tablature

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a musical notation indicating the fingering to be used

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While the introduction to the supplemental volume with Vecchi's tablatures does include some specific indications, for example on the liming of the instruments, in the introduction to the main volume these indications are more limited.
make their own tablatures by ear, a method of teaching guitar that has
Middle period sources (chapters 3 and 4) are the Zellerfeld Tablatures (discovered in the 1950s by Gustav Fock), the Claushohn and Voigtlander sources, and the Duben, a harpsichord manual.
Comparison with the concordant sources shows that these tablatures are exact copies of the versions preserved in Bataille's second book of Airs de differents autheurs, mis en tablature de luth of 1609.
Perhaps a few such editorial tablatures early in the anthology, giving way to facsimiles of the originals, would have been more appropriate.
Music examples, tablatures, music anthology, bibliography, index.
The chords and scales can also be presented in musical notation as well as chord charts and tablatures.
Canguilhem discusses and illustrates different styles of sixteenth-century intabulation: faithfulness to the counterpoint (Francesco da Milano) and transformation in virtuoso style (Albert de Rippe), with a particularly interesting section (116-21) on the aesthetics of imitation as exemplified in lute tablatures.
According to Professor DeFord, in printed and manuscript Italian lute tablatures from this period intabulations of works by Vecchi, most of which are based on his four-voice canzonettas, outnumber intabulations of works by any other composer by a ratio of almost two to one.
A second section of the volume addresses the relationship of manuscript and print culture, from a general perspective (Thomas Schmidt-Beste) as well as the more specific aspects of authorship (Michele Calella) and the origins of German tablatures (Nils Grosch).
Following the discussion of sources and repertories proper, appendices to part 2 include a "Brief Guide to Reading and Interpreting Baroque Guitar Tablatures," as well as information on tuning and stringing, which will be very useful to performers as well as musicologists involved in the study and editing of this repertory.
In particular, the tablatures could be investigated to discover whether they were used for organ accompaniment or as a reference copy by the director of the ensemble.
Dirksen includes an impressive bibliography, though the study would have been even more thorough had the author been familiar with three recent dissertations from Oxford University: Robert Judd included important material on the Liber Fratrum cruciferorum leodiensium and the Turin tablatures in his Notational formats at the keyboard (1988); Martin Souter investigated keyboard intabulation in his Sixteenth-century intabulation procedures and their relationship to the formation and understanding of Sweelinck's keyboard style (1990); and my own thesis, The instrumental music of Peter Philips (1994), contains information about many sources that include music by both Sweelinck and Philips.
The minor differences between the tablatures - raised or lowered thirds within a triad, infrequent additions or deletions of chords within the alfabeto framework, the transliteration of Berti's basso continuo line into an often harmonically awkward guitar tablature - indicate poor musical judgement on Romano's part and suggest that the tablature accompanying Berti's printed editions of monodies was not available to him.