Hi! It's true that you can exchange lacking voices in a set by an instrument and adapt the part for the instrument - that's often done (in the past and in our times).
But this should not lead to arbitrariness. There are "patterns" to follow when creating your adaption. On the lute I would more or less double the bass part (or the "important" tones of the bass part) and add the voice which is missing in the set. Then I would add some of the typical figures (the endings). And if I still feel as if I could play more notes I'd add some ornamentation here and there. Best wishes Thomas Am Die, 2004-07-06 um 02.35 schrieb bill: > i've just been given a cd of italian renaissance dance music (vol.I - > monteverdi, gesualdo, etc.) recorded by "the kings noyse." > > in the accompanying notes, massimo ossi (massimo "bones" - nice name) > states that "16th cent. publications of instrumental ensemble music had > not specified scoring and expected players to add ornamentation..." > later he states that "the boundary between vocal and instrumental music > could, at times, be quite thin" and that "the doubling, or even > replacement of voices with instruments had been common since medieval > times." > > this is good news to me as it suggests an informal approach to the > playing of early music and encourages a "cut and paste" style of > improvisation. > > i wonder if this "free-wheeling" attitude is acceptable to you - the > majority of whom i imagine are formally trained - or is it something to > be tolerated only when playing dance music informally and is never > acceptable when performing specifically scored, baroque compositions? > > - bill > -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] www.lautenist.de / www.tslaute.de/weiss --
