Sorry, Ed. My pencil stroke had obliterated the original cipher that I thought was an '2'. Yes, it had been an '3'. I had changed it to a '4'. I can't think of why he'd want an Ab, either.
As for my note to the lutenet, I had written cipher 'letters' instead of 'numbers' --not pitch names-- and simply not noticed I wrote french instead of italian. (I always write french tab into fronimo for ergonomic reasons and then convert back when I print out). Ah, typos. Relatedly, I look forward to Denys' article. Having compared many of Spinacino's intabulations to extant vocal models, I noticed there's a 'character' to his mistakes that shouldn't be confused w/ his art of intabulation. If Petrucci employed the same typesetter then the kinds of mistakes may be analagous. Great piece, by the way! S40n At 06:36 AM 9/21/03, you wrote: >>Ed, >> >>I went to check it just now and saw that I had "corrected" it, too, >>changing the 'c' to an 'e' for the same reasons of lacking a third that you >>mention. Misreading a c for an e on the typesetter's part is a little more >>believable than the intent of an open 3rd course. Also, the stopped string >>at the 4th fret would have probably been more in tune (esp being a 3rd) w/ >>the root also nearby. > >You've lost me. The piece is in Italian tab. The note in question is an Ab >(3 on the 4th course) given a G tuning. Where do you get c and e? >-- >Ed Durbrow >Saitama, Japan >http://www9.plala.or.jp/edurbrow/
