Sorry, Jaroslaw, the list doesn't seem to take attachments... :-( JM ======= 06-02-2008 13:33:01 =======
>Jaroslaw, > >I think it's right ! I have attached two examples : the first strain of the >Pavane La Bataille in Phalèse, Chorearum Molliorum, 1583, and the eqivalent >first strain of the adjoining Gaillarde. What I tried to explain is apparent >here and the "tactus inequalis" applies perfectly. I was probaly confused and >confusing too in my attempt to explain. > >The Pavan has a regular tactus , one breve down, one breve up. >The Gaillard keeps the same breve down,( i.e. 2 semibreves) and the up beat is >"inequalis", that is unequal, so the hand goes up with one semibreve of the >Gaillarde instead of one breve in the Pavan. > >The interesting point is you keep the same "tactus" for the down beat, and >thus it is very easy to return to duple time and keep a proper equivalence. > >How this applies to the lute litterature is a quite different story >altogether... Actually, the transcriptions from polyphonic music to tablature >are not always consistent and you can observe variations in the equivalence >adopted between "score" and tablature. Musical flair and good sense have to >come to the rescue I'm afraid... Some will split the dance (Pavan) into half >measures, which then become whole measures in the tab, some will stick to the >original format... >So where do we stand ? That's the critical moment when the structure of the >piece has to be thoroughly dismantled and analysed to try and understand the >better possible solution, in terms of rhythm, phrasing and, possibly, steps. > >As for Elizbethan dance movements such as Pavan etc., I think we have to be >very careful before deciding if theyhave to be "danceable" or if they are >stylised forms. Both cases coexist in the repertoire, and here again nothing >is clearly indicated in the sources. Only a very close analysis and a good >dose of musical sense will help you come to an acceptable solution. > >If you think of Chopin's Waltzes for the piano, you can hear very different >versions of them, some more dance like than others. IMHO it may be the same >with early baroque dance forms and I put a good deal of the Elizabethan lute >music in that category. > >Best, > >Jean-Marie >======= 06-02-2008 12:29:10 ======= > >>Peter, >>I am afraid this is not correct. I've just took the first manuscript from my >>shelf with Italian renaissance music without any particular digging for >>something special and what I can see? This is a facsimile edition of >>"Intabolatura de lauto" by Antonio Rotta edited in Venetia 1546. If we turn >>the title page we have the first piece which is Passamezzo with two flags >>(crotchets using contemporary system of notation) per bar. The next piece is >>Gagliarda with three flags per bar (of the same value). If we play both >>pieces it becomes quite clear that one bar from Passamezzo equals one bar >>from Gagliarda. So Donnington was right I am afraid ( the citation was from >>his 1990 edition) and most things we can find in his book are still valid. >>The whole mess with Pavan - Galliard proportions comes from our modern >>thinking in uni-proportional system. In multi-proportional system which was >>commonly used in renaissance this problem wouldn't exist because proportion >>for this set of dances was very clear and easy; modus imperfectus equals >>modus perfectus. This is why I said the pulse remains the same only dancers >>change their steps. >>All the best >> >>Jaroslaw > >[EMAIL PROTECTED] >http://poirierjm.free.fr >06-02-2008 > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >--------------------------------------------------------------------------------------- >Orange vous informe que cet e-mail a ete controle par l'anti-virus mail. >Aucun virus connu a ce jour par nos services n'a ete detecte. > > = = = = = = = = = = = = = = = = = = = [EMAIL PROTECTED] http://poirierjm.free.fr 06-02-2008 N ¶è®ß¶¬+-±ç¥Ëbú+«b¢vÛiÿü0ÁË j»f¢ëayÛ¿Á·?ë^iÙ¢ø§uìa¶i
