Like many others I use modern chord names when playing guitar continuo: this
enables the underlying harmony (shades of Rameau) to be played without obvious
errors. However I play solo music from original tablatures and the many
'mixed' Italian tablatures enables Alfabeto to be learnt. In practice I never
confuse the two systems.
However, I do so agree that generally players ought to be encouraged to play
from the original notations and, like you, deprecate the modern practice of
transcribing into a uniform French tablature.
Finally, the problem with some of the early Alfabeto songs is that the symbols
are not always quite accurate: a good example is the A 4,3 (modern chord
notation)cadence which is only shown as I (Alfabeto) in the original.
MH
--- On Sun, 20/7/08, David van Ooijen <[EMAIL PROTECTED]> wrote:
> From: David van Ooijen <[EMAIL PROTECTED]>
> Subject: [VIHUELA] Re: Alfabeto songs and editions
> To: vihuela@cs.dartmouth.edu, "Mjos & Larson" <[EMAIL PROTECTED]>
> Date: Sunday, 20 July, 2008, 8:49 AM
> Hi Rocky
>
> >>
> often uses a system of "modern" chord
> names in his scores -- C = C major chord, c = c minor, etc.
> <<
>
> I couldn't find your scores on your page, just a
> reference to this email.
> Can you tell us where they are?
>
> Concerning modern chord names for alfabetto, there are pro
> and cons,
> obviously. I am a bad alfabetto reader, play from the bass
> line when playing
> baroque guitar, but modern chord symbols I understand
> immediately. I write
> these in myself if the figures are too complicated to
> 'figure' out instantly
> what a strummably solution would be. I find that a reason
> _not_ to use
> modern chord symbols in a modern edition of alfabetto
> songs. How am I ever
> going to learn alfabetto if the modern editions don't
> use it anymore? Not
> your problem, clearly mine, but still, on a broader scale,
> how are we going
> to ensure that our cultural heritage remains understandable
> if we have a
> spelling reform every 10 years (Dutch practice that
> succeeded in alienating
> readers from literature of just half a century ago),
> transcribe all lute
> music in French tablature (anybody out there that reads
> German tab? or even
> just Italian tab or [EMAIL PROTECTED] Napolitan than the ever-present
> but not
> ever-appropriate French tablature) or refuse to read
> anything else than g-
> and f-clefs in their 'proper' places. What was that
> about David T's
> lute-dsp? I think it can be summarised as: be flexible, and
> that means be
> able to handle all sorts of notation. And on another note,
> I know music is
> only alive when sounding, but to me alfabetto feels like
> baroque guitar
> song, playing from modern chords feels like House of the
> Rising Song.
> Vihuela music in French tab, Caccini with written out
> accompaniments, I know
> it was done by Phalese and Robert Dowland respectively, but
> it feels like
> eating sushi with knife and fork or drinking wine from a
> plastic cup.
__________________________________________________________
Not happy with your email address?.
Get the one you really want - millions of new email addresses available now at
Yahoo! http://uk.docs.yahoo.com/ymail/new.html
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
