Hi Michael,
actually italian tab is quite easy. Just imagine to look *through* your
lute and you'll see the numbers just on the right position.
Hi Thomas,
Very help tip, that made it much easier.
Michael Thames
www.ThamesClassicalGuitars.com
- Original Message -
From: [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Tuesday, May 31, 2005 8:38 AM
Subject: Antwort: Re: Mudarra's bordon
Hi Michael,
actually italian tab is quite easy. Just imagine to look *through* your
lute and you'll see the numbers just on the right position.
Only the 8th - 14th course sometimes have odd signs one might need to get
used to.
I found most italian facsimiles easier to read than english facsimiles.
The
only disadvantage is that it's not so easy to add and later to recognize
fingerings for the left hand which I would write in numbers.
Best wishes
Thomas
Michael Thames [EMAIL PROTECTED] am 31.05.2005 16:08:14
An:Lutelist lute@cs.dartmouth.edu, Sean Smith
[EMAIL PROTECTED]
Kopie:
Thema: Re: Mudarra's bordon
Sean,
Thanks for the encouragement, I was hopping someone with experience
with
Italian Tab. would find it attainable with a little effort, and spur me
on.
I much prefer to read from facsimiles.
I bit the bullet a few months ago, and got the facsimiles of
both
the London, and Dresden MS. edited by DAS.
BTW, OMI in NY has a compressive catalogue of Facsimiles, for guitar
and lute.
The Capriola in color is $33 ,and the Dalsa, is $38.
http://www.omifacsimiles.com/mgencatalogs.html
Michael Thames
www.ThamesClassicalGuitars.com
- Original Message -
From: Sean Smith [EMAIL PROTECTED]
To: Lutelist lute@cs.dartmouth.edu
Sent: Monday, May 30, 2005 11:52 PM
Subject: Re: Mudarra's bordon
Dear Michael,
Italian tab is indeed learnable. I put it off for 20 years and then
lived it with it exclusively for a week and found it no biggy. I
started with single line pieces such as Francesco's canon and then
worked my way into dances w/ simple bass lines and then on to the
ricercares. Eventually I saw all the same patterns I remembered from
French tab and it just fell into place.
The Capirola book is one of the finest sources of late 15th cent lute
music. Some of Josquin's, Agricola's and Brumel's fine motets are there
and intabulated very well. Some of the biggest hits of the 15th century
are also found there: Ales Regrets and Nunquam fuit as well as a few
popular current songs and the dances you mentioned. It's a wonderfully
alive period of music and Capirola reflects this nicely.
There are so few mistakes and it is written so clearly that a modern
edition is superfluous --and you probably won't get all the cool and
humorous pictures! I remember seeing Jacob Heringmann give his Josquin
concert and he simply played from the facsimile. If you were interested
in further notes about it then I would second Denys' suggestion of the
Otto Gombosi book which should be available in any decent college music
library. Btw, Capirola's introduction is translated at Federico
Marincola's Lutebot site:
http://www.marincola.com/lutebot1.txt
On the 4th course octave question. With a little practice and focus you
can either accentuate or downplay the octave jangle as you see fit with
either fingers or thumb. It's more a question of attack.
Good luck,
Sean
On May 30, 2005, at 8:58 PM, Michael Thames wrote:
Dear Michael,
I understand why you are confused now!
You are not looking at the original.
Denys and Leonard,
Thanks for the info. I can see now why I was confused.
I've always been afraid of Italian tab. However, considering that 90%
of
the ren. lute music I play is early Italian perhaps I should make a
effort
to read Italian Tab?
Just in case.Has anyone produced a good reliable edition of
Dalsa,
Spinacino, and Capriola in French Tab. for 6 course lute?
I was at a Master class with Paul Odette, and had just began
playing a
6 course lute with an octave on the 4th course. I mentioned how
strange it
sounded to me after playing an 8 course with the unison 4th course.
Paul then started to demonstrate many examples of the advantages
of an
octave on the 4th course. One of the examples was the Padoana by
Capriola,
which if I remember correctly he only played the octave at certain
times, of
the fourth course? Is this what is meant as splitting a course?
Denys, thanks for the Dalsa peices I love this stuff!
Michael Thames
www.ThamesClassicalGuitars.com
- Original Message -
From: Denys Stephens [EMAIL PROTECTED]
To: lute net lute@cs.dartmouth.edu
Sent: Monday, May 30, 2005 5:39 AM
Subject: Re: Mudarra's bordon
Dear Michael,
I understand why you are confused now!
You are not looking at the original.
I
