User talk:DaveF

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And very tangled it is too! --Pml 19:58:56, 2006-05-04 (PDT)

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Tristis est anima mea

Dear David

a while ago, you very kindly made one of your Byrd scores available to me as a Sib file (I wanted to transpose it and change a clef, to suit the particular singers I have). I wonder whether you might be able to do so again for Tristis est anima mea, please? I'm also unsure whether this is the best way of contacting you with such an enquiry - please put me right if there is a better way. I have Sib4, but the way, but not yet 5 or 6.

All best wishes,

Keith Wright Durham Cathedral Keith Wright 13:48, 7 January 2010 (UTC)

PS - of course, what I meant to say was Tristitia et anxietas (Cantiones Sacrae 1589), not what I wrote above. Less haste, more care required! KW Keith Wright 19:06, 10 January 2010 (UTC)


Alleluia. Cognoverunt discipuli (William Byrd)

Dear David Fraser, Do you have a capella-Version of "Alleluia. Cognoverunt discipuli" - I wanted to use a version, where the second voice doesn't have a "8" below the key. many thanks Rabe19 10:45, 20 February 2010 (UTC)

Byrd Mass a5 Sanctus opening

Dear David,

Just a small correction for you in one of your editions - the Superius part in the opening of the Sanctus in Byrd's Mass for Five Voices currently contains an A in the 3rd bar and not a C a third above it (as it should be). I've just checked my PDF of the publication, and a C is indeed what is required. Many thanks once again for your editions, many of which are creeping into the choir library here at Westminster Cathedral!

Best wishes,

Edward Tambling 17:14, 11 March 2010 (UTC)

Transposed scores

Dear David,

Your scores are very much appreciated, but for our current project it would be handy to be able to transpose you scores to a lower pitch for those annoying singers with perfect pitch who find it hard to read at the pitch i give them! Is there any chance of you providing versions in E flat, or even providing the source files of the following 3-part works: Alleluia Vespere autem Sabbathi, Haec Dies a 3, Angelus Domini descendit and the 3-part mass?

Thanks in advance,

Edwardac 20:18, 22 March 2010 (UTC)

More transposed scores

Hello Dave, a guy named Robert Gehrenbeck is also asking at the forum for transpositions of two of your editions. Can you please check if the transpositions are possible and reply him there? Here's the link: http://forums.cpdl.org/phpBB3/viewtopic.php?f=2&t=323#p13263

Thanks, —Carlos Email.gif 06:52, 29 March 2010 (UTC)

Apology

Hello everyone - sorry for the long lay-off from work here, caused solely by volume of work elsewhere. I think the best I can do to provide transposing editions for anyone that needs them (since I will continue to have difficulty replying to individual requests) is to post a complete set of "anonymous" Sibelius source files with all editorial information removed, which should allow other users to alter them as required to their individual needs. My original reason for withdrawing all my .sib files from this site was that I had come across edited versions of them elsewhere on the Web that I felt misrepresented my own reasonably painstaking editorial work. However, I realise that the lack of source files is not helping other users and not serving Byrd adequately, so I hope the "anonymous" route will work for all, while keeping my editorial conscience quiet!

I shall start work on posting these .sib files within the next few days, although it may take a few weeks to complete them. I will try to deal with the above requests first.

A happy and blessed Easter to all,
--DaveF 09:11, 3 April 2010 (UTC)

Thank you for everything! If I might make one last imposition on your generosity, though, "save as Sib.2 file" would make them even more widely available. Richard Mix 21:05, 3 April 2010 (UTC)
No, I'm sorry; I don't know what features of formatting would be lost by saving as an older version. I'm not the greatest admirer of the Sibelius Corporation, but nevertheless I'd recommend you upgrade to version 4 or 5.--DaveF 21:55, 4 April 2010 (UTC)

The forgotten sharp...

