Can anyone point me at a reliable modern transcription of this chant? I
found a PDF in chant notation, but it has been too long since I had to
read chant notation to be certain I'm reading it correctly.
Thanks very much,
Robert
--
Robert Patterson
http://RobertGPatterson.com
At 04:07 PM 1/6/2007 -0600, Robert Patterson wrote:
Can anyone point me at a reliable modern transcription of this chant? I
found a PDF in chant notation, but it has been too long since I had to
read chant notation to be certain I'm reading it correctly.
HAM 120a, but it's only for the incipit
If you send me the pdf I could give a transcription a try.
Barbara
Robert Patterson wrote:
Can anyone point me at a reliable modern transcription of this chant? I
found a PDF in chant notation, but it has been too long since I had to
read chant notation to be certain I'm reading it correctly.
On 6 Jan 2007 at 16:07, Robert Patterson wrote:
Can anyone point me at a reliable modern transcription of this chant?
I found a PDF in chant notation, but it has been too long since I had
to read chant notation to be certain I'm reading it correctly.
What do you need besides pitch? I mean,
David W. Fenton wrote:
I just don't understand how anyone could have difficulties with
transcribing chant notation,
Correct transcription of the various neumes, perhaps? Interpretation of
different embellishments? (Yes, they exist in Gregorian chant, as do
microtonal notation.)
Ficta or embellishments are my concern. Also how to read ligatures,
although the particular example is quite simple. Also how to interpret
dashes and dots over/by tones. My exposure is mostly limited to one
medieval music survey course 25 years ago, so I don't have the
advantages of many on
I'm going to sleep now (it's 1.14 over here). More to (my) morrow.
Robert Patterson wrote:
Ficta or embellishments are my concern. Also how to read ligatures,
although the particular example is quite simple. Also how to interpret
dashes and dots over/by tones. My exposure is mostly limited to
At 4:07 PM -0600 1/6/07, Robert Patterson wrote:
Can anyone point me at a reliable modern transcription of this
chant? I found a PDF in chant notation, but it has been too long
since I had to read chant notation to be certain I'm reading it
correctly.
I'm afraid my Liber is in chant notation
On 6 Jan 2007 at 18:05, Robert Patterson wrote:
Ficta or embellishments are my concern.
There's no agreement on what those should be.
Also how to read ligatures,
Eh? What's complicated about it? I'm missing something here.
although the particular example is quite simple. Also how to
At 6:05 PM -0600 1/6/07, Robert Patterson wrote:
Ficta or embellishments are my concern.
Hi, Robert. Ficta should not be a factor in the chant, just in later
useages of the chant in polyphonic pieces, but even that use of ficta
is an artifact of the arrangement and not of the original
At 9:24 PM -0500 1/6/07, John Howell wrote:
The melody covers the entire soft hexachord, G to E, and does not exceed it.
Sorry. That should be the entire hard hexachord. David and Dennis
will know the difference! Mea culpa.
John
--
John Susie Howell
Virginia Tech Department of Music
On Jan 6, 2007, at 9:24 PM, John Howell wrote:
OK, I just realized that there's one obvious exception in chant,
the use of una nota super la semper est canendum fa (i.e., one
note that exceeds the upper range of the hexachord--la--and returns
to it is sung fa or lowered. This almost
David W. Fenton wrote:
But my bet, as I said above, is that you want one of the two versions
I mentioned above, tending towards the melody of Nun komm, der Heiden
Heiland.
Thanks for the further info. I should have followed some of those links
my self. I tend towards the Nun komm melody
13 matches
Mail list logo
