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Lute: Tablatures and Transcriptions
A polyphonic (interpretative) transcription of the tablature:
The most important problem in modern transcription of tablature is that of choosing between nonpolyphonic and polyphonic (interpretative) transcription.
Although in tablature the performer is provided with rhythmic symbols, the required duration of individual pitches is generally not shown. Therefore, voice leading in polyphonic works is not clear. This peculiarity, characteristic of lute notation, has led to nonpolyphonic transcription in many editions. Since tablatures do not indicate the required length of the notes, but only the time when a new note or chord has to be plucked, a reconstruction of the contrapuntal picture of the score, and its logic, is the performer’s, or editor’s, chief responsibility.
The speed at which the sound of the lute dissipates is not significantly faster than that of the average harpsichord. This reason, if no other, calls for the so-called polyphonic method of transcription, which has to be the result of a comprehensive and deep analysis of the composition.
My transcription is not an equivalent of the original text, but a polyphonic reconstruction of the raw musical material found in the tablature. I have not tried to mechanically transcribe the tablature but, rather, to render the real sound of the polyphonic structure, as sounded on the lute. I hope that this edition of CLT will be of interest to musicologists and modern performers.
A modern, double-staved transcription is found below the tablature. G-tuning is used throughout.
In some countries (France, Germany), the rhythm was indicated in the tablature by a system where the rhythmic units are reduced a quarter in comparison to the vocal system. Following this principle, note values are reduced in the present transcription: a semibreve in the tablature is translated as a quarter note in the transcription. This reduction facilitates reading of the transcription making the score more convenient for modern musicians and musicologists. It makes the notation of articulation and rhythmic figures more clear. Original barring is revised in the transcription in accordance with a modern concept of meter.
The edition of each piece is presented in the following order:
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upper staff:
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- the corrected tablature
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middle double staff:
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- the polyphonic (interpretative) transcription
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bottom double staff:
(only for the intabulations)
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- the reduced score of the vocal model
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All obvious errors of the tablature that have been corrected, are enumerated in the footnotes, and the original versions are shown. Addition of letters or numbers to the original text is placed in square brackets and restored time marks are enumerated in the footnotes. In cases where bar lines have been regularized, the position of the original bar line is shown by an asterisk (*), and that of the editor’s bar line by two asterisks (**), below the tablature.
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Leuer est Bon
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Model:
chanson Le cueur est bon et le vouloir aussi attributed to Claudin [Claude] de Sermisy (b. c.1490; d. Paris, 13 Oct. 1562). French composer. Text by ? First publication: in index of Premier livre contenant XXXI chansons…- Paris, P.Attaingnant, febr. 1535, fol.31v (RISM 15362, no ?) which lacks music, Le cueur est bon attributed to Sermisy. In other sources (RISM 15283, Chansons nouvelles en musique, à quatre parties…- Paris, P.Attaingnant, 4 apr. 1527, fol.29v-30; 15288, 15312) possibly the same chanson anonymous. Modern edition in Claudin de Sermisy, Opera Omnia, edited by Isabelle Cazeaux Vol.IV: Chansons (American Institute of Musicology, 1974), pp.3-5.
Lute intabulation:
1. Phalèse (BrownI 15453, no 24; 15477, no 15).
Notes:
Intabulations of the chanson in Pierre Phalèse, Des Chansons reduictz en Tabulature de Lut à deux, trois, et quatre parties. Livre premier (Louvain, 1545), pp.26-27 and in CLT are identical.
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Tarzeto (A triple dance (Saltarello, Galliarde))
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Lute concordances:
1. Bianchini (BrownI 15465, no 24 [no 22 in BrownI 15465]).
2. D Mbs 1511b (MeyerS-II: 1550, no18, 47) La torza, El ballo de la torza;
3. D Mbs 1512 (MeyerS-II: 1550, no 18) la torca;
4. Naples 7664 (CoelhoM: 1607- 1623, no 2, 60) Ballo della torcia/torza.
5. British Museum, Royal Appendix 59-62 (no 10) Torza. (See Oscar Chilesotti, "La rocca e’l fuso", "Rivista musicale Italiana", XIX (1912), 363-379.)
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Praambulum
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