Tutorial: intabulating vocal music into keyboard notation
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- Опубліковано 1 жов 2024
- For the footnotes and other extra information see the following link:
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Created by Elam Rotem, March 2023.
Special thanks to Augusta Campagne, Anne Smith, and Ian Pritchard.
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I also enjoy the fact that you name the books from which you derive knowledge
Good Lord, who does these animations?? The imploding of the unison canon, then the 3d view 🤯
Super episode! Be great to have a follow-up for the challenges of intabulation on the Lute.
Guten Morgen aus Deutschland 🇩🇪
Thank You. I needed this because I am presently preparing , Organ and Zink, Frescobaldi, Cima und Carlo G works for Ascention Services. Some of our Transkriptions are some what questionable. I will go at it now myself.
Thank you very much again for a scholarly but not pedantic presentation.
13:58 - this is lovely. I played this repeatedly because there are many beautiful parts in it
Ditto.
Moltissime grazie per il bellissimo studio!
Il passaggio dalla musica polifonica, fondamentalmente vocale, alla musica strumentale è uno dei momenti cruciali della cultura musicale occidentale. Le considerazioni ispirate di grandi artisti, come fra gli altri il Transilvano o Galilei, avranno sempre profondo fascino per chi vi si accosterà con sentimento. È questo che riconosco in voi ed è per questo, in primo luogo, che mi sento a voi grato!
How hard is to play left hand in 6, 7 or 8 lines system? I am soooo confused when watching. Good job and thanks for hard work preparing and learning everything to play ! thx for great content :)
This is not very far from modern piano reductions, especially of larger ensembles, where many notes need to be left out. Fascinating nonetheless!
I love your videos! Something that could be interesting to hear about is the history of articulation (the connection between language and music during the early period of music). Best regard
I love this channel..
Wonderful and helpful, it made me wonder about keyboard realizations for things that were more accompaniment - choral works and recitative in opera, would love to see videos based on sources for those. Thank you so much.
Such a beautiful episode. I loooove your work. Thank you very much!🥰
So a staff with more lines and two clefs is not impossible to read or write, in fact, it was historically recommended; thus the staff for modern guitar should be similarly expanded to fit the range of the guitar and eliminate ledger lines.
Excellent tutorial!!
Great video & intabulations
4:18 So wait, the underlined notes are actually supposed to be played at the same time? Man, I wonder how many renaissance Keyboardists damaged their instruments by bashing their heads against them when trying to read that.
🤭
I want a shirt with scowling, eye-rolling Zarlino. No text, no wagging finger, just his grumpy, utterly annoyed portrait. He’s my favorite recurring character on this channel ☺️
Another fantastic video, thank you. But at this point I have to beg: more lutes, please! How did the lute players adapt the fundamentals, tunings, cadences, sequences, RO, etc to their fretboards? Wasn't the lute the most common polyphonic instrument, especially in secular music? Didn't the singers adore the lutes? What on earth happened to the lute, too quiet, like the clavichord? I'm hearing some incredible young lute players from your alma mater...like I've never heard before, honestly.
Excellent, thank you! BTW is there a source « legitimising » the heavy rubato, notably of the diminutions, in harpsichord music of this kind?
AFAIK, there's no source from this era that would say that you don't do it. Rigid rhythms are a thing of much later times.
@@tomhejda6450 I have not come across any source before Caccini that would even discuss the option of uneven tempi or bizarre diminutions. That is not to say such sources don’t exist, of course. Do you know any?
Within the general term rubato, I like to include the goal of featuring arrivals and departures using rhythmic flexibility. Sometimes more, sometimes less...
Magnifique as always ❤
This channel is really about music🎉 thanks again ❤
Very interesting and enjoyable episode! Having only studied the basics of the history of musical notation, I love learning this level of detail about the origins of intabulation. Now back to learning Bizet, since I have Les pêcheurs de perles coming up soon.
The 3D note thing was amazing! Very informative video too. Thanks
Entertaining and highly didactic as always! I would be interested to hear once the Ottavino handed by Augusta Campagne @21:38. Presumably a copy from the one at the Victoria & Albert Museum ?
Oh, man! That eight-lined staff drove me crazy! (Well, to be honest, that was just a short walk.)
Very cool, i have been fighting my way through Fiori Musicali in the original notation (based on your recommendation in the video about partitura) and it has caused me to feel sufficiently snobbish to look down on this crass intabulation
Amazing! :)
Pro tip: You may want to de-ess your vocal tracks before mixing it in with the rest of the audio in future videos.
Very useful and clear, thanks!
I have faxes of these books: they are hard to play from as one needs to sight read from partitura and movable clefs.
Had problems adding Paypal and one of my credit cards to Patreon. Both in a loop.
A practical video from EMS? This is a special day, indeed!
How does Augusta voice her plectra?
Good morning from the USA
as a keyboardist, I really appreciate this one
A quick technical question: What software do you use for nonstandard staves like the ones with 8 lines and multiple clefs? Or is it all drawn by hand?
They use Finale, but I know that Musescore 4 and Lilypond can also handle >5 line staves.
@@merseyviking pretty sure you can do that in Musescore 3 too
Yeah!! New EMS video!!
Yoooooooooh
100k subs?
Congratulations!
Video molto bello ed esaustivo.❤.Grazie.
Thanks, excellent content and explanation.
Thank you for this!
Excellent video, and just what I happened to be looking for having been playing my way impractically through lots of open score vocal motets recently!
Has anyone noticed that the second Diruta example at the end (by Mortaro) is the very same subject as Bach's book II E major fugue (especially when you play the latter at baroque pitch)? It's not the first time I've stumbled across the subject elsewhere and perhaps shows why it's such a useful motivic resource and why Bach chose to write that fugue in Prima Pratica style. Though, interestingly, I never would have recognised it if I were shown just the intavolatura instead of the partitura also!
Regards from Bydgoszcz!
One little question: why didn't you make this C sharp? 20:45
harpsichord is tuned in 415hz, 1 semitone below
@@Kalvin_G There is a clear major third between this C and E in the previous bar
Enjoyed this immensely, and since Augusta is a personal friend, especially fun!
Grazie!
I'm doing this right now, let's see what mistakes I've made ;) very timely Elam! hehe
As always, your videos are jewels.