[EMAIL PROTECTED] said: > However, how many of us fluently think in > terms of the gamut, mutation, etc. when we play > renaissance or medieval repertoire?
while playing? hmm, well, if the musica ficta still needed resolutino, yes, one has to. Not usually a problem with tablature, however, there is the problem of typos to consider. Also, since the notation was in a process of reform at the time printing was being developed, well, one has to consider the possibility of vertical composition and other forms of thought being involved than the older thru- composition. > Does it matter? I think it does, tho I also wear the folk-singers hat on occaisino, and I suppose the casual guitar-strummer and his cittern-plucking cousin didnt give much thought to any of that even in the 16c; they simply played what sounded good to their ears, which to some extent were attuned to what was 'right'. > I have the feeling that this is what > the majority of us do. "causa pulchritudinis" > most > Westerners have a hard enough time learning the ropes > with the three scales (one major, two minor - a tiny > fraction of the possibilities!) that are used for the > bulk of our "classical" repertoire ah, but watch out for those klezmer types, they are having a resurgence of popularity! Some day arabic music will get past the prejudicial influences of 9/11, I was just finding a strong interest in the medieval arabic exploration one sometimes finds in the CD bins at Borders Music. > variety of unintended > temperments and even improvised synthetic scales. ;-) ayup, had plenty of them in rehearsal of Madrigal groups and at sacred harp sings. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
