On 15.01.2017 16:45, Ron Andrico wrote:
Rainer, it's simply a difference in the application of an accidental, which
most likely is a copyist's error - or a copyist's insipid choice, if he or she
was unschooled in the proper horizontal tracking of parts. It's a grave
mistake to think of lute tablatures as the embodiment of the composer's
intention, and many silly mistakes can be fixed simply by thinking in
horizontal parts, as our 16th-century antecedents would have done, rather than
our modern concept of vertical harmonies.
By the way, I also believe that the rhythm in bar 4 has to be changed:
|\ |\ |\ |\ |\
|\ |\ |\ | |\
|. |\ | | |
_c_______a__________
|_a_______a___e___a__||
|_____d___b___a______||
|_b_______c__________||
|_____________c______||
|____________________||
Otherwise it doesn't match the upbeat before bar 1 (in case you repeat the
strain) and I think the second strain needs a quarter note upbeat as well.
I know that many people hesitate to change anything in such cases.
However, don't forget, this was not copied by Dowland.
Unfortunately no other copy/version of the piece has survived.
Rainer
RA
________________________________
From: [email protected] <[email protected]> on behalf of Matthew
Daillie <[email protected]>
Sent: Sunday, January 15, 2017 2:20 PM
To: Rainer; Lute net
Subject: [LUTE] Re: Mrs White's nothing
Dear Rainer,
It doesn't sound awfully wrong to me. Furthermore, if you play just the
bass line you will see that the voice moves in exactly the same fashion
in bars 5 and 6.
Best,
Matthew
On 15/01/2017 14:00, Rainer wrote:
Dear lute netters,
please note that the tablature snippets in this mail may look very
strange if you do not use a fixed font or - much worse - your mail
client wraps after 80 bytes.
I am currently playing through the music supplement 100 (English Lute
Society) and noticed some thing I had not noticed before.
CLM 56 appears as
|\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\
|\ |\ |\ |\ |\ |\
|\ |\ |\ |\ |\ |\ |\ |\ |\ |\ | |\ |\ |\ |\ |\
|\ |\ |\ |\ |\ |
| |. |\ | |. |\ | |. |\ | |. |. |\ | |. |\
| |. |\ | | |
_d__ _c_______a___________a__ _f_______d___c__
_d___c___a___h___f___d__ _c_______a__________
_a__|_a_______a___e_______a__|_c___e___a___a__|_a___________d__________|_a_______a___e___a__|
____|_____d___b___a__________|________________|________________________|_____d___b___a______|
_c__|_b_______c___________c__|_e___________b__|_____________f__________|_a_______c__________|
____|_____________c___a______|_____________c__|________________________|_____________c______|
____|_____________________d__|_c_______a______|_a___________d__________|____________________|
in the Poulton edition (1974) and in John's version in the supplement.
I think it must be changed to (bar 4)
|\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\
|\ |\ |\ |\ |\ |\
|\ |\ |\ |\ |\ |\ |\ |\ |\ |\ | |\ |\ |\ |\ |\
|\ |\ |\ |\ |\ |
| |. |\ | |. |\ | |. |\ | |. |. |\ | |. |\
| |. |\ | | |
_d__ _c_______a___________a__ _f_______d___c__
_d___c___a___h___f___d__ _c_______a__________
_a__|_a_______a___e_______a__|_c___e___a___a__|_a___________d__________|_a_______a___e___a__|
____|_____d___b___a__________|________________|________________________|_____d___b___a______|
_c__|_b_______c___________c__|_e___________b__|_____________f__________|_b_______c__________|
____|_____________c___a______|_____________c__|________________________|_____________c______|
____|_____________________d__|_c_______a______|_a___________d__________|____________________|
1) It sounds awfully wrong
2) Dowland did not write such harmonies - Cutting did :)
3) compare bar 2
What do you think?
Rainer
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