I have seen several arrangements and the most interesting is on page 65 of The Christopher Parkening Guitar Method Vol.1. I don't know if you would be able to find just that piece on its own. However, if you are a relative beginner like me, you might find the book useful. It covers a good range of technical stuff, and there is an appendix of lovely pieces to play.Bkellyjazz wrote:I am still wondering what are the two or three best arrangements for Greensleves. I love that tune mysklef audiences love to here it performed so I am looking for a good arrangement. Any sugestions would beappreciated.
You might try to find the composer John Duarte's version, published by Novello in a small set entitled "Three English Folksongs", the other two being "Blackbirds & Thrushes" and "Bushes & Briars".Bkellyjazz wrote:wondering what are the two or three best arrangements
Hi Mark - pardon my ignorance, but when you refer to a "dropped D" do you mean the E string tuned down a tone. That's a technique I used to great effect during all those years when I was playing a 4 string electric bass, and I would love to have a crack at that arrangement, however clumsy it might be at my stage of CG playing. I was interested to read your comment about VW (my favourite British composer (well along with Elgar, Britten, and Holst). Surely, he either heard Segovia play, or at least, was aware of his virtuosity. I am interested to read any comments you might have on that - did he despise the guitar, or was he just indifferent?Mark Clifton-Gaultier wrote:Bkellyjazz wrote: His arrangement (which in no way claims to be "authentic", whatever that means) uses a dropped D and takes advantage of the full range of the instrument, cleverly weaving the melody through instances of high and low registers. Stylistically, it's reminiscent of Vaughan Williams (if VW had cared tuppence for the guitar that is).
The F under discussion at the beginning of this thread is the penultimate note in the first complete bar (if it's barred in 6/8 rather than 3/4) which is an F on the first string. As I've said before the tablature version in the William Ballet lute book has the equivalent of an F natural here. The fourth string F# is sharp in all versions - I thinkSilverbach wrote:I have developed a mild obsession with learning to play this piece and the version I'm using is from the John Mills "The Student Repertoire". He states that it is the "bare bones" version "from William Ballet's Lute book". It's in 6/8 time and #F (on the 4th string) occurs in the 7th and 15th bar.
Malcolm - I don't know that VW had anything against the guitar - just indifference I suppose. Perhaps he was aware of Segovia, but even back then I think that the guitar was still something of a niche market in the UK. Over the years I've overheard many musicians discussing guitarists (whom we hold in high regard) with nothing more than amused disdain, even downright hilarity on occasion - Segovia amongst them.Mark Clifton-Gaultier wrote:did he despise the guitar, or was he just indifferent?
Yes.Malcolm wrote:do you mean the E string tuned down a tone?
Can you give the name of that LP please Prom Crit?Prominent Critic wrote:I have it on LP
Certainly, and I have now found a compilation CD of his work from the 1960s-80s which includes it. His arrangements of "Take Five" and "Norwegian Wood", both of which I transcribed from a worn out old cassette tape as a youth, also appear on this CD. It will be interesting to see how close I got back then.Prominent Critic wrote:some day you should try to hear Morel PLAY that arrangement
Strange how one's experiences of people are so subjective; I always found JD a very generous and kind fellow. I recently had a similar exchange regarding someone else (she shall remain nameless). I find her warm, helpful and generous to a fault whilst the rest of the world bandy around terms like "harpy" and "harridan". Very strange and, as you say, nothing at all to do with the matter at hand.Prominent Critic wrote:one of the coldest, nastiest people
I'll give you this one, pog. I am not sure which lute, fixed-fretted or movable-fretted, Ballet played. However, even-tempering did not come in until later, so I think we are talking about the same thing, regarding the "effect" or "mood". Their concept of intervals was different than ours. We can agree on that.pogmoor wrote:This is in accord with English renaissance lute style in which contrasting "major" and "minor" intervals in the same key were often utilised for their effect (quotes used there because the concepts of "major" and "minor" had not by that time been developed).circle1 wrote:I personally like the F natural because it makes the F# in the B section sound all the more fresh when it arrives.
I don't think this is true in the way you have stated it (see my comment above).-KevinCollins wrote:......Remember that the lute of that time had movable frets, that tuning was not tempered,-
KevinCollins wrote: And you are right, the Banjonium is a later instrument from Aguado's student, Descartes (only recently discovered in an etching found at the flea market at Notting Hill, on my trip there last year).
See previous post --
My daughter has a music box that plays this tune. Comes with F#."This is the melody as I heard it growing up in England [...] On the topic of modes, this is a Dorian-mode melody and the F# in measure 2 is correct!"
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