age -
> From: ""Mathias Rösel"" <[EMAIL PROTECTED]>
> To:
> Sent: Tuesday, July 08, 2008 3:42 PM
> Subject: [LUTE] Re: Improvising and Composing?
>
>
> > Two examples, pars pro toto taken from CNRS edition of Gallot. Each is
> > the typica
D]>
To:
Sent: Tuesday, July 08, 2008 3:42 PM
Subject: [LUTE] Re: Improvising and Composing?
Two examples, pars pro toto taken from CNRS edition of Gallot. Each is
the typical up-beat bar of a courante. And each is transcribed as a
single line into grand staff, although there are _two_ p
Two examples, pars pro toto taken from CNRS edition of Gallot. Each is
the typical up-beat bar of a courante. And each is transcribed as a
single line into grand staff, although there are _two_ parts each time.
The second example even has dashes (thumb) so as to indicate the lower
voice. Neverthele
> Are there any
> sources for learning notation on the lute.
Also for Baroque lute specialists are the Weiss transcriptions by
Douglas Alton Smith and the Moscow Weiss Ms. transcription by Tim
Crawford; both use a double-staff system that squeezes the staves so
that only middle C has
Playing Lumsden from keyboard notation definitely a must. This one
book will give you a wide range of experieince applicable to lute
solos, lute songs, consort music and especially continuo. The
transcription system was the most progressive of its time.
It is a very convenient benchmark. If you
Don't know if still available, but Lumsden's old anthology was what
got me started on staff notation 1,000 years ago. I painfully
transcribed the first third of the "Lachrimae" into guitar standard
notation, got impatient & disgusted, and just learned staff for lute
in G. It's much easier than
Dear All,
(Sorry for the cross-posting but it's relevant to the Lute Net as well,
and practically off-topic anyway).
Just some small thoughts about those "cumbersome" editions:
When I first started playing the lute, and got the Ness edition of
Francesco da Milano out of the university librar
