Hi Richard: Essentially that is true if not a bit broad brushed. With tablature you are given the exact intent of where particular notes are played etc. Without the staff notation or mensural notation your understanding of the music is based mostly on your ability put together the mechanics. The assembly of voicing will come as you start to understand the spirit of the music. I usually get a good idea of where apiece is going and how it is voiced by the third of fourth time through. As I start gaining comfort with the composition I may discover something else going on I did not hear or was not aware of in the beginning and have to alter technique to accommodate this little revelation. At this point it might be easy to suggest that this problem would not present itself in staff notation, it would all be right there in lines and dots. However this is not always true, especially with notetated versions of Lute music. One of the best examples I can remember is a notated version of John Dowland's Earl of Essex's Galliard. This was an old version I can not now remember where is occurred but simply put, the first set of diminutions when notated suggested one voice when in fact there are two closely intertwined voices.
Vance Wood. Vance Wood. ----- Original Message ----- From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Saturday, August 07, 2004 3:55 AM Subject: Imitations > > > So making the move > > >from notation to tablature is not just changing one kind of > > >diagram for another, it's a change of musical culture that > > >invites you into a greater creative involvement with the music. > > >It's this point that those musicians who disparage the use of > > >tablature fail to understand