Dear David,

Following on from your paragraph on your User Page concerning augmented sixth chords as a result of 'misplaced' sharps in a handful of motets in the print of Byrd's Cantiones sacrae, there appears to have been one other printed piece (outside the CS collection) which contains a similar problem. Watkins Shaw mentions it briefly in the article that you cite, and I mention it myself only because you have taken the liberty in your own editions of removing the relevant sharps from your editions of the CS motets, but have perhaps overseen the other piece. The piece in question is How shall a young man from Psalmes, Sonnets & Songs, and the point of query is I.14.1, with the Superius' C# against the Tenor's Eb. However, and I'd be interested to see what you think about this, I think the solution would be more easily resolved by making the Tenor's Ebs into E naturals (although denoted by ficta), and preserving the Superius' C#. The semitone point is set up by the Contratenor and Tenor anyway, and answered by the Medius (all on 'that thy' of the text) - it would be an obvious move to retain the semitone in the Superius for this reason alone. Moreover, the preponderance of E naturals that follow for a short period thereafter seem to indicate a move in that direction. What do you think? I'm not sure whether this example has had as much discussion given to it as the others!

As a footnote to the other instances of augmented sixths, surely the reference to the chord in question in Tristitia et anxietas on your User Page should read (II.102.1) and not (II.103.2)? This would make more sense in light of the other examples.

With all best wishes,
Edward Tambling 14:55, 4 August 2010 (UTC)

Edward,
No, this one certainly hasn't had so much discussion, nor is it so easy to resolve into the "correct" harmony (surely those two points can't be connected?) The problem is first of all, as you say, that the Superius C# seems correct contrapuntally. It is also transmitted in numerous sources - a quick glance finds it in 3 different editions of the Psalmes and in the Dow Partbooks (which appear to be copied from a voice-and-viols source independent of the 1588 print). So it doesn't seem that we can get around the problem by deleting a rogue sharp only transmitted in one source. So to the Tenor E flat(s) - again, the key-signature in all the sources is explicit about the low E flat. My best guess is that the sharp before IV.13.2 in my edition should also be assumed to apply to IV.13.4, thus "forcing" IV.14.1-2 to be naturals. Byrd and his printers hardly ever think it necessary to insert a sharp simply in order to avoid an augmented second: throughout his publications you find the C#-B-C# cadence figure in a key of one flat with no accidental before the B (and there are at least 3 F#-E(natural)-F# ones in this very piece). I'd be interested to know what Jeremy Smith does with the problem in BE12, a copy of which you may have closer to hand than I do. Anyway, thanks for a most interesting observation. And yes, the reference to the note in Tristitia was wrong.

--DaveF 21:02, 7 August 2010 (UTC)

Dear David,

Many thanks for your thorough reply! When I'm back at work in a few weeks I'll be able to check the Dow version from my facsimile volumes and look up Byrd's print from one of the PDFs I've got of the complete printed works of Byrd, and probably fish out a copy of BE12 if the Cathedral Choir library has it (which I suspect it does). I'm not sure about your opinion on the sharp before IV.13.2 and its conjectural application to more than the note it precedes. I think you are correct in your transcription in assuming that the following F is indeed a natural, but I think that the melodic contour is common enough in this sort of music to have a number of variants. I agree, the Es should be naturals and not flats (if one should want to suppress the augmented 6th), but I'm not sure that the F# beforehand makes this necessarily so. You're absolutely right about the C#-B(flat)-C#, where the B flat in the key signature is assumed to be a natural in this melodic progression - I've seen a lot of this in editing Byrd, Sheppard, Tye, Parsons, White, Tallis, Mundy, Strogers et al. from the Dow partbooks. There are very few singers I know who would wish to negotiate the interval of an augmented second in performance! The long and short of it is that I'm just over 6,500 words into writing an article defending the inclusion of augmented sixths in Byrd (and a rebuttal of Watkins Shaw's article condemning them). I'm by no means finished, but there'll be much more to write once I've delved into the relevant musical sources...

Best wishes,
Edward Tambling 10:46, 9 August 2010 (UTC)

Miserere mihi Domine (William Byrd)

Dear David,

Many thanks for you excellent work on the Byrd scores. We are using some of them for a Compline service this Sunday as part of the annual William Byrd festival in Portland, OR. I believe I have found a note mistake in the "Miserere mihi Domine" score. In measure 32 in the "Tenor Secundus" part, I believe the second note should be a semitone higher (Ab not G in the transposed version we are using), to match the same sequence found in measure 23.

