This is for dunces like me who have problems thinking about more than one
thing at a time.
The one thing that makes complex contrapuntal lines easy to manipulate on
the Lute is the use of tablature (in my opinion). Now I know there are
those out there that can recognize the counterpoint just by looking at the
tab, and some of you can probably hear it as well. Because this is not true
with me I must assume that there is one other dummy like me that usually has
to play through something before gathering an understanding of what the
piece is about, especially if I have never heard it. So---what does this
mean? Tablature's magic is centered in its linear relationships.
You can divide up the entire composition into vertical relationships clearly
seen in the tablature, where it is possible to at the least get all of the
notes in the right place at the right time, after which you can start
getting your mind and understanding around the actual spirit of the music
and not just the mechanics. When you add a voice, especially your own,
instead of trying to sing the piece with all of its independent elements,
and play the instrumental part with all of its independent elements and make
them work together without short circuiting your brain, it is easier to
learn your vocal part into the same vertical relationship with the music as
the individual parts of the instrumental are to each other. In short, learn
the mechanics first; then as the mechanics start to make sense the music
will start to manifest itself. I suppose it could be called a cheater's
method but it is the only way it works for me.
----- Original Message -----
From: "Eleanor Smith" <s0347...@sms.ed.ac.uk>
To: <probe...@acm.org>; "Mark Probert" <probe...@gmail.com>
Cc: "lute-cs.dartmouth.edu" <lute@cs.dartmouth.edu>
Sent: Friday, March 19, 2010 4:45 AM
Subject: [LUTE] Re: Amarilli
My trick when accompanying myself singing is to get the vocal part
learnt to the point where I no longer need the music or to concentrate
that hard ... and then it's just my hands (in my case on a
harpsichord) I need to worry about - having said that I often
accompany myself when learning notes but usually at the piano where
all note-bashing sins can be assisted by pedals!
Best,
Elly
Hello.
In addition to learning the lute, I have started formal vocal training.
In choosing to sing Caccini I have hit the "how do you play and sing at
the same time?" problem. Any cunning ideas? And when reading from a
figured bass how dense is the chordal underlay? Less than with a
separate Singer?
Thanks
Regards .. mark
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Ms Eleanor Smith, MMus
PhD Candidate: Organology
University of Edinburgh
c/o St Cecilia's Hall
220 Cowgate, Niddry Street
Edinburgh
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