I liked your description of Matthew Holmes' use of the sharp sign.
I have spent some time lately with Dd.9.33 and Holmes has written a lot
of notes on lines instead of between the lines. In almost all of the
places the note is on the line below the space it belongs in, so
perhaps there are places in the this piece where questionable notes
might belong a course up.
I will take a look those the places you have marked. The one "mistake"
that I always correct when I play the piece is in measure 24. The 4th
note (d) seems to me better as a (c) so that it matches the figures of
similar 3 notes groups in that area.
Nancy
Thanks, Nancy. I've looked again at my copy of the MS and mostly
it's pretty clear, but damp damage at the tops of pages has obscured
a few things:
bar 1, events 2-4: top part
bar 56: middle of bar, but the logic is clear here
bar 59: most of bar, but the rhythm signs are all just about
legible, also events 1-3, 7-9 and 10-12
The other thing I noticed is that the # sign occurs three times,
each time written in the middle of the stave (not next to a note):
bar 1 (before first chord)
bar 23, event 7
bar 38, event 1
I doubt that these are intended as signs for graces. Holmes seems to
have used the # to cross out a copying mistake or indicate the
location of such a mistake, to indicate a grace, or for no
discernable reason at all! Looking through Dd.2.11 and Dd.5.78, it
is quite rare, and quite often occurs just two or three times in the
course of a piece, and then at places where a grace is impossible or
seems unlikely. But just occasionally, it occurs about 20 times on
one page (see the first page of Lachrimae in Dd.5.78) and in
sensible places - then it seems it is being used to indicate
graces. So I think we have to be very circumspect in interpreting
this sign.
Best wishes,
Martin
On 16/10/2010 19:05, Nancy Carlin wrote:
Thank you, thank you for this piece. I have been fascinated with
it for
quite a while and about a year ago asked the list if anyone knew
where
to find it. Ron Andrico got back to me with a link to the music,
which
he has on his web site. So now what is really interesting is the
differences that Ron and Martin have in their versions of the
piece. I
am eagerly waiting for Dd.2.11 to be available so I can get a
real copy
of it to replace the fuzzy old microfilm I have, but assume at
least
some of the different notes come from guessing what is written
at the
top of the pages where it looks like there is mildew damage.
The
biggest difference between the 2 versions is measure 31, which
was
probably unreadable. The other differences are mostly from
places where
Holmes wrote notes on the lines instead of in the spaces and Ron
and
Martin chose a line above or below each other.
About those ornaments - Martin wrote THE article on ornament in
the
1996 The Lute "The Interpretation of Sings for Graces in English
Lute
Music," pp37-84. You can easily buy a copy of it from the Lute
Society
(UK)'s web site.
It's also interesting that Martin has named it "Dump" rather
than
"Ground." It looks like it's loosely built on a 6 measure chord
progression to me, and some of the Dumps have shorter, sometimes
only 2
chord grounds. If you want to look at other lute grounds
there is
one on with web site
[1][1] www.groundsanddivisions.info
from the Euing manuscript, and there is one very strange one for
bandora that I transcribed for lute in my article on bandora
music.
That one is 2 variations on 2 different chord progressions stuck
together and I am beginning to think it might be a bass part
from an
ensemble piece.
Nancy
At 08:34 AM 10/16/2010, Martin Shepherd wrote:
With apologies for the long gap in this series, a new piece
of the
month has finally escaped from my music room, played on a new
lute
after Maler (67cm) strung entirely in gut.
[2]http://www.luteshop.co.uk/month/pieceofthemonth.htm
You'll want to play this piece (you'll probably also want to
play
the lute, but sorry it belongs to somebody else!).
Best wishes,
Martin
To get on or off this list see list information at
[3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Nancy Carlin Associates
P.O. Box 6499
Concord, CA 94524 USA
phone 925/686-5800 fax 925/680-2582
web sites - [4]www.nancycarlinassociates.com
[5]www.groundsanddivisions.info
Representing:
FROM WALES - Crasdant& Carreg Lafar, FROM ENGLAND - Jez Lowe&
Jez
Lowe& The Bad Pennies, and now representing EARLY MUSIC - The
Venere
Lute Quartet, The Good Pennyworths& Morrongiello& Young
Administrator THE LUTE SOCIETY OF AMERICA
web site - [6]http://LuteSocietyofAmerica.org
--
References
1. [2]http://www.groundsanddivisions.info/
2. [3]http://www.luteshop.co.uk/month/pieceofthemonth.htm
3. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
4. [5]http://www.nancycarlinassociates.com/
5. [6]http://www.groundsanddivisions.info/
6. [7]http://lutesocietyofamerica.org/
Nancy Carlin Associates
P.O. Box 6499
Concord, CA 94524 USA
phone 925/686-5800 fax 925/680-2582
web sites - [8]www.nancycarlinassociates.com
[9]www.groundsanddivisions.info
Representing:
FROM WALES - Crasdant & Carreg Lafar, FROM ENGLAND - Jez Lowe & Jez
Lowe & The Bad Pennies, and now representing EARLY MUSIC - The Venere
Lute Quartet, The Good Pennyworths & Morrongiello & Young
Administrator THE LUTE SOCIETY OF AMERICA
web site - [10]http://LuteSocietyofAmerica.org
--
References
1. http://www.groundsanddivisions.info/
2. http://www.groundsanddivisions.info/
3. http://www.luteshop.co.uk/month/pieceofthemonth.htm
4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
5. http://www.nancycarlinassociates.com/
6. http://www.groundsanddivisions.info/
7. http://lutesocietyofamerica.org/
8. http://www.nancycarlinassociates.com/
9. http://www.groundsanddivisions.info/
10. http://lutesocietyofamerica.org/