Kind regards,
Tenortim 21:26, 13 August 2010 (UTC)

Yes, you're quite right - thank you. Both versions corrected now.
--DaveF 18:26, 15 August 2010 (UTC)

MIDI of Beati Mundo Corde?

Dear David,

Hi, I'd like to request a MIDI file of your edition of Beati Mundo Corde. I am conducting a lower-level collegiate chorus this academic year, and I will likely need to offer MIDIs to those singers whose reading ability isn't up to snuff. Thanks, and thank you for all of the work you've put forth on CPDL—your editions are of professional quality and are a real asset to the community.

Best, Bram Wayman (The Realms of Gold 19:12, 23 August 2010 (UTC))

Easter Mass

Dear David,
I love your Byrd editions!
I wanted to ask you whether you could give me a Sibelius file of the Easter Mass (Resurrexi, Haec dies - Alleluia - Pascha nostrum, Victimae paschali laudes, Terra tremuit, Pascha nostrum) because I want to transpose it a bit. That would be really great, thank you!
My mail is neumimartin@web.de.

--The law 14:12, 9 September 2010 (UTC)

You have a new message

Hi Dave, there's a message for you at the forum: [1]

Best, —Carlos Email.gif 23:25, 22 September 2010 (UTC)

Dear Dave,

I had initially left a message for you on the open forums, but, after help from Carlos and Chuck Giffen, found out how to do it directly.

I'll paste it here:

I'm very impressed with your editions of the Byrd masses - they're very clear to read, well laid out, and you've obviously taken a lot of care in preparation. Thank you for making them available here. I'm looking to perform the 5 part mass, and the questions relate to that:

1: Why is the text sometimes italicised? 2: Where could I find information relating to current performance practice and realisation of Byrd's music? I'm living in Finland (working as a church musician and completing a masters in church music at the Sibelius Academy), so would primarily be interested in WWW info, but can also arrange inter library loans, and have access to most of the current journals online etc.


With thanks,

Richard NRichard N 19:18, 26 September 2010 (UTC)

Regarding the above: Byrd mass in 5 voices

Apologies, am new to this talk section, and forgot the above heading to my question.

Richard NRichard N 19:21, 26 September 2010 (UTC)

Current plans (September 2010)

Dear all,

Sorry for not responding to these requests and questions sooner; my wife has recently come out of hospital following surgery for suspected cancer, and is facing a long period of convalescence. So, while it would not be strictly accurate to say I have no time to devote to work on this site, I would suggest that my activities will be curtailed for some time to come. But to answer one easy question: Richard N - you will find the reason for the italicised text in my general editorial notes on the 'user page' tab. --DaveF 20:34, 27 September 2010 (UTC)

Re: italics

Thank you, and best wishes to your wife.

Richard N 17:22, 28 September 2010 (UTC)

Source files

Sibelius 4 files for nearly all my Byrd editions should now be available. The few that are missing are either (a) ones I've forgotten, or (b) those where my original source has got lost or corrupted and I'm resetting them. --DaveF 18:58, 26 November 2010 (UTC)

Thanks a lot, Dave! —Carlos Email.gif 15:16, 28 November 2010 (UTC)

Correction in Tallis: In jejunio

Firstly, thank you for all your hard work, Dave, it's great to see so many well-edited scores on CPDL for several very important composers. I just noticed a wrong note in your editions of 'In jejunio et fletu'. In bar 67 the baritone has a D (in the low version), entering during a chord of C minor, and clearly should be a C. Similarly in the high version, the tenor should have a A rather than a B.

