
Martin Zimny: Introduction to Tablature for Early Music (Feb 22nd) Questions / Suggestions
Hey guys, in order to get you up and running for our Variation Challenge on Santiago de Murcia's "Marizápalos", we will take a closer look at all kinds of historical tablatures, decipher how to read them and what we can learn from them from a performer's point of view! We'll go full Indiana Jones on some Milan, it'll be awesome!
Find the start time in your time zone by clicking the photo or following this event link:
https://app.tonebase.co/guitar/live/player/martin-zimny-introduction-to-tablature
We are going to be using this thread to gather suggestions and questions!
- What questions do you have on this topic?
- Any particular area you would like me to focus on?
Forum questions will be answered first!
Today we will dive into the mysteries of early music notation! In preparation for the Variation Challenge with Santiago de Murcia's "Marizápalos", we will take a closer look into different kinds of tablature! What do the letters mean in French Tablature, what's up with the dots in Spanish Tablature and what is wrong with German Tablature? We will dive briefly into music by Weiss, Milan, Dowland and Neusidler and look at the pros and cons of different notation forms!
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I would say there's a reason it's not often (ever?) played by classical guitarists - and that is because music for the baroque guitar does not translate very well to the modern instrument. Music for the six-course renaissance lute (and also the vihuela) is far better suited to today's guitar. That, I think, is why you will often see Dowland or Francesco included in the programs of contemporary concert guitarists, but rarely Sanz or Murcia. (And Bartolotti or Granata almost never!)