It puts ink on the fingers, as well as the page.Įarly Music Studio has a Facebook page which covers our performing activities, with photos of the music being played in the real world, and you’ll find me there too. It gives the works a personal stamp and is a pleasure to produce and read. Lately I’ve felt that hand-copying is more in line with the traditions of the music, much of it in manuscript. Once again, things have been changed to suit the player, not simply copied from sources. The most recent additions have been hand-copy editions of music by de Visée, Dufaut and Frescobaldi (a new transcription in Italian tablatue and tuning). There is no historical precedent for this attitude it is our own failing, a remnant of the nineteenth Century. In my teaching life, I have found that students have an almost pathological fear of altering the written, and especially the printed, note. It is my aim to make this situation better, and to encourage others to do so. Many facsimiles suffer from poor editing at the source, a fact of life in early music. You’ll find a little essay about this in flowery language in the foreword to Bouquet of Elizabethan Ballad Tunes, which details the approach I feel is more revealing and rewarding for the player and listener than that found in most academic editions.
I make changes to the actual text without footnotes or other clutter. There is not much point in being a slave to the score. It is my intention to make the music as idiomatic as possible. I change things to make them clearer in performance, including such things as note placement, transposition of bass lines, doubling, fingering and leaving out reiterated notes and other things. The phrase “edited for performance” denotes certain conventions: it has not simply been re-intabulated or transcribed directly. These tablatures include interesting and little-known music or media: the new volume of Czech lute music (Dix, Jelinek, Kohut), a collated suite by Johann Anton Logy, and Six Sonatas paraphrased for the six-course guitar (playable on the modern classical guitar) in modern guitar tablature, with music by Soler, Rodriguez, Mateo Albeniz and Scarlatti’s K.
The Vihuela: History and Style – Part Two.The Vihuela: History and Style – Part One.Bach’s Lute Suites: This Myth is Busted – Part I & Part II.
See my exegisis about the historical development of the attribution of Bach’s “lute music” (and other things) here:Ĭlassical Guitar Canada: A collection of contributed guest posts by Clive Titmuss Note that I have added a transcription for the lute of a transcription by Bach of an oboe concerto by Alesandro Marcello, made as a gift to a friend. BWV 995 (Pieces pour la Luth) and 1010 (cello suite in C minor) each have their own lute versions, which differ substantially. They cover the thin-textured keyboard music which Bach wrote for a keyboard, (BWV 996-9), the complete Cello Suites (BWV 1007-12), and transcriptions of the complete solo violin works, (BWV 1000/1001- to1006/1006a). The Big Bach Lutebook, BWV 995-1012, contains all of the three volumes of the individual Bach Lutebooks. It is either computer typeset using Fronimo, or hand-copied in a tablature form which is diplomatic to the period.
#Confessions part ii guitar tabs free
Here is my collection free of lute and guitar tablatures, which other than the facsimiles, has been edited for performance.
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