while another voice moves on. =20
Vance Wood.
- Original Message -=20
From: [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Saturday, August 07, 2004 3:33 PM
Subject: Re: Imitations
Thanks for your reply, Vance. For from thinking I am too ignorant to =
cope with normal notation, my
Hi,
I´ve read this as well as the ricercar thread, after a while abroad, and as I see it,
lute tablature, notated in your own favourite way, (there are many...) is the most
logical way to play a chordophone.
What has not been mentioned is the need to keep the fingering as long as you possibly
Hi Richard:
Essentially that is true if not a bit broad brushed. With tablature you are
given the exact intent of where particular notes are played etc. Without
the staff notation or mensural notation your understanding of the music is
based mostly on your ability put together the mechanics.
and =
uneducated musicians who are unable or too lazy to learn staff notation =
or read regular music as we understand it today.
Vance Wood.
- Original Message -=20
From: [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Saturday, August 07, 2004 8:13 AM
Subject: Re: Imitations
Very well said!
Best wishes
Thomas
Am Die, 2004-07-27 um 20.14 schrieb Denys Stephens:
Dear Tom,
The thing to do, as you have already noticed,
is to use your ears - in learning a new piece you
need to explore the way the voices work for you
and bring it out in your performance. We don't
Hi Richard:
As you gain proficiency with sight reading tablature and become more
acquainted with Milano's work you will start to recognize many of his
tendencies. It is a good thing to understand the voicing in his work
,obviously, because that is what Milano is all about. There is another
Hello, all!
Speaking of Francesco da Milano, does anyone know of a playable edition =
of his works? I have access to the Ness edition, but, given the numerous =
page turns, I find it impossible to play from it. I have thought about =
retyping every piece into Fronimo, but that would take a very
-Original Message-
From: LGS-Europe [mailto:[EMAIL PROTECTED]
Sent: Wednesday, July 28, 2004 6:41 AM
To: [EMAIL PROTECTED]
Subject: Re: Imitations
Speaking of Francesco da Milano, does anyone know of a playable
edition = of his works?
The facsimile of many/most/all
Dear Tom,
The thing to do, as you have already noticed,
is to use your ears - in learning a new piece you
need to explore the way the voices work for you
and bring it out in your performance. We don't have
Francesco's works in mensural notation except in modern
editions - which are an editor's
RichardTomBeck wrote:
I'm playing some pieces by Francesco da Milano, which are technically not too
demanding. The problem I find is in recognising all the imitations in the
various voices. In staff notation these would be obvious, but I find myself
initially going plink-plonk-plonk-plink till my
Tom (et al)--
Ed's suggestion of following a voice as far as you can is a good one. For
practice, get hold of someting simple like Valderrano's duos, where the two voices
are quite apparent. To help keep those voices in mind as you play, you could try
using different colored highlighters
Hello, all!
Speaking of Francesco da Milano, does anyone know of a playable edition =
of his works? I have access to the Ness edition, but, given the numerous =
page turns, I find it impossible to play from it. I have thought about =
retyping every piece into Fronimo, but that would take a very
Dear Stephen,
I remember being driven to distraction by all those page turns too. That
one and the CNRS N. Vallet (the facsimile has only a few page
turns--hooray). Yes, the piano reduction is a help for some and often gives
some good suggestions from the editor for voicing and those
Write it out in staff notation is an obvious answer. If not to play from,
then at least to study the counterpoint from. It's a bother, but worth while
the effort if you're confused. I often encounter places I'm not sure about,
that have more than one solution or that I'd have never recognised just
Speaking of Francesco da Milano, does anyone know of a playable edition =
of his works?
The facsimile of many/most/all? of the books are available (I have some
Minkoff and Arnaldo Forni here).
David
The pieces by FdM I'm playing are Fantasias 31, 32, 41, 81 and Ricercars 4,=
=20
67.
So those are Ness numbers?
I just couldn't believe the music would actually be so barren and aimless,=20
but only after a while did it occur to me that there might be more to it tha=
n=20
that.
FdaM is one of
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