(Replicating a reply to a similar post on MuseScore forum)A number of transcriptions from Renaissance scores (and other less ancient) made with MuseScore can be downloaded for free from my score site at can be downloaded as a PDF and as MuseScore engraving files (.mscz); I suggest anybody interested in the topic to get both, in order to compare the two; also the PDF files include front matters with useful informations. Note that some score have been created with MuseScore 1.x and not updated to 2.0 yet.As described in the site home page, my goal is to provide modern editions as faithful to the originals as possible; in general, it is possible to reconstruct the original text from the transcription itself (round trip).They do not go much back; the earliest original transcribed is dated 1558, but some pieces date from the first half of the XVI c.
Renaissance Viol
(like Rore's madrigals). Notation from before (approx.) late XV c. Is a specialist field and usually does not lend itself to plain, or uncontroversial, rendition in modern notation.The reproductions of the original sources of all (most?) scores are also available from free from the institution holding the source itself (quoted in the PDF front matter), easing the collation between the original and the transcription; simply search the institution web site.Hoping it may be of some use to somebody.Maurizio. Buona seirra, Signore Gavioli!(or, would you prefer: Hi, Maurizio?).Thank you for your offer.
As you might already know by your download count, I already got Dowland's 'Lachrimae' from your site. Nice work, but as instrument-choice, I would prefer 'Reeds' or 'Strings' as sound (I've already done this change).In exchange, I offer you to download some work of mine from my profile at musescore.com.Look for.' 'Danserey', Antwerpen A.D.1551, Tilman Susato'Matona mia cara', Orlando di Lasso (1532 - 1597)'Ensalada 'La Bomba', Mateo Flecha 'El Viejo' 1481 - 1553.All sources came and are public available from imslp.org. If you could need them, feel free to add them to your download-files on vistamaremusica.com.You are further invited, of course, to join the discussion on Renaissance Notation - if you're interested.Have Fun, and: Set the Music free!Sincerely.Farrierpete. About Clefs.“White Mensural-Notation has some clefs, that still are unknown to MuseScore.”The very great majority of Western music only knew (and knows) three clef: F, C, and G.
Each could potentially be placed on any staff line, but a number of combinations are homophone with other (ex.: G clef in the third line = C clef on first line) and were not used. About Pitch.“White Mensural-Notation might use another concert pitch (a'=440Hz was unknown in that times.)”This is a very complex story, about which whole, thick, books have been written (an authoritative source is always B. Haynes, “History of Performing Pitch: The Story of 'A'” (at Amazon: ); it has only partially to do with notation, though.We can be almost sure that, for whatever late Medieval, Renaissance or Baroque piece we have in mind, the pitch used at the time and in the area of its creation was different from our A=440Hz standard.
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Pitch changed not only across time, but also from town to town, within the same town from one musical institution to another and also within the same musical institution for different ensembles (“Chorton” and “Kammerton”).Differences could be quite impressive. Just to quote a single example for which rather solid documentation exists, at the middle of XVI c. Between the pitches in use in the main musical institution of two important Italian towns as Bologna and Venice (distant only ca. 150 km one from another) there was a difference of a major third ÷ a fourth; in practice a tenor viol from Bologna could be (almost) mistaken for a bass viol once brought to Venice! And perhaps the same Palestrina mass would have sounded a major third ÷ a fourth higher in Venice than in Bologna (poor Venetian singers!), if these data apply to choir institutions too (which I do not remember).This is just an example, but it shows that pitch consideration may easily and quickly lead to a maze of problems. However, they may be relevant for the (history of) performance, but only marginally for the history of notation. About Accidentals.“White Mensural-Notation knows Accidentals - but only directly at the clef, where they show the musical key.
/ There are no accidentals in the staff - and any musician had to 'feel', at what point a half tone had to be added to or subtracted from a note. (Musica Ficta)”Another very complex story, with a large margin for debate and arguments. These are just a few notes, mostly from personal experience; material for study abounds both in textbooks and on the net.The only 'officially accepted' accidental in pre-Baroque music theory was the B flat, but other accidentals were commonly used in the practice (after all, all keyboard instruments were built with all the 'black keys' since quite early).Up to early XVI c., only B flat could appear in 'key signatures'. Incidentally, they were not really key signatures at all, as there was no notion of key; a B flat in key was used to indicate that the mode of the piece was transposed one fifth down (so that, for instance, first mode has G as 'finalis', rather than D).By the middle XVI c., E flat was already occurring in 'key signatures' (for instance, in C.
Renaissance Lute For Sale
De Rore, 'Il terzo libro dei madrigali a 5 voci', a.k.a. 'Le vergini', in the 1552 print by Gardane, the madrigal 'Pommi ove il sol occide', which is actually by Willaert, just to keep things simple.). And gradually, more accidentals started to occurr.Accidentals attached to individual notes during the pieces were not common, but present, again with a roughly increasing frequency over time. For instance, in the madrigal collection quoted above, one can find E flat, B flat, B natural (in transposed modes), F sharp, G sharp, C sharp.Specifically about notation, it is important to note that there was no sign for natural and # was used to make natural a flattened note (and ideally a b to make natural a sharpened note, but this only later, as there were no sharp in 'key' until later). Then, with a B flat in key, a B sharp during the piece means 'one semitone (sharp) above the B flat', in practice, B natural.The natural sign we know today started to gain some acceptance in the XVII c. (when Baroque was coming and modality was in the (looooong) process of being replaced by tonality).Accidentals were also for sure added, on the fly, while singing (or playing); the process was however, to some extent, less 'subjective' or based on 'feeling' than we may think today.