Historical lute tablature notation had a number of issues to deal with
when it came to indication of rhythm. Remember that this was the late
renaissance, at a time when the notation was being simplified (see Thomas
Morley, _A Plain and Easy Introductiuon to Practical Music_.
A Composer then had a choice of what note to assign his tactus to. If the
musical form was in any way trinary (eg, a galliard, or a bransle simple)
it was considered apropriate to use the longer durations which could be
'perfect' (maxima, longa, breve, semi-breve) one unto another. But if
binaria sufficed, the lesser notes could be taken advantage of,
semi-breve..semifusa; and these had the advantage (to us) of all being
stemed.
Thus, the solution lies in 'reduction'; ie, advise users against the use
of half notes and longer in new composition; transliterations should
employ reduction (eg, half->quarter; quarter->eighth ...).
The odd breve is found in some renaissance lute tablature, it has a stem
toped by a left-going flag or has a circle (at half-mast).
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Dana Emery
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