Best wishes, Daniel Rollison 18:45, 19 February 2011 (CST)

Well, at least I was consistent. Fixed now - thank you. --DaveF 15:00, 21 February 2011 (CST)

Christ rising again - Christ is risen again (William Byrd)

Hi, I've transposed the old version your edition a fourth higher and want to post viol parts to CPDL with the old license; my other change has been to move the note on ranges to the beginning. Would you nevertheless prefer to remain anonymous in this reformatting? Richard Mix 04:48, 16 March 2011 (CDT)

Richard,
Thanks for asking - anonymity will do me fine. --DaveF 14:36, 21 March 2011 (CDT)


Mass for 5 voices - William Byrd

Hi David,

I wanted to let you know a community choir in northwest Columbus, OH is using your arrangement of the Byrd Mass for Five Voices this fall for a concert entitled "Expressions of Peace" to be performed on the 10th anniversary of the 9/11 events. First rehearsal was last night and we are delighted with having access to this great piece.

My question is, have you ever made a piano score from the 5 parts? Our rehearsal accompanist is quite good <grin>, but even he is struggling to play all five lines.

I wondered if you had created a piano score, or knew of this existence of one?

Thanks,

Miriam Matteson Highlands Presbyterian Church Columbus, OH

Miriam,
Thank you for that message; it's always good to know that my editions are being used, but to be able to contribute to such an event is quite a privilege. The only edition I know of that includes a keyboard part is the old Fellowes one, published by Stainer & Bell as part of the original Byrd Edition (long out of print, but probably obtainable from a good music library). It's accurate, I believe, although the barring, in Fellowes's usual eccentric mix of time-signatures, will be different from my edition. I'm also fairly sure that it's transposed down a semitone into a most un-Byrdian C sharp minor, although your tenors and basses might prefer that, provided you have nobody with absolute pitch. Again, if memory serves, this was volume 1 of Fellowes's complete edition, including all 3 masses as well as the 1575 Cantiones, although it was probably also published separately.
Another more "traditional" edition was the one edited by Henry Washington and published by the RSCM, which I would imagine contained a keyboard reduction, although I don't know it (so don't know whether it was transposed or not).
Sorry not to be of more immediate help - I hope you can find something, and all best wishes for the concert.
--DaveF 07:02, 7 August 2011 (CDT)

Tallis Dum transisset a 5

Dear David,
I have made use of CPDL and WIMA material for 10 or so years. Thank you. This is the first time I have provided feedback. I chose your edition of subject for many reasons: original pitch and time values, and the alternatim plainsongs..... also because my sopranos complained that I had not been giving them high enough parts.... At the risk of causing offence by looking a gift horse in the mouth, may I respectfully suggest that at bar 42, the second note should be an F. I have a facsimile of a print by Tallis which reads thus. With colla parte viols there was much confusion caused by the half bars. Some instruments not seeing a change in mensuration attempted to make all the bars the same length. These people were already destabilized by the 19th century convention whereby a semibreve rest is also expected to do duty as a breve rest. May I suggest that if the first bar was made a half bar, all the joins between sections would then fall on a bar-line and no more half-bars would be necessary ?

User:JohnC 15:30, 21 September 2011

John,
Thanks for that. Yes, you're right about the Bassus note - I've uploaded a quick correction to that. Oddly enough, since I too work from the original sources and have checked the facsimile of the 1575 print, the same error occurs both in Steve Sanders's and Edward Tambling's editions - surely I didn't just copy one of them and give a quick glance at the facsimile afterwards? Bad editorship, if so. I'll go through it more carefully when I get a chance.
Regarding the half-bars, I can see why I did it like that - so that the final cadences would fall on downbeats. I assume the problem for your viols was that you had extracted parts from which they were playing, so couldn't see the other lines. Perhaps just editing in 2/2 and 4/2 time-signatures would do the trick for them.

