That is my exact preference :)
d
At 03:01 PM 1/6/2010, you wrote:
>Personal preference only:
>I like to read my lute music from treble/bass clef, with only space
>for one ledger line (for middle c) in the middle.
>If the upper part is rather lowish, though, I prefer the top staff to
>be in tenor cleff, but with more space in between the staves, so there
>will not be so much staff-crossing.
>Bit of a bother to get used to, but actually alto cleff in single
>staff is very good for much lute music without too many basses.
>
>But I assume the transciptions are not to be played by lutenists, who
>will turn to the tablature anyway, but for the readers to read. Then
>double staff (treble and bass clefs) is the most obvious choice. It'll
>give you more chance to make voice leading clear and add whatever
>'footntes' within the music. Single staff can be so crowded.
>
>David
>
>On Wed, Jan 6, 2010 at 11:24 PM, Eugene C. Braig IV <[email protected]> wrote=
>:
> > However, the first edition of Sor's Op.7 looks decidedly weird to me,
> > occasionally for the exact reasons Chris described. =A0Also, Sor's "trebl=
>e"
> > staff shifts around between true treble and C clefs. =A0The latter places
> > middle C where b is ordinarily notated for guitar on a single suboctave
> > treble clef...a half-step shift from guitar convention; talk about a
> > difficult mental transposition! =A0Op.7 material on the truly treble staf=
>f
> > clumps to the bottom of its range and is often on ledger lines below. =A0=
>Etc.
> > Rather than the treble-clef/oddly-positioned-C-clef along with bass-clef
> > two-staff system, it might have been better to run with coupling the
> > customary suboctave treble to bass staff throughout. =A0I would never end=
>eavor
> > to read from that edition.
> >
> > For anybody who has read guitar music before, it certainly is easier to r=
>ead
> > Sor's Op.7 from the second edition (where Sor recanted and returned to mo=
>re
> > common guitar notation). =A0Perhaps this is because of habit alone, but a
> > suboctave treble clef just seems best suited to guitar's melody range.
> >
> > Best,
> > Eugene
> >
> >
> >> -----Original Message-----
> >> From: [email protected] [mailto:[email protected]] On
> >> Behalf Of Peter Martin
> >> Sent: Wednesday, January 06, 2010 4:38 PM
> >> To: Lute list
> >> Subject: [LUTE] Re: Transcription
> >>
> >> =A0 =A0Giuliani, maybe, but not Sor. =A0 He published his Fantaisie opus=
> 7 on
> >> =A0 =A0two staves, with an Avertissement at the beginning to explain why=
> this
> >> =A0 =A0was so much better than using a single treble-clef stave.
> >>
> >> =A0 =A0Although he abandoned the attempt for his other 62 opuses (opera?=
>), I
> >> =A0 =A0think he was absolutely right. =A0The music is much clearer like =
>this.
> >>
> >> =A0 =A0P
> >> =A0 =A02010/1/6 <[1][email protected]>
> >>
> >> =A0 =A0 =A0Ron,
> >>
> >> =A0 =A0--- On Wed, 1/6/10, Ron Andrico <[2][email protected]> wrote:
> >> =A0 =A0> =A0 =A0The conventional two-stave keyboard
> >> =A0 =A0> transcription is probably the most
> >> =A0 =A0> =A0 =A0useful and appropriate format for
> >> =A0 =A0> academic purposes.
> >>
> >> =A0 =A0 =A0Sorry, but I disagree. =A0Transcribing Kapsperger's music on =
>two
> >> =A0 =A0 =A0staves makes as much sense as putting pieces by Giuliani, Tar=
>rega or
> >> =A0 =A0 =A0Villa-Lobos onto two staves. =A0As you point out, though, thi=
>s
> >> =A0 =A0 =A0incredibly wasteful use of paper is still the standard in aca=
>demic
> >> =A0 =A0 =A0circles.
> >>
> >> =A0 =A0--
> >>
> >> References
> >>
> >> =A0 =A01. mailto:[email protected]
> >> =A0 =A02. mailto:[email protected]
> >>
> >>
> >> To get on or off this list see list information at
> >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >
> >
> >
>
>
>
>--=20
>*******************************
>David van Ooijen
>[email protected]
>www.davidvanooijen.nl
>*******************************
