Arto, You see the long-and-two-shorts all over Spinacino, too. For example, in the Sidedero in the Odhecaton uses a dotted figure while Spinacino repeated uses it in the way you describe in Newsidler (we find the same figures more often dotted rhythms in the Capirola Sidedero, however).
Interestingly, comparing the Tsat een meskin between the Odhecaton and the Segovia ms. Petrucci uses the dotted figure while the Segovia usually uses the long note and two shorts. Since both are mensural sources I'm not sure we can attribute it to being a lute phenomenon unless we consider Segovia a possible lute source. Sean On Feb 1, 2013, at 10:59 AM, Arto Wikla wrote: Dear lutenists, if memory serves, we have been talking about one interesting question of interpreting German tabulature: when (especially) Hans Newsidler repeated a short note after longer one, did he really mean repeating the pluck, or did he thus just in this way express a note with a dot? Did he mean just a tie? An example (translated to French tabulature) (use monospace!): |\ |\\ |\ | | | | | | __a_____a__a__c__d_______ _____|______________|____ _____|__b________b__|____ __c__|__c________c__|____ ... _____|______________|____ _____|______________|____ So, should or shouldn't the top string third a be plucked or not? I vote that you should not repeat the pluck! I played Hans' intabulation of Ludvig Senfl's famous Lied "Elslein liebstes Elslein mein". I made two versions: First literally as it is written, second as I think it is meant to be played. The piece becomes much more vocal-like that way, and it also feels much more natural. Take a look (take a hear (can you say so in English?)): http://www.youtube.com/watch?v=pakfWwq8wok&feature=youtu.be http://vimeo.com/58727395 What do you vote? All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
