> Tablature for me is the best solution for playing the lute. The only > problem I see is when I would like to transpose it into another key. > (Or is this another 'dirty word' around here.?) > > I would have to transcribe tablature into staff-notation, re-work every > note up, (or down by the same amount) to the desired 'key'. Then > transcribe it back into tablature? > > Ron UK There is software for this. RT
> > When I studied Lute at Oakland University in the late 70's Dr. > Nordstrom > required us (meaning his Lute students) to be able to read and play from > the > Grand Staff. People that don't do this are robbing themselves of a > degree > of freedom in being able to explore music they may have only one source > for. > > Not to mention the enlarged possibilities from intabulating your own > versions, transcriptions, arrangements, or what ever you want to call > them, > from sources like the Fitzwilliam Virginal Book. I cannot understand > why > anyone in the Lute community would look down their nose at guitarists > understanding that very many of us came to the Lute by way of the > Guitar. > That's like cursing your own father. > > As for me I can read and play from the Grand Staff, albeit slowly at > first, > I can sight read both French and Italian Tablature but to be honest I > don't > have a clue about German Tablature and its obscure forms. Which brings > us > back to the main problem of reading Grand Staff. A lot of the German > Tab is > available in Staff notation, which means that I can usually find what I > want > somewhere even if it is in Grand Staff. > > The real problem with staff notation, be it Grand Staff or treble is in > the > instrument itself and its reoccurring octaves. Simply put often there > are > conflicts or decisions about neck position where there may be more than > one > choice in a particular passage as where to play it. > > Vance Wood. > ----- Original Message ----- > From: "Sal Salvaggio" <[EMAIL PROTECTED]> > To: <[email protected]> > Sent: Sunday, July 24, 2005 10:23 AM > Subject: Re: Byrd > > > > A bit on Treble clef vs. tab and other ramblings----- > > > > When I started to play the renaissance lute back in > > the winter of'75, I worked from keyboard > > transcriptions. I didn't read tab at the time. I saw > > the lines in this richly contrapuntal music and used > > my skills at fingering to come up with workable > > solutions. After learning to read tablature, I > > discovered that many of the composers for the lute > > dropped voices where I didn't in my own arrangements, > > Chords were voiced in different ways, etc. Each lute > > composer had their own unique way of doing this. Their > > individual approach to the music was part of their own > > unique style. At one time, early on, I did use guitar > > treble clef - but the pitch was off by a third -(or > > more with all the different tunings ex: lutes in A, D, > > etc) I figured I might as well hear the pitches that I > > was seeing so I turned to keyboard transcriptions - > > this also helped alot with my continuo playing later > > on. I guess you could write out lute music for guitar > > with the 3rd strting tuned down a half step and lots > > of fingerings - I got a copy of Strizich's book of > > deVisee to play on the baroque guitar as well as the > > Weiss London ms. in treble clef to play on the 13 c. > > lute- I have to admit that - with all the fingerings > > clogging up the page and the octave displacements- the > > experience was a bit on the frustrating side. IMHO > > guitarists should learn to read tablature! That would > > certainly open up a wealth of works for exploration. I > > think people like Arthur (da Milano) have helped to > > bring forgotten(due to the lost art of reading lute > > tab) lute composers to the music world. I also believe > > that lutenists who present works from original(or > > facsimile)editions have given us a closer picture of > > what the composer intended and heard in his head. Take > > Beethovan - his 9th played on the piano is like black > > and white compared to the orchestral rendition. He > > conceived it for the orchestra - battling sectional > > forces, antiphonal passeges etc.. Ever play Recuerdos > > on the piano - or imagine what it might sound like - > > hum........and all lutenist should learm to read > > modern notation as well - couldn't hurt > > > > > > Salvatore Salvaggio > > http://www.Salvaggio.50megs.com > > > > > > > > > > __________________________________________________ > > Do You Yahoo!? > > Tired of spam? Yahoo! Mail has the best spam protection around > > http://mail.yahoo.com > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > > >
