Hi,
I´ve read this as well as the ricercar thread, after a while abroad, and as I see it,
lute tablature, notated in your own favourite way, (there are many...) is the most
logical way to play a chordophone.
What has not been mentioned is the need to keep the fingering as long as you possibly
Thanks, Denys, for a most fascinating and thoughtful reply, which will give
me much food for thought. Cheers
Tom
--
Dear All,
Tom's question touches on an issue that I have been wondering about for
some time:
"when I play the guitar, one of the great joys is finding fingering to =
fit the piece
I'm studying. That's something I really miss, experimenting around till=20
just the right sound emerges, and a fingeri
them while another voice moves on. =20
Vance Wood.
- Original Message -=20
From: [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Saturday, August 07, 2004 3:33 PM
Subject: Re: Imitations
Thanks for your reply, Vance. For from thinking I am too ignorant to =
cope with normal notatio
and =
uneducated musicians who are unable or too lazy to learn staff notation =
or read regular music as we understand it today.
Vance Wood.
- Original Message -=20
From: [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Saturday, August 07, 2004 8:13 AM
Subject: Re: Imitations
ce when in fact there
are two closely intertwined voices.
Vance Wood.
Vance Wood.
- Original Message -
From: <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Saturday, August 07, 2004 3:55 AM
Subject: Imitations
>
> > So making the move
> > >from notation to
> So making the move
> >from notation to tablature is not just changing one kind of
> >diagram for another, it's a change of musical culture that
> >invites you into a greater creative involvement with the music.
> >It's this point that those musicians who disparage the use of
> >tablature fail to
l culture that
> invites you into a greater creative involvement with the music.
> It's this point that those musicians who disparage the use of
> tablature fail to understand.
>
> Best wishes,
>
> Denys
>
>
>
> - Original Message -----
> From: <
ut try not
to make it too mechanical or you might miss the "phantom voices" that often
materialize in his music.
Vance Wood.
- Original Message -
From: <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Tuesday, July 27, 2004 9:53 AM
Subject: Imitations
> Hi
Hi Ed,
I don't know what numbers those are. I get all my music from the
extraordinary resources the Internet provides, and these came from something called
the
Internet lute society (I think). Are there any more pieces of a similar standard
if difficulty you could recommend? I looked through w
> -Original Message-
> From: LGS-Europe [mailto:[EMAIL PROTECTED]
> Sent: Wednesday, July 28, 2004 6:41 AM
> To: [EMAIL PROTECTED]
> Subject: Re: Imitations
>
> > Speaking of Francesco da Milano, does anyone know of a playable
> > edition = of his wor
>Hello, all!
>
>Speaking of Francesco da Milano, does anyone know of a playable edition =
>of his works? I have access to the Ness edition, but, given the numerous =
>page turns, I find it impossible to play from it. I have thought about =
>retyping every piece into Fronimo, but that would take a v
>The pieces by FdM I'm playing are Fantasias 31, 32, 41, 81 and Ricercars 4,=
>=20
>67.
So those are Ness numbers?
>I just couldn't believe the music would actually be so barren and aimless,=20
>but only after a while did it occur to me that there might be more to it tha=
>n=20
>that.
FdaM is o
Write it out in staff notation is an obvious answer. If not to play from,
then at least to study the counterpoint from. It's a bother, but worth while
the effort if you're confused. I often encounter places I'm not sure about,
that have more than one solution or that I'd have never recognised just
> Speaking of Francesco da Milano, does anyone know of a playable edition =
> of his works?
The facsimile of many/most/all? of the books are available (I have some
Minkoff and Arnaldo Forni here).
David
Dear Stephen,
I remember being driven to distraction by all those page turns too. That
one and the CNRS N. Vallet (the facsimile has only a few page
turns--hooray). Yes, the piano reduction is a help for some and often gives
some good suggestions from the editor for voicing and those confused
Hello, all!
Speaking of Francesco da Milano, does anyone know of a playable edition =
of his works? I have access to the Ness edition, but, given the numerous =
page turns, I find it impossible to play from it. I have thought about =
retyping every piece into Fronimo, but that would take a very lo
d try
using different colored highlighters on a photocopy of the piece to visually
accentuate the voicing.
Regards,
Leonard Williams
From: [EMAIL PROTECTED]
Date: 2004/07/27 Tue PM 12:53:38 EDT
To: [EMAIL PROTECTED]
Subject: Imitations
Hi al
can't get my fingers round and=20
being a musician by training, I know something about imitations (though mos=
tly of=20
the 12-tone variety). Some of what you say about looking at the individual=20
voices has gradually dawned on me while I've sat there plinking and plonking=
, as=20
has
RichardTomBeck wrote:
>I'm playing some pieces by Francesco da Milano, which are technically not too
>demanding. The problem I find is in recognising all the imitations in the
>various voices. In staff notation these would be obvious, but I find myself
>initially going plink-
shes,
Denys
- Original Message -
From: <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Tuesday, July 27, 2004 5:53 PM
Subject: Imitations
> Hi all,
>
> I'm playing some pieces by Francesco da Milano, which are technically not
too
> demanding. The problem I
Hi all,
I'm playing some pieces by Francesco da Milano, which are technically not too
demanding. The problem I find is in recognising all the imitations in the
various voices. In staff notation these would be obvious, but I find myself
initially going plink-plonk-plonk-plink till my ear
22 matches
Mail list logo
