Greetings. I notice the Pisador vihuela Pavana muy llana para taner is
notated in triple time in the Schott guitar edition, which says that the
original was given in duple. Normally pavans are duple, but looking at
it it does seem to insist on being triple (or is that just knowing it so
long
I have a facsimile of the Pisador book around somewhere, I'll check the
notation. The problem may lay with schott and some guitarists that found it
was more musical/fun to play in triple time than duple. Your problem is in
assigning credibility to a second generation
This particular piece is a version of a well-known tune called La
Gamba, which in many sources is called a galliard. If you play it
as galliard, the walking steps of the duple pavan fit perfectly. The
same is true of the triple-time pavan in Milan's El Maestro.
There was a tradition of
Hi Stephen and Vance,
I've just checked my facsimile - definitely in duple time and seems to me to
be notated correctly. I personally would not play it too slowly.
Rob MacKillop
On 13/04/2008, Stephen Kenyon [EMAIL PROTECTED] wrote:
Greetings. I notice the Pisador vihuela Pavana muy llana
If playing in duple where would the stress fall?
SK
Rob MacKillop wrote:
Hi Stephen and Vance,
I've just checked my facsimile - definitely in duple time and seems to
me to be notated correctly. I personally would not play it too slowly.
Rob MacKillop
On 13/04/2008, Stephen Kenyon
Ages ago this was sent around as an example of a really easy lute piece,
from the Ballet MS. Each line ends with a rising figure I struggle to
hear as the tonic, rather it wants to be the subdominant, especially
after the 6th bar. I am interested in adding a divisions line after
each
On 13/04/2008, Stephen Kenyon [EMAIL PROTECTED] wrote:
If playing in duple where would the stress fall?
Upon the player...
Rob
PS Sorry about that flippant response - I'm suffering from flu at the
moment, and don't feel up to what you are asking of me (my fault, not yours
- I'm happy to
A good rule of thumb is to phrase to the long note and hook the short
note to the long note (no gaps)
--for renaissance, of course--
then adjust by ear for a cross accent if you wish.
mss sources tend to suggest a prototypical coulee/pointee
hierarchy as well, especially in divisions. I favor
Dear Stephen,
As Howard Posner rightly pointed out, Pisador's pavan is based upon La gamba
tenor and it is definitely in triple time. This is not the only case where
triple-time pieces are notated in what seems to be a duple time notation in
Spanish sources, Mudarra's galliard being the first
