tablature with one set of note values, while glancing up
to the singer's part, which has a totally different set of note
values.
-o-O-o-
To show how fashions have changed over the years, here are a few
books where the value of tablature rhythm signs has been halved.
Note the date of publication:
t;
Cc: <[EMAIL PROTECTED]>
Sent: Tuesday, June 08, 2004 2:59 PM
Subject: Re: Tablature rhythm signs
> Dear Stewart;
>
> By the 18th century tablature rhythm signs are the same as
modern rhythm signs. For instance, facsimiles of E.G. Baron's music
list time signatures
he best,
Stewart.
- Original Message -
From: "Rainer aus dem Spring" <[EMAIL PROTECTED]>
To: "Lute Net" <[EMAIL PROTECTED]>
Sent: Tuesday, June 08, 2004 9:08 PM
Subject: Re: Tablature rhythm signs
> Stewart McCoy wrote:
>
>
> ...
> >
sage -
From: "Alain Veylit" <[EMAIL PROTECTED]>
To: "Stephan Olbertz" <[EMAIL PROTECTED]>;
<[EMAIL PROTECTED]>
Sent: Wednesday, June 09, 2004 1:22 PM
Subject: Re: Tablature rhythm signs
> This is indeed one area where software developers have to
struggle -
&
sign, and
would appreciate help in that direction too.
Best wishes,
Stewart.
- Original Message -
From: "Ed Durbrow" <[EMAIL PROTECTED]>
To: "lute list" <[EMAIL PROTECTED]>
Sent: Wednesday, June 09, 2004 4:51 PM
Subject: Re: Tablature rhythm si
Dear Stewart,
many thanks for your excellent posting. Your mails are always very
interesting and of great value!
You are absolutely right, that most of the modern editions etc. give
wrong impression of the original notation. There are also some charts
which give the corrcet relationship betwee
Dear Stewart;
By the 18th century tablature rhythm signs are the same as
modern rhythm signs. For instance, facsimiles of E.G. Baron's music
list time signatures, and pieces in 3/4 time have the quarternote
(crotchet) listed as a vertical line
Stewart McCoy wrote:
..
>
> The note known as a "long" would not normally feature in tablature,
> because tablature was nearly always barred. If a very long note was
> required ("long" or otherwise), it would be notated as lots of
> shorter notes tied together from one bar to the next.
Milan us
>
>
> - Original Message -
> From: "Rainer aus dem Spring" <[EMAIL PROTECTED]>
> To: "Lute Net" <[EMAIL PROTECTED]>
> Sent: Tuesday, June 08, 2004 9:08 PM
> Subject: Re: Tablature rhythm signs
>
>
> > Stewart McCoy wrote:
&g
r or to the
> lute? It is confusing performing lute songs prepared with Fronimo,
> since the lutenist reads his tablature with one set of note values,
> while glancing up to the singer's part, which has a totally different
> set of note values.
>
> -o-O-o-
>
> To show how fas
onimo can reproduce lute songs, but the singer's
> > notes have half the value of the notes for the lute. One is left with
> > the dilemma: do I give the wrong note values to the singer or to the
> > lute? It is confusing performing lute songs prepared with Fronimo,
>
>Where the singer's
>staff notation part ends with a long, the lutenist's tablature has a
>pause sign instead. I've not looked very far, but my guess is that
>longs were generally confined to final bars, where the exact length
>of the note was not very important.
That is most interesting Stewart.
Ed,
There are physical limitations to plucked string instruments that make it
hard to decide when a note is being held as opposed to a silence. This is
one problem I see with the handling of tablature by Finale: they use tied
notes all over the place to be hyper-precise, but it seems to me this
Message -
From: "Stewart McCoy" <[EMAIL PROTECTED]>
To: "Lute Net" <[EMAIL PROTECTED]>
Sent: Wednesday, June 09, 2004 9:15 PM
Subject: Tablature rhythm signs
> Dear Ed,
>
> A tempting thought, but I don't think Dalza uses the fermata as a
> s
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