Dear David:
Thanks for your edifying remarks=2C pointing out the difference between what we
know as lute songs and continuo songs. However=2C I have to disagree that
there is such a distinction between the two=2C and that one does not stray from
the written accompaniments found in tablature.
Your mention of Campion is an apt one. After his first book=2C presumed to be
a collaboration with Rosetter=2C nearly all of Campion's tablature
accompaniments were nothing more than written out continuo realizations=2C or
simple harmonies in tablature written over a simple bass line=2C in tablature.
The same is true for the lute tablature of Ferrabosco II and Coprario.
My point is that the notation should really make no difference in how the
performer approaches the music. A restriction of improvisation while
accompanying from tablature is anachronistic. Yes=2C one should play what is
written to realize the shape and integrity of a polyphonic accompaniment of the
cantus line. But notation should not limit the musician's freedom and ability
to be musical=2C adding tasteful divisions and variations when appropriate.
The key word is Tasteful=2C for the accompaniment of a polyphonic lute song
places the role of the lute as a near-equal with that of the singer. Taste and
balance are of utmost importance.
As you mention and as in the Campion example above=2C accompaniments became
generally less intricate and polyphonic as time marched on. Tablature became
less important as a reservoir of polyphonic information=2C and most continuo
lines for 17th century English songs could be banged out by modern day
Nashville guitar-types=2C who are really quite good at improvising
accompaniments. But idea that lutenists never strayed from the tablature
presumes that improvisation did not occur until tablature disappeared.
Best=2C
Ron Andrico
www.mignarda.com
> Date: Sat=2C 26 Jul 2008 10:05:36 +0200> To: [email protected]> From:
> [EMAIL PROTECTED]> Subject: [LUTE] Re: More on lute songs> > Bruno> > Campion
> c.s. wrote lute songs=2C songs with obligato parts for lute=2C written > out
> in tablature. Lanier c.s. wrote continuo songs=2C songs with a bass line > on
> which you can make your own accompaniment=2C on any instrument you like. >
> Lute songs stop to be written somewhere in the beginning of the 17th >
> century=2C around the time continuo songs start to appear in England. Althoug
> > there is considerable overlap between the two genres=2C there are some >
> differences too. These differences are most obvious in today's approach to >
> the songs. Lute songs tend to be played as is. Any change you make in the >
> tablatures=2C adding introductions=2C changing chords=2C playing
> interludes=2C > adding embellishments or divisions=2C will be noticed and
> perhaps even frowned > upon. And it is tacitly understood lute songs are for
> lutes=2C !
not archlutes. > Hence we notice when Rooley plays an introduction to Awake
Sweet Love=2C when > I add a tear in the introduction to Go Crystal Tears
(check Dowland's > four-part version=2C you can add one of the tears in the
middle voices to your > lute part=2C it's cool!) or Karamazov uses an archlute.
Now continuo songs are > quite another matter. It will be noticed and perhaps
even frowned upon if > you play the same as someone else did before you=2C
bigger lutes with longer > bass strings are considered better - bring in the
archlutes and theorbos! - > and it is expected of you to prepare or improvise
anything from > introductions=2C interludes and postludes=2C changes in
harmonies=2C added > counterpoint changes in instrumentation &c. A continuo
song gives you a > licence to chill.> > There might be good reasons for todays'
perfomance practice=2C but fo course > it's up to you how you handle your own
hip-ness.> > I think if you combine the two genres in one programme=!
2C it can be effective > to emphasize the characteristics of n!
ot only each song individually=2C but > also of each genre. The generally
speaking more expressive continuo song can > get a more expressive
accompaniment=2C perhaps on your archlute for added > drama. Lute songs tend to
be more restrained in expression=2C focussing more > on complicated word play
than on dramatic expression=2C a gentler approach on > a more modest instrument
might be in order. But as I said in the beginning=2C > there is considerable
overlap. The dramatic late songs of Dowland=2C although > labelled lute songs
and with written out tablatures=2C have a continuo style > accompaniment. Fit
your approach to the songs.> > There's a nice little booklet by Ian Spink on
the repertoire you're > interested in. It's called 'English Song=2C Dowland to
Purcell' (Batsford=2C > London 1974). And check out the MB series part XXXIII:
English Songs > 1625-1660 (edited by the same Ian Spink) for a taste of what
happenend > between the lute songs of Dowland and the continuo s!
ongs of Purcell.> > David> > > ****************************> David van Ooijen>
[EMAIL PROTECTED]> www.davidvanooijen.nl> **************************** > > > >
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