> Thanks Roman, could you expand a little. Indeed, this will be in Fronimo 3 due in September. RT
> I use Fronimo. Maybe the new version would show what 'key' a piece is > written in. Then by changing this, all the notes (ciphers) would > re-arrange to the new fingerings? > > A little too optimistic for me. > > Best Wishes > > Ron > > -----Original Message----- > From: Roman Turovsky [mailto:[EMAIL PROTECTED] > Sent: 25 July 2005 13:29 > To: Ron Fletcher > Cc: [email protected] > Subject: Re: Byrd > > > 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 > > > > > > > > > > > > > > > > > > > >
