Craig,
I can't answer your questions, but I would say that since this is a
dance manual, you have to keep the dance as it is described flowing.
That is, be careful about changing the length of bars. I believe Il
Ballarino has been translated and transcribed. It might be
illuminating to compare what you are doing with how someone else has
tackled the problems. There are a lot of mistakes in the original and
some take a lot of working out. Some of the dances go on and on. This
implies that the performers would have improvised around the
presented skeleton, otherwise they'd go batty.
>My questions are thus; would these changes have been implied by the
>composer to the lutenist and thus intrinsically understood by the lutenist
>to be there? Would they have been taught by the composer ("yes, here we
>change from a minim to a semibreve as we go to the next section")? Or would
>the interpretation of the music have been left up to each performer?
>Lastly, am I correct in putting these changes into the music itself or
>should I be leaving these alone and simply play them as they're written? Of
>course we also have the added problem of typesetter's mistakes, but I think
>that's more easily overcome in the long run, at least in most cases.
--
Ed Durbrow
Saitama, Japan
http://www9.plala.or.jp/edurbrow/
