Weiss, S. L. - Fantasie

Audio and video recordings of the works of Sylvius Leopold Weiss.
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pogmoor
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Re: Weiss, S. L. - Fantasie

Post by pogmoor » Sun Aug 07, 2016 12:01 pm

This is an unmeasured prelude, originally written in baroque lute tablature (the original manuscript tablature version is written with no barlines). I haven't checked it in detail but I think the convention used in your copy is that accidentals apply only in the octave in which they appear.
Eric from GuitarLoot
Renaissance and Baroque freak; classical guitars by Paul Fischer (1995) and Lester Backshall (2008)
Yamaha SLG 130NW silent classical guitar (2014), Ramirez Guitarra del Tiempo (2017)

Rylan
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Re: Weiss, S. L. - Fantasie

Post by Rylan » Mon Aug 08, 2016 4:25 am

Thanks pogmoor,


Is there anything concrete as a rule to hold onto pogmoor, as I want to be sure and the copy I have is from trinity publications and even when I searched the same piece on the internet I got an excerpt from this piece showing the music written the same way.

Rylan
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Re: Weiss, S. L. - Fantasie

Post by Rylan » Mon Aug 08, 2016 4:32 am

Pogmoor,
Occasionally we do find mistakes in trinity college books so just to be sure I cross verified it with a version on the internet.

clivepics
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Re: Weiss, S. L. - Fantasie

Post by clivepics » Tue Aug 09, 2016 9:53 am

Brilliant! I am working on this piece and am gradually getting there. Loved your interpretation.

Rylan
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Re: Weiss, S. L. - Fantasie

Post by Rylan » Tue Aug 16, 2016 9:21 am

Guys is there anyone to help me out?
It would be appreciated!

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attila57
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Re: Weiss, S. L. - Fantasie

Post by attila57 » Mon Sep 05, 2016 9:43 pm

:contrat:
Last edited by attila57 on Mon Sep 05, 2016 9:48 pm, edited 2 times in total.
Music to hear, why hear'st thou music sadly?
Sweets with sweets war not, joy delights in joy...

William Shakespeare, Sonnet 8

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Re: Weiss, S. L. - Fantasie

Post by attila57 » Mon Sep 05, 2016 9:45 pm

Rylan wrote:I overviewed the whole portion once again and understand that if any note is made sharped then the sharped note must be made specifically natural by putting a natural sign if it's required to be played natural again in the music anywhere further. But this is the only place in the picture I still didn't understand as to why he's playing as a g note at point 2 whereas in the previous line he's played g#. Here there's no natural sign to bring it back to be played natural.

Help would be really appreciated..

Thanks.
I'm a little bit into that piece right now and I believe there is some general disagreement concerning what to play at point No.1. First of all, the original lute version is c minor, not d minor. In the original c minor version at point 1 there's a f natural, but often fis is played instead. Likewise, in the d minor version gis is played instead of g natural. Point 2 is not marked in any manner in the original lute version, so, if f is considered correct at point 1, naturally f should be played at point 2, too. Then the question goes back to why fis is played instead of f at point 1. I have yet to look into that, but I think it goes back to the interpretation of the previous broken chord succession. Some chords can be considered in different ways, and fis might suit better into a particular succession. Some might like to stick to the original f. Presently, I'm working on a 7-string and a 10-string version, that's why I dare to say something about this issue, but I might be wrong.

Attila
Music to hear, why hear'st thou music sadly?
Sweets with sweets war not, joy delights in joy...

William Shakespeare, Sonnet 8

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Re: Weiss, S. L. - Fantasie

Post by attila57 » Mon Sep 12, 2016 5:21 pm

Rylan wrote:Guys is there anyone to help me out?
It would be appreciated!
Hello Rylan,
That's me once again. I think you'd better check the original tabulature version, that'll give you an unambiguous answer.
Music to hear, why hear'st thou music sadly?
Sweets with sweets war not, joy delights in joy...

William Shakespeare, Sonnet 8

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pogmoor
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Re: Weiss, S. L. - Fantasie

Post by pogmoor » Mon Sep 12, 2016 8:20 pm

Rylan wrote:Guys is there anyone to help me out?
It would be appreciated!
A facsimile of the original manuscript is here: viewtopic.php?f=75&t=48667 together with M. Delcamp's transcription (into E minor). M Delcamp has carefully transcribed the MS source into staff station and his version shows an A sharp at the first point and an A (without an accidental) at the second, corresponding with the G sharp and G in the Trinity College transcription that you have illustrated. Look at the facsimile (and it needs a bit of focus to sort this out) bearing in mind that the baroque lute is tuned: f' d' a' f d A G F E D C B A (with adjustments of the bottom courses depending on key - in this case ninth course is tuned to E flat rather than E, and the lowest two courses are not used). If you do this you will see that the corresponding notes would be transcribed as F sharp and F (corresponding to the key of C minor). This shows you that the G sharp followed by G natural interpretation is correct.
Eric from GuitarLoot
Renaissance and Baroque freak; classical guitars by Paul Fischer (1995) and Lester Backshall (2008)
Yamaha SLG 130NW silent classical guitar (2014), Ramirez Guitarra del Tiempo (2017)

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