >is a modern edition of Fantasia Terza in _The Art of the Lute in >Renaissance Italy_, Renaissance Lute Music, Vol. 1: Ricercars, ed. >Dick Hoban and Richard Darsie (Fort Worth: Lyre Music Publications, >1997), pp. 122-3. > >There are two copies of the original which survive, and the SPES >facsimile reproduces the copy now in the Civico Museo Bibliografico >di Bologna. There were no barlines originally, but someone >(presumably in the 16th century) has added barlines to many of the >pieces. One or two rhythm signs have also been added by hand. There >is nothing too unusual about that. However, I am puzzled by the >presence of large crosses scattered here and there, mostly like big >plus signs (+), but sometimes with two or even three horizontal >strokes, and at least twice with two vertical and two horizontal >strokes looking like a sharp sign (#). I don't know what these signs >mean, and would be grateful if someone could explain what they are. References 1. mailto:[EMAIL PROTECTED] 2. http://www.mignarda.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
