Two examples, pars pro toto taken from CNRS edition of Gallot. Each is the typical up-beat bar of a courante. And each is transcribed as a single line into grand staff, although there are _two_ parts each time. The second example even has dashes (thumb) so as to indicate the lower voice. Nevertheless, beginnings like these are usually played as though they were a single line. Instead of holding and connecting the lower voice, its notes are integrated into the upper voice.
Courante La Bordelaise, CNRS p. 61: -e---r-|---- ---r---|-^d- -------|---- -------|---- -------|---- -------|---- Courante (Gallot le Jeune), CNRS p. 221 ---------|----- ---------|---e- -a----a--|----- -.--d----|----- ----|----|-e--- ---------|-|--- Another example, concerning leading notes (La Bordelaise, p. 61, tab bars 5/6). The in the grand staff transcription has the leading F sharp (middle part) dangling in the air, and so it is played most often. Instead of connecting it with its goal, viz. G, the leading note vanishes through all those separee notes into Nirwana. "Because French baroque is incomprehensible, anyway". - |. |\ | | |\ | -----------|--------------------|-- - | | -----------|-------a------------|-- - | | -----d-----|-r---d--------------|-- - | / | -----/--b--|---r----------------|-- - | / | | -----r---- |--------------------|-- - / | | -----a-----|--------------------|-- - | a /a | Mathias "LGS-Europe" <[EMAIL PROTECTED]> schrieb: > > Grand staff notation may be useful as far as renaissance music is > > concerned, but with baroque lute music it veils more than it reveals. > > That's not the fault of grand staff but that of transcribers who did not > > correctly distinguish parts and did not discern shaping of voices. > > > But some of the tablatures defy transcirption into mensural notation. The > ambiguous nature of some music does lend itself better to the neutral medium > of tablature than to the seemingly exactness of mensural notation. That is > true of music where the number of parts is not always clear: two voices > merging into one and splitting up for short streches, or for example for > broken chords alluding to sustained melodies in one or more parts, even > though the notes cannot be held everywhere. We can think of many examples in > lute music where tablature is the best possible medium, precicely because of > its ambiguous nature. Reading this music from staff notation can give one > the false sense of security that the interpretation chosen in the > transcription is the only truth. Transcription is translation. Some might be > lost, but some might be gained. > > David > > > **************************** > David van Ooijen > [EMAIL PROTECTED] > www.davidvanooijen.nl > **************************** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