--DaveF 11:33, 22 September 2011 (CDT)

Byrd Hodie Christus

Your editions of Byrd are fantastic and we in the music department at St Paul's Church and Choir School in Cambridge, Massachusetts use them extensively. I write in order to clear up a potential typographical error: in the Hodie Christus Natus est, the text at the top of the second page reads "laetentur archangeli." One of my choir members maintains, on the basis of the Liber usualis and the Gregorian Missal, that this text should read "laetantur," furthermore noting from a grammatical standpoint that what precedes is descriptive, not subjunctive. I do not have a secure grounding in Latin grammar, so I can be of no help in this situation. I thought I would ask you and find out what you thought. Does the source provide "laetentur?" What is the significance of one or the other? I deeply appreciate any insight you may provide, and please keep up the excellent work! Cor anglais 16 06:58, 14 November 2011 (CST)

Thank you; lætantur is right - I've just checked the Roman Missal. 3 of Byrd's 4 partbooks have lætentur, with only the Bassus actually getting it right. I don't think there's anything wrong with lætentur Archangeli (let the Archangels rejoice) by itself; problems start when it's part of a list where, as you say, it's the rogue subjunctive. Correction will be on the way shortly. --DaveF 16:31, 14 November 2011 (CST)


Byrd Let Not the Sluggish Sleep

Dear David -

The other day I downloaded your edition of Byrd's Let Not the Sluggish Sleep in Noteworthy format - but I stupidly forgot to save the file, and now I can't find it on CPDL or anywhere else. (I did print it, but I need the Noteworthy file for my fellow singers to learn the piece.) Can you please point me to wherever the file lives? Thanks in advance! User:Don Radlauer 25 April 2012

Don,
I would struggle to find that one too, since I don't actually use Noteworthy! Perhaps you were enjoying a bit of sluggish sleep when you saw that file. My Sibelius source file of that piece is available on this site, as I'm sure you know, but whether the two file formats are compatible, I can't say. Sibelius won't open .nwc files, so I suspect the incompatibility is mutual. --DaveF 04:39, 26 April 2012 (CDT)

Dowland: His golden locks

Hi Dave, I read the note you left for James regarding this work, and out of curiosity I compared the editions to see what I could learn from the differences. I confess that I could not understand the use you made of the natural sign in bar 10. Does that suggestion imply that in that and in the subsequent measures a natural F could also be sung instead of a (presumed) F sharp? I listened to the two midis available and both make use of F sharp throughout the song, which left me even more confused. Using modern harmonic notation, what I think I hear in bars 9-10 is D major, then D major with minor 7th. In your score I understand that we'd hear D major then F major, is that correct? I'd be grateful for any short explanation. Best regards, —Carlos Email.gif 09:24, 26 April 2012 (CDT)

Carlos,
Yes, what you say in your last sentence is right: D major in bar 9, moving to F major in bar 10. What I think James has done in his edition is try to be helpful to performers by putting a G major key-signature in a piece that is essentially in G, then forgetting that he's done it. In the printed source (all 4 editions) there is no key-signature. If James took the signature out of his edition, it would improve things greatly, since he notates nearly all the F#s explicitly anyway (which is what makes me think that he'd forgotten about his key-signature). The midi I've listened to (Ulrich Alpers') is also correct.
My cautionary F natural in bar 10 is just that - cautionary, since in the previous bar the alto has been singing F#. It's at this point in the first 2 printed editions that the printer tried to be helpful and include the cautionary natural, but got it wrong and put a sharp in instead (over an F natural in the bass - ouch). Of course I meant to say bar 10, not 9, in the note I left for James - I've corrected that now. --DaveF 13:14, 26 April 2012 (CDT)
Hi Dave, thanks a lot for your reply! After listening to the new midi posted by James, I could see the striking differences from Brian Russel's version (which sounded quite pleasant to my ears at first, but as James properly observed, turns out to be somewhat anachronistic). Now your cautionary F natural makes all the sense. Do you think it would be appropriate to add a ScoreError warning to Brian Russel's edition, or is it an acceptable use of ficta? Regards, —Carlos Email.gif 10:09, 28 April 2012 (CDT)
Carlos,
You're very charitable to Brian's memory, but no, not an acceptable use of 'ficta' at all (6/5 chords were not part of any Elizabethan composer's vocabulary!) - in fact the whole score is strewn with errors. Since there's no point, as far as I can see, of keeping a score containing errors when the contributor is no longer with us to correct them, and where there are correct editions available, I propose to remove the link from the page within the next couple of minutes. If anyone feels strongly that it should go back, they can of course restore it, although it will then need a ScoreError warning of errors in bars 9, 10 & 22 (all to do with those F#s), as well as several curious misreadings of the text: "him" instead of "her" in bars 15-16, "Ye gods" instead of "goddess" in 18-19. But my feeling is that this one is best consigned to history. --DaveF 16:12, 28 April 2012 (CDT)
Dave, I'm not sure what is the recommended action in this case. For one side, Brian is no longer around to correct his score, but for the other side, James based his edition on Brian's, and textually cites the latter in his "edition notes". I'm more inclined to keep it just for reference, with an appropriate error notice so that people will avoid using it in favor of the other options available. You may not be aware of it, but Brian's site is still online (now hosted by CPDL as a cortesy, at http://www.cpdl.org/brianrussell), and we will probably need to add a note there too, inviting users to come to CPDL in order to obtain a more accurate edition. —Carlos Email.gif 23:20, 28 April 2012 (CDT)
OK, Carlos, I see the problem with complete removal - I've reverted the edit and put the error template in. Incidentally, I was wrong in what I said about the text - Brian's version comes from the editions published in James I's reign, when changes to "her" and "Goddess" make perfect sense. Some more critical notes needed in my edition, I see. --DaveF 14:08, 29 April 2012 (CDT)
Nice! Thanks also for having added the summary of errors found. —Carlos Email.gif 17:41, 29 April 2012 (CDT)
And the lute part is different in the later edition. Would you believe that creating a satisfactory edition of a 20-bar song was so difficult? I can feel those few locks of mine that hadn't already turned silver beginning to go... --DaveF 11:24, 30 April 2012 (CDT)
LOL! :) —Carlos Email.gif 12:36, 30 April 2012 (CDT)

