Francisco de Guerrero - Acaba de matarme
Hello!
Here is my second score made with MuseScore. I feel very comfortable typing music with it (i didn't think i would be so comfortable in such little time). It's another work by one of the gratest spanish composer in the Renaissance (or..ever!).
I hope you enjoy it.
| Attachment | Size |
|---|---|
| Acaba de matarme.mscz | 10.57 KB |
Comments
Very good, congratulations.
Thanks very much.
I have a couple of questions (see attachment). The attachment is a section from the first 2 systems.
1. What is the significance of the sharps above the staffs? The notes played do not follow the accidentals.
2. What is the reason for dotted barlines rather than solid ones?
In reply to I like it. by xavierjazz
Thank you very much!
The answer to the questions are both historical ;)
1. The sharps above the staffs is called "semitonia subintellecta". It means that in the Renaissance, some accidentals (like the ones at cadences) were not written, because it was a convention to make them at some places, so, there wasn't need to put them on the score. The sharps on the score are created like symbols, so they are not playable.
2. In the other hand, the sheet music wasn't like the ones we know now (one voice above another). The score was written into separate voices.
:)
In reply to Thank you very much! The by Mitocondria
Hi Mitocondria,
Glad to see other peoples using MuseScore for editing early music!
About the editorially added accidentals, there is an alternative to using symbols as you did.
If you want the added accidental to both appear above the note AND be played, you may:
1) Add the accidental as a normal accidental (for instance, the G# near the end of the first line of cantus primus)
2) Double click on the accidental (the # of the G#) to enter edit mode: now you can move the accidental with the arrow keys.
3) Pressing the [UP] arrow key several times raise the # above the staff and pressing the [RIGHT] arrow key twice or trice move it above its note (occasionally, the accidental may disappear during this move; do not worry: it will reappear on exiting the edit mode).
4) Click on an empty score spot to exit edit mode.
Now the # will both appear as an editorial addition and sound like a #.
Attached is a version of your score with the 3 accidentals of the first page converted in this way. I have also added parentheses around the resulting natural in measure 12; if you do not like it, you may move it above the staff or mark it as invisible.
Hoping it might be useful,
M.
In reply to Restitution of ficta by Miwarre
Hello!
Sincerely, I didn't care about the playback (that's one of the Finale's problems, in my point of view). Your solution is really nice! I tried and liked it! Thank you :D
In reply to Hello! Sincerely, I didn't by Mitocondria
I didn't care for playback too, at least initially, as it is so FAR AWAY from any sensible rendition of an early music score to be almost painful to hear.
Then I learned that:
1) It is great for spotting errors (I made lots of errors when copying)
2) It is very useful for practicing consort pieces (mute the part you are going to play / sing, so you can 'karaoke' it!) when other players are not available (or without loosing their time while still studying!). Also, the added stress of a merciless accompaniment really makes my performances with REAL players much more comfortable.
So, I ended up trying to improve the playback of my scores as much as possible. They are not 'executions', far from it, but still a valid support.
Ciao,
M.
In reply to Playback has its problems but... by Miwarre
I absolutly agree :). It must be helpful for practicing consort pieces.
Bye :D