Hi Rainer and Ron,
I suspect that you are right Rainer in wanting to change the letter 'C'
to the letter 'E' on the 5th course in bar 52, producing an E note in
the bass rather than a D. The indication of the 3rd finger to play the
note still remains problematic as it is not very practical to hold the
bass whilst playing 'a' on the first string with the 2nd finger (first
beat of the following bar). To my ear the passage in bars 35-36 sounds
just fine as it is.
I do not understand Ron's comments about a d-minor harmony and a
suspended 'g'. I see no f to constitute the minor third and resolve the
suspension. Furthermore, I think that we should still be looking at
voice leading in this music and not just reasoning in terms of modern
harmonies.
Another question Ron: why do you qualify Vallet's left-hand fingering
indications as 'irritating'? On the contrary, I consider them to
constitute precious information about how the music might have been
played (and can even give an indication of the qualities of the
instruments lutenists were playing at the time). Left and right-hand
fingering indications are regrettably few and far between. I have
notably found those of Robinson, Vallet and Mouton to be wonderfully
informative, along with others to be found in the Barbe and Saizenay
manuscripts.
Best,
Matthew
On 19/02/2017 19:52, Ron Andrico wrote:
Hello Rainer:
Since no one else seems to have responded to your observation, I'll add
my two cents. I suspect you were anticipating a response from me
anyway, as I'm sure you are the only person to recall that I published
my transcription of this same courante from _Le secret de Muses_ in LSA
Quarterly, Volume XXXVI, 2001, page 12, absent the irritating left-hand
fingering indications.
But editors of lute music have not a chance of evading the sharp eye of
Rainer. You may very well be correct in your observation as to the
more appropriate first inversion "C" harmony on the third beat of the
measure in question, particularly considering the positively wrong
left-hand fingering figure. But your cross-reference to the previous
use of this first inversion harmony in measure 36 (CNRS) offers a
debatable example. I might even suggest that the event in measure 36
(CNRS) may just as likely be the mistake, since the note in question
appears in the alto register rather than the bass, indicating a much
less definitive harmonic color. Souris, the CNRS editor, properly
indicates the anticipatory "D" in the bass as a tied note that sets up
the harmonic event in the next measure. The "E" in the bass sounds a
bit trite to my ear, and I rather like the anticipatory d-minor harmony
with the suspended "g" in the treble.
As I said, my two cents regarding a small detail.
RA
__________________________________________________________________
From: [email protected] <[email protected]> on behalf
of Rainer <[email protected]>
Sent: Friday, February 17, 2017 12:24 PM
To: Lute net
Subject: [LUTE] A strange evidence for a wrong note
Dear lute netters,
owners of Le Secret des Muses (facsimile, digital facsimile or the old
CNRS edition) may not have noticed:
In the Courante on page 66 (or No. 54, page 144 in the CNRS edition) I
noticed a suspicious note in bar 52
(in the original it is stave 5, bar 6)
|\ |\ |\
| |\ |
|. |\ |
_d___c___d___a__
|_a______________|
|________________|
|_c______________|
|_____________c__|
|________________|
The c on the 5th course sounds wrong.
The corresponding bar 36
|\ |\ |\
| |\ |
|. | |
_d___c___a__
|_a_______c__|
|____________|
|_c__________|
|_________ __|
|____________|
suggests an e instead of the c.
However, divisions in early Baroque Courantes do not always stick to
the original strain.
Then I noticed that the left hand fingering for the c is a "3" - which
is nonsense but makes perfect sense for an e.
Rainer
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