His Golden Locks

Dave, you are right, and I've loaded revised files. Bar 10 of mine sounded rather too Victorian to be convincingly Dowland. At the time, I thought "How advanced," when I should have thought, "How wrong!" My edition was a reformatting of Brian Russell's, mainly to tidy up the underlay. The other two editions accord with yours, apart from a missing F sharp at the end of Laura Conrad's version, (which would be almost impossible for a singer not to sharpen automatically, I think). I've loaded revised files, but I've left it with a G major signature, which may offend purists, but I think is easier for modern singers to relate to. Jamesgibb 11:49, 27 April 2012 (CDT)

A hymn by Campion?

Dave

At page 26 of "The art of setting or composing music in parts" attributed to Thomas Campion, second edition by Christopher Simpson, published by John Playford, 1655, page 26 http://imslp.org/wiki/File:PMLP169945-playfordd_skill_of_musick_1655.pdf 106th page of the pdf there is a very beautiful short hymn "Lord have mercy upon me". Do you think it is by Campion? Jonathang 13:59, 13 May 2012 (CDT)

Jonathan,
I suppose the short answer is that I don't have any particular opinion about its authorship. It's noticeable that the cover of the book mentions several "printers" during its lifetime (including Christopher Simpson, another more than respectable composer), but no actual authors. As you know, attribution on stylistic grounds is a very precarious business in the 16th and early 17th centuries; even major figures like Byrd and Gibbons were quite capable of writing minor pieces in the general style of the day that could be by almost anyone. My feeling is that if you were thinking of doing an edition, "attrib. Campion" would do fine - as far as I can see, no-one has ever attributed it to anyone else. I would guess that the actual composer felt no more ownership of the piece than a contemporary writer would any of the counterpoint exercises in a modern textbook - it's just that they couldn't help writing beautifully in early Jacobean times.--DaveF 03:34, 14 May 2012 (CDT)

Clef fonts in your music

Dear David,

Can I inquire where you got the fonts for the clefs in the incipits of your Byrd pieces, and if they have a friendly license? I assume that among the embedded fonts it's the Vautrollier. I've been typesetting consort songs from the Dow Partbooks, which match up quite well, and would like to use, especially, the G and F clefs for the incipits. Agarvin 10:50, 10 July 2012 (CDT)

