Thanks
I guess...
mainterm wrote: ↑Wed Jun 27, 2018 1:10 am
How did you choose which key to use?
If you followed my musescore profile or at least clicked the link here recently you would have seen that I also have put another version in different key, choosing the key was not easy, but translating from lute tablature to piano clef is only 1 click, automated and without error, or at least if we trust muse score, from then I saw the notes with more clarity; I have also updated my version and it is now indeed improved, but you seem to have not cared enough to try it once on your guitar. I'm not saying that this is an acceptable translation, but it is only made for one purpose: to be able to play it myself on my guitar, and get a small feedback on the quality, of which you never even tried it to give an insight, but rather to refute my words about my method or this little thread.
mainterm wrote: ↑Wed Jun 27, 2018 1:10 am
It seems you came to the conclusion on your own that you shouldn't base your guitar version of this piece on Paul O'Dette's recording - and yet there are artifacts in the edition you posted on musescore. Why didn't/don't you remove them and revert to the way Kapsberger wrote this piece down?
Why is it hard to see? I have only put some arpeggio indicators on the sheet, nothing else is copied from O'Dette's recordings, which I found very beautiful and in fact the best recording of this piece, despite whatever or whomever's preference. The flow of the thing is exactly as written by Kapsberger, it is up to you to include arpeggios, which I have also written on the sheet, but then again you don't seem to have even looked once into it. And even then what if I put exactly as O'dette ? The sheet itself then would be the transcription of a performance, which is also a sub genre of notation is it not?
mainterm wrote: ↑Wed Jun 27, 2018 1:10 am
Indeed - have you seen what Kapsberger published in 1611? For example you refer to the "last measure trill" - but there is no such thing in Kapsberger's tab edition. He wrote out an embellishment in the penultimate measure, it's quite straight forward really.
Yes I have seen it hundred times while working on it, almost memorized the page itself. There is I believe an error regarding the duration of notes in the measure 16, it shows us two 1/8 and one dotted 1/4 and one 1/8, which in fact should have been two 1/4 and one dotted 1/4 and then one 1/8, if my basic mathematics is right.
mainterm wrote: ↑Wed Jun 27, 2018 1:10 am
Some folks - like me, consider posting an arrangement online for public viewing to be "publishing". Once you put it out there, you have very little control over what people will do with it, whether they will understand your aims, and so on... By putting it out there you are adding to the historical record of this piece, I understand it is easy to get feedback that way, but there's a downside too. Maybe my values are just old fashioned now too
I think you are old fashioned, and I mean no disrespect. Musescore and indeed internet is forgive me but s**thole, why do you even care for an amateur work that is on internet? No professional would use my arrangement, no scholar will even care for it, indeed musescore only has two or three kapsberger sheets, therefore baroque scene is not really active there, but indeed the guitar players if they ever search for Kapsberger might see it and give it a try, if they didn't like it, they will try to find better one, the point here is that they will be in knowledge of a composer named Kapsberger, and I don't think my arrangement is really that bad, have you even tried it? I have actually never said I would publish or translate his collection I have only done one piece lads, one small piece... why is it so hard to accept? I won't continue doing any arrangement for any time soon, but if you tell me that you are really offended by an humble attempt by a student (22 years old), and disgusted at the sight of my translation, then I will remove it once and forever, all will be happy. I'm open for criticism and that is why I have created this thread, but it seems you guys never even attempted playing it, or reading from start to finish, which is actually kind of disrespectful don't you think?
I accept that the last measure may not contain a trill but an embellishment, but i have put the sound intact in the score, as you can listen with your own ears from the playback on musescore, before jumping on my neck because of the words i have put previously in here.
mainterm wrote: ↑Wed Jun 27, 2018 1:10 am
OK - but, by your own admission your transcription is most definitely not "exactly what is written [by Kapsberger]". And while I didn't have the right software to read your list of Kapsberger's mistakes, I have Kapsberger's original in front of me and I don't see any mistakes. This piece is pretty straight forward as far as Kapsberger goes...
What I meant as exactly written was I didn't changed the melody or anything and tried to be faithful as possible. The error, I mentioned in the previous paragraphes. What can I say folks, you have succeeded in discouraging me, and isn't that the whole story of human life? Old people trying to keep their memory intact while young folks go from one mistake to another. I will let you keep your Kapsberger if that is what you really want? I know that am being emotional but I don't see any productive criticism here but grunts and muttering of conservative type. I have talked about not being disrespectful to the lute scene and you included, who ever you are, but after all the criticism here I do think that I might be the offended one here, please show the respect of at least playing it once, so that you can see there is a chance that, and indeed is, playable on guitar, whether it is a quality of mediocre, or even absymal piece of translation, that is up to you to decide,
Until you have touched the material I believe there is no case for discussing my method or words further, there is no dialectic or conversation until the tangible contact with matter, I don't believe in the power of words as much as you are I'm afraid, what I might have meant here or there is only the working of my mind at that time, however what I have worked for is the product of my effort, whether if it's an easy or hard effort, it is indeed an effort worth being considered even only for it's practical outcome.