The technique is also found in Johann Christian Beyer's "Herrn
Professor Gellerts Oden, Lieder und Fabeln...", published by Breitkopf
in Leipzig in 1760. There is a table of "Zeichen und Manieren" in which
there are two symbols for "Gebrochner Bass". One looks like an upright
percent sign, very much like the arpeggio symbol used by Kapsperger, et
al. The other is an inverted fermata. This page, by the way, is almost
identical to the handwritten Nurnberg table often credited to
Falckenhagen, although that one lacks the broken bass symbol.
The upside down fermata version is used consistently in the Liura
movement of the Durant A Minor solo. In context, the "fermata" is more
like a tie with a dot in the middle. Even lacking the Beyer source to
confirm the symbol's meaning, it is obvious that the strings of bass
courses are meant to be played individually. Here, the cipher is used
in a repeated figure involving an octave leap. In places where this is
not so feasible, Durant writes an octave jump to notes on the the
fingerboard in the tab.
I haven't run across it anywhere else. I'll confess, I haven't had the
patience to examine the Beyer, so I don't know if he uses it himself.
Chris
[1]Sent from Yahoo Mail for iPhone
At May 13, 2015, 10:44:44 AM, Monica Hall<'[email protected]'>
wrote:
As far as I know there are only two sources which actually indicate in
the
music/tablature that one
or other string only of an octave strung course should be played.
These are Mouton - Pieces de lute (1699) who indicates that first the
bass
string and then the treble of the 6th course should be played using a
standard letter for the bass note and a smaller letter for the
treble note. If you have a copy of my booklet on stringing there is an
example on p.32 which I can't reproduce here.
The other source is Corrette - Les dons d'Apollon ( ca. 1760) who says
in
his introduction..
"p.18 Les P que j'ai mis au dessus des LA et des RE aux pages 23, 25,
26,
28, enseignent que ses notes se pincent legerm.t du pouce sur les
petites
cordes du 5e et 4e rang. Les bons Maitres se servent de cette maniere
dans
les pieces pour laisser plus de liberte aux 2e et 3e doight de la main
droite.
The Ps which I have placed above the As and the Ds on pages 23, 25, 26,
28
show that these notes are to be played lightly with the thumb on the
thinner
strings of the fifth and fourth courses. The best players use this
method
in some pieces in order to leave the second and third fingers of the
right
hand freer."
His music is in staff notation and he does indeed put a P over the
notes to
be played only on the thin treble string of the course - which is
placed on
the thumb side.
No-one else mentions this practice or notates in any way as far as I
know.
Monica
----- Original Message -----
From: "Martyn Hodgson" <[2][email protected]>
To: "G. C." <[3][email protected]>; "Lex van Sante"
<[4][email protected]>
Cc: "lute mailing list list" <[5][email protected]>
Sent: Wednesday, May 13, 2015 4:13 PM
Subject: [LUTE] Re: Vihuela Stringing
> Do we know whether the 'split-course technique' as it is sometimes
> termed nowadays was a notation to indicate that only one particular
> string of an octave course was actually to be employed, or whether it
> was pedantic intabulation to indicate in which octave the
> composer/arranger wished to show the strict counterpoint
theoretically
> fell? Or perhaps some other indication.......
> Grateful for a source.
> MH
> __________________________________________________________________
>
> From: G. C. <[6][email protected]>
> To: Lex van Sante <[7][email protected]>
> Cc: lute mailing list list <[8][email protected]>
> Sent: Wednesday, 13 May 2015, 14:43
> Subject: [LUTE] Re: Vihuela Stringing
> Bakfarks use of split-course technique in the Krakow lute book:
> 1. Jesu nomen sanctissimum. Secunda pars: Sit nomen domini, measure 9
> 2. Circumdederunt me, measure 25, measure 56
> 3. Secunda pars: Quoniam tribulatio, measure 15
> 4. Qui habitat in adjutorio, measure 59
> 5. Secunda pars: Non accedar, measure 27
> G.
> On Tue, May 12, 2015 at 7:47 PM, Lex van Sante
> <[1][1][9][email protected]>
> wrote:
> Of course I did not mean the fourth but the third course, sorry for
> the confusion. So Capirola as far as I know did not employ split
> octave courses.
> Where does Fuenllana mention splitting the courses? I have not
> found
> any reference. As I have no complete edition of Bakfark where does
> he use this technique?
> Can anyone inform?
> --
> References
> 1. mailto:[2][10][email protected]
> To get on or off this list see list information at
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>
> --
>
> References
>
> 1. mailto:[12][email protected]
> 2. mailto:[13][email protected]
> 3. [14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
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