On Fri, May 22, 2009 at 6:24 PM, Herbert Ward <wa...@physics.utexas.edu> wrote: > In a multi-voice lute part, one occassionally finds a note plucked > at a time when no other notes are plucked.
Are we talking about Thomas Campion, Author of light? I don't see an F# but a C# as last note of measure 13 (assuming lute tuned in g'). I'd play the D (cipher f on second line) preceding it a little louder, setting it up to be tied to the C# in question, which is the resolution of said D. The C# itself is the major third in the A-mojor chord and as such the leading note in the cadense resolving in the D-major chord on the first beat of the next measure. As such, I'd play this C# louder than the D that follows. Obviously, there are other ways of doing this. Some will like to lean on the C#, playing it louder than the preceding D. A good guide is tension and relaxation. Harmonic tension as well as melodic tension. Anywhich way you choose, I think it's good to look at the counterpoint, however harmonic this particular lute part happens to be. Because treating it just as chords will dull the sense of melodic flow in this cadence. > Referring especially to such notes in the top voice, there are two > different approaches one could take: > > 1. Since the note is by itself, it should be played with extra volume to > compensate for the lack of other notes. > > 2. Since the note is a part of a voice, it should be played at a volume which > corresponds to the previous note in that voice, and to the shape of the > phrase, so that the voice as a whole is coherent. > > Is there a standard body of wisdom for addressing this issue? > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > -- ******************************* David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *******************************
