Anon Delacourt Pavin Board f1v) DM

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Delacourt Pavan

Anon
Adapted from the Margaret Board Lute Book, GB-Lam_MS603, f. 1v

" $ %% && && &&


! # & && '' & & &&( & && &
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1 0 2 0 0 3 4 0
A
0 0 0 3 + 1. 0 1 3 3 1 +3
E . 2. . ˚ 4
˚ 2
˚1
C
+2 2 2 2 0
G

" & & & &


! ) %&& && & & ) & * & && & && * & && & &% & &
& &

T 0
6
0 0
7
0
8
˚ 1 0. 3 1 0
A 1 2 2 1 2 .
B ˚ 2 2 2 . ˚ 4 2
˚ 1. 1
2
2
.
2
2
+2
2
2
.
.

" && '' &&+ & *& & & & & & & && && & & & &
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& &
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0. 0 0 2 3
9
0. 0
10
. ˚ 2. 0
3 1 0
11
0
12 0 1 0
.
T
A 1. . ˚ . 2
˚ 12 3
˚ 1 3 1
.
0

B ˚ 2 2 2 2
˚1 2 4
2 0
2
.

"
! ) &&& ' * & & & & & & & ) & * & && &
& && * & ) & & & ) & & ) &&
&
&&
&
&

13 14 15 16
0 0 1 0 0 0 2 3
T
A 1 1 2 . 2 1 2 . . ˚ 22 ˚ 22
B ˚ 2. 4 . 0 . ˚ 4 2
˚ 1. +2
2 4
1
. 2
2 2
. .

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Delacourt Pavan - Anon

" && && && & *& & & & & & &
! & & & & && &
& % & &

0 0 0 +3
17
1 1
18
1 . ˚2 0
.
19 0
3 3
20 0
.
T
A
˚ 0
˚ 0 0
˚ 1. 0
0
˚ 1. 3

B 2 2 0 0

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! && & & & && & && * & &&
) &&
&&
&& &
%%
) &&
& & &

21 0 22 23 0 0 24 0
T
A 2
˚ 1. 1 3
. ˚ 12 0
.
0
2
0
1
0
1 2
0
1
B 2 4
˚ 2 2
˚ 2
˚ 2 2
˚.

"
! && & & & & & & & & & & & & & & && & & & & & * & & & & &
% & &
& *& & &
& &

25 0 26 0 1 3 0 1 0 27 28
1 0 1 0 1 3 . .˚ . 3
T
A
˚ 2 . ˚ . . 0
˚ 1. 0
0
3
˚ 1. 0
2 0
0 1
.
3 0
.
B 2 0 0 . ˚ ˚ 0 2. 0

.4 2 4
.

" & & & & & & & &


! && & & & & & & &
%%
) && & * & & & & &
&& &&
) && & & &
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29 0 30 0 1 0 31 0 32 0 0
. ˚ .
T
A
˚ 12 2
0
. ˚ 1 3
.
1
.
3 3
˚ 1. 0
2
0
1 1 1 2
0
1 2
0
1
B 2 0 3 . ˚ 2 2 4 4 . ˚ 2 2
. .

" & & & & & & && & & & & &
! && && && && && & && &
& & &

33 34 0 35 0 36
3 3 3 0 .
T
A 0 0 0 0
˚ 1. 3
0
˚ 12 3
. 2
˚ 1. 3
˚1 0
2
B 0 0 0 0 0 0 2 3 .

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Delacourt Pavan - Anon

" &&
! ) &&& & && & ) & * & && & && & & & )& & ) && ) & & & *&
& & & & & & *&

37 38 0 39 0 0 40
0 0 0 0 . 3 2 0
T
A 1 2 2 1 2 . . ˚ 22 0
˚ 1.
B ˚ 2 2 2 0 2 . 4 2
˚ 1. +2
2 2 2
1
˚ 2.
. ˚ 4.

"
! &% & & & & & & & & & & && & & && & & & && & & & & & & &
& *& & &
&

41 42 43 44 0 1 3 0 1 0 1
3 0 1 3 . .˚ .
T
A 0 . ˚ 1. 0
2
0 1
.
3 0
. ˚ 12 0 1
.
3 0
.
1 3
.
1 3
.
B . ˚0 4
0 2
.
4
0
.

,
"
! && & & & & & &
& & & ) & * & && & && * & ) & & & ) & & ) && &&
& & & & &

45 0 46 47 48
0 3 1 3
T
A . ˚ 1. 0
2
0
2 1
0
2
0
.
2 3
. ˚ 22 ˚ 22
B 2 3 . 2 . ˚ 4 2
˚ 1. +2
2 4
1
.
2
2 2
.

Transcribed from a facsimile of the original online here: https://archive.org/details/GB-Lam_MS603, as near as possible to the lute fingering, although it is
not always possible to represent the lower voice.

There are 3 strains of 8 bars, each followed by a variation ornamented with divisions. For a simpler and shorter piece one can ignore the variations.

The harmonies are reminiscent of those in the Passamezzo Antico, but not in the same order.

V |V |i | i iv | V i |V |I |I |
V |V |i | i iv | V | iv V |I |I ||

i |i | bVII | bVII | i |i |V |V |
i |i | bVII | bVII | i | iv |V |V ||

bVII | bVII | i | iv |V i | V |I |I |
bVII | bVII | i bVII| i iv | V iv | V |I |I ||

INDICATIONS OF R H FINGERINGS, as in the original MS:

• A single dot (originally called a prick) under a note indicates plucking with the (weaker) index finger, otherwise with the (stronger) thumb or middle finger.

•• A double dot specifies a strong note plucked with the middle finger.

ORNAMENTS / GRACES. Interpretation according to https://luteshop.co.uk/articles/dowlands-graces/:

+ A plus sign to the left of a note probably meant a “fall” where the next lowest note should be plucked and then hammered on to the indicated note.

º A hollow dot to the left of a note might mean a “shake”: pluck the indicated note, then sound (hammer on or pull off) next note above or below, and then
the original note. Not always easy! (This is shown as yet another solid dot in the MS.)

There are overwhelmingly many ornaments indicated on the MS: perhaps the player was just being shown what grace to play if they felt like it, possibly to
elaborate the repeats.

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