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      "body": "@@ -1,44 +1,4 @@\n-An ancient history of guitar tablature%0A%0A\n !%5BGu\n@@ -5259,16 +5259,193 @@\n tarists.\n+ After the advent of sound recording, the relationship between notation, tablature, and ideas needs to be totally re-considered - but that's beyond the scope of this article. :)\n %0A%0Ahttps:\n",
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      "body": "An ancient history of guitar tablature\n\n![Guitar Tab.jpg](https://steemitimages.com/DQmNadVkABPfXzkPCLT6vqPL8yRgzaUoohUrJ16VGPMHtR7/Guitar%20Tab.jpg)\n\nThis first post will discuss some of the history behind popular guitar tablature. I would like to also consider a few reasons why sheet music reading is often perceived as being more respectable today and bring you some fascinating finds from Western music and art history.\n\nEvery academic article on this subject would start by defining what ‘tablature’ means versus ‘notation’, but I’ll keep it short… Tablature is a way of representing the physical string, fret, key, etc. to be played rather than the absolute pitch. Staff notation emerges differently: as a way of writing down vocal church music. Today, staff notation dominates art music, but it wasn’t always so. How did this happen?\n\nThe most prominent early music tradition of tablature involves two of the most noble instruments of Renaissance court music: the Lute and Viol (or Viola da Gamba, ‘viola of the leg’). Like the guitar, both instruments employed frets. The lute was notated mostly via tablature, whereas the viol employed both.\n\nIf you are unfamiliar with these instruments, here are a couple videos of beautiful works from their repertoire. Both the lute and viol have a huge variety of strings, sizes, and styles.\n\nTheorbo, large lute with bass strings\nhttps://www.youtube.com/watch?v=qeUcGD4rRRc\nViol\nhttps://www.youtube.com/watch?v=80mF23zen6s\n\nComposers of this period took advantage of recent printing innovations and published books which mixed tablature, alternative tunings, and modern notation. Tobias Hume (1579-1645) was a rather bizarre ‘singer-songwriter’ whom I particularly enjoy: he was not a court musician, but rather a professional soldier.\n\nhttps://www.youtube.com/watch?v=ZQfskrewpHE\n\n![Hume.jpg](https://steemitimages.com/DQmXEnXwULQMfMLrA5ercZ1ZQuwxnjdL8dKCBuY882aSSUf/Hume.jpg)\n\nYou can even play some of his tablature on your guitar by tuning to E A D F# B E. ‘a’ is open, ‘b’ is first fret, ‘c’ is second, etc. [PDF](http://imslp.org/wiki/The_First_Part_of_Ayres,_French,_Pollish_and_Others_(Hume,_Tobias))\n\nLutenists, gambists, singers, and all sorts of musicians in Elizabethan England would form a ‘consort’ and gather around a table, place on it a large piece of paper with sheet music of all sorts of different notations readable from each side of the table, and play their respective parts.\n\nhttps://www.youtube.com/watch?v=fRj6Flk0nqU John Dowland (1563-1626)\n\nTablature in the Renaissance and early Baroque period even existed for violins and organs to facilitate easy transcription or to attempt to capture radical new musical languages. North German organists had a long, rich tradition of keyboard tablature. Heinrich Ignaz Franz Biber’s (1644-1704) unusual Rosary Sonata demands the performer cross two violin strings to make the shape of the cross appear on the violin, transforming his seemingly ordinary musical notation into a form of tablature. \n\nhttps://www.youtube.com/watch?v=Bf9t_CmoVJ4\n\nAs the language of notation developed, different relationships between the visual and auditory aspects of music emerged. Composers like the keyboardist Louis Couperin (1626-1661) wrote unmeasured preludes, entire pieces which emerged out of a few suggestive lines, rules, and rhythmic improvisation.\n\n![prelude.jpg](https://steemitimages.com/DQmTJrpQPUjE87DBxvTvhoit662Nqwaxfge4GSBtibCcFhj/prelude.jpg)\n\nhttps://www.youtube.com/watch?v=3-xTvfr3nJ8\n\nIt is the development of the exacting classical style of composers like J.S. Bach (1685-1750) which most consider to have led to the end of tablature. Bach’s famous Lute Suites, while beautiful, are deceptive:\n\nhttps://www.youtube.com/watch?v=AWql6nXqA3s\n\nThere is a famous story of a competition between the great lutenist S.L. Weiss and the keyboardist Bach. Bach invited Weiss over, sat him down, and told him he had been practicing lute. Bach began playing his music while hidden behind a curtain. Weiss was stunned that Bach could have mastered the lute so quickly – but it was soon revealed that Bach had in fact purchased a special keyboard which sounded like a lute.\n\nBach’s Lute Suites appear to have been written for this keyboard. The notation is in modern sheet music notation, not tablature, and impractical to play – nevertheless, lutenists for centuries have been creating arrangements of these works to try and perform them.\n\nFor classical composers writing music for other players, using a precise and objective language like modern staff notation must have seemed more practical. This seems to have been one of the strongest reasons for tablature’s bad reputation in recent history. But for composers who prefer to perform their own pieces, such as Renaissance lutenists or contemporary pop musicians, tablature may appear more intuitive.\n\nThe disappearance of the viol for the violin/cello family is usually attributed to the greater volume and warmth of the violin family, but perhaps the disappearance of the lute and its notation we can attribute partially to the entourage of the guitarist Mauro Giuliani. He developed an efficient language of modern staff notation, easily allowing his works and ideas to pass to his students, other composers, admirers, and non-guitarists.\n\nhttps://www.youtube.com/watch?v=XUNQJjsvtJU\n\nMy project for my Steemit account is to make some English-language content not dissimilar in quality to some of the cultural programs we have here in Europe. I have no interest in being a journalist in my professional life, so if you like my content, please support & share so I can continue to share with you the things I’ve studied and love.\n\nCiao",
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