It may be that the Scotch is too good. Hey, I didn't invent the Liuto Forte, but there is one for sale on Wayne's list. dt
>The what? the who? > >Somebody needs to find you some better scotch. > > >On Nov 30, 2010, at 6:32 PM, David Tayler wrote: > >And don't play you Ogni Sorte on you Liuto Forte! >dt > >At 06:25 PM 11/30/2010, you wrote: > >>If the van Ghizeghem's rockin' don't come Tandernaken! >> >> >>On Nov 30, 2010, at 5:56 PM, David Tayler wrote: >> >> >>> >>>Snip >>>I am minded of the editions of Ogni Sorte, not only are they >>>presented in >>>original notation and parts as well as score, but also the editions >>>focus >>>on specific themes, eg, De tous biens plains, all 28 known versions >>>by all >>>composers. (See _De tous Biens Plaine_, Cynthia J Cyrus, A-R >>>Editions). >>Snip >> >>Ogni Sorte are great editions, but they aren't facsimiles. >>Tandernacken is my fave. Venus Bant, Fortuna also great. >> >>>Snip >>>>So here is the question, should we "correct" the works of Josquin? >>>>Because some of those notes are longer in one part. Maybe add a >>>>rest >>>>at the beginning? >>> >>>I would first look to printed editions such as Odhecaton and see how >>>it >>>was handled there; but recall that often an incipit maxima rest >>>shows the >>>mood and may be better considered part of the time signature. >>>Further, >>>never forget that printed editions relied heavily on the musical >>>skills of >>>the compositor(s); persons whose skill was challenged with every >>>piece of >>>backwards-facing type they placed in the rack. >>Snip >> >>I picked a piece, Mille Regretz, that doesn't start on a rest, but is >>emblematic of the thousands of imitative pieces that start on a long >>note and are imitated further on in the piece by a short note. >>Looking at Odhecaton won't help here, at least in any way that I can >>see, but maybe I'm missing your idea here. >>No editor would shorten that first note (Mille Regretz). The point >>is, there is no rule, stylistically, contrapuntally, or otherwise to >>"regularize" imitation on the first note, unless Josquin, Isaac and >>everyone else is writing bad counterpoint. >>Reconciling the different sources is a separate matter. >>Even the lute and vihuela versions of Mille Regretz start on a long >>note; it is a standard way of starting a piece. >> >>I'm basically saying, Francesco is like Josquin. And, like most >>things, the sources differ. >>dt >> >> >> >>To get on or off this list see list information at >>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >
