I personally disagree with changing the rhythm in that bar. It is
perfectly fine to my ear. There is a danger in over-correcting: it can
take away the original flavor of the piece. If it can fly, let it fly.
If it cannot fly, try to make it fly.
In any case, wrong notes should always be accented, otherwise they sound
like mistakes.
On 01/15/2017 08:55 AM, Rainer wrote:
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 misIn any case, wrong notes should always be
acccented, otake 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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