It's a font I developed myself while taking advantage of a trial period on a font-creation package. If you leave your e-mail address (in a format that a crawler won't recognise e.g. with [at] instead of @) I'll send you the file, and delete your address from this message forthwith. That's assuming you intend your editions for free distribution; I might ask for some (small) percentage if you intended them for commercial publication.
--DaveF 14:12, 10 July 2012 (CDT)
Thanks! (I posted this, and then promptly forgot to check back). Yes, all my music is released creative-commons attribution, built around lilypond and LaTeX, with source available. My email address is allen.garvin[at]tracylocke.com. Agarvin 07:58, 2 August 2012 (CDT)

Hodie beata Virgo

David, as there are now several settings of this text on CPDL, I've created a text page and added a LinkText to your works page for the Byrd setting. I haven't removed your Latin text, though it is now duplicated on the text page I've created. I've also added the link from the text page to your edition. Jamesgibb (talk) 10:13, 14 August 2012 (CDT)

Byrde - Christ Rising Again

Dear David,

Per your request at the end of your score, I will be performing Byrd's "Christ Rising Again" FEB 1 with 6 voices, 3 strings and organ. We don't really have Viol players available, but I wanted you to know we will be using your edition. Thank you for your work! I'll send you a recording if you want.

J. 17:42, 1 September 2012‎

Performing from your Tallis editions

Dear David,

the Mornington Singers (Dublin, Ireland) are happy to let you know that we'll be performing some of your Tallis editions in our November concert. We also had the pleasure of using your excellent Byrd in our last year's Christmas concert. If you would like to shoot me a quick email at info@morningtonsingers.org, I'll send you a free concert invitation, in case you're up for a week-end trip.

Ajolk (talk) 10:37, 11 October 2012 (CDT)

Rationalising the text pages

I've been attempting to tidy up the (Latin) text pages over the last couple of months and would welcome input from other administrators. I've started a discussion on the administators' forum, so feel free to add comments, whether positive or negative!Jamesgibb (talk) 11:18, 24 June 2013 (UTC)

Complete Gradualuia performances and missing .sib

Dear David, My choir the New Cambridge Singers is performing the complete Gradualia over the coming several years, using your excellent editions - for which thank you!. I wonder if you might possibly be able to supply a .sib file for Ave Regina Coelorum, which is the only one of the 8 we're performing this year without a .sib file (useful for transposition purposes!)? Many thanks! Graham Walker (user Ghw22)

Byrd Gradualia in parts for instrumentalists

Hi David I am working on extracting parts from your Sibelius files for instrumentalists and would like to discuss a few points with you, in particular making them available to others. Are you contactable? Stephen Pegler

Alleluia. Cognoverunt discipuli

I see that another user has requested a slightly different format for this score. I wonder if you might make it available a whole tone higher as well as with Ct Altus in untransposed treble clef. Thanks!

Attollite portas by W. Byrd

Dear David,

Ever so concerned to leave as few errors as possible on the internet scores, I found some in you score of 'Attollite portas" by W. Byrd. With endless respect for your work delivered, I would like to point you at some differences with the original 'Cantiones quæ ab argumento sacræ..."

Tenor 3, bar 21, note 3 is C in the original; Tenor 3, bar 65-66: "-ri-" is under bar 65, note 4 in the original; Alto bar 82, notes 3 & 4 are F & G in the original; Tenor 2, bar 95, notes 2 - 4 are A, B & C in the original.

With kind regards,

EmqU (talk) 23:19, 2 November 2014 (UTC)

Tallis' Absterge Domine

Dear David,

Thank you for your numerous wonderfully presented scores up online here; they're a wonderful resource.

I was just wondering if you might be able to send a Sibelius file of Tallis' Absterge Domine, or even better, send it transposed down a tone into F minor?

Many thanks,

Jamal 10:31, 17 February 2015‎


Jay Young's Tomkin's Score

Dear David,

To my surprise this morning I found my score published. I have immediately taken it down, as well as deleted the text on the user front page. I asked an associate to do some work on editing the page some time ago, and the page must have been published at that time. I've been quite busy with planning and had not checked up on things. I did initially copy your user page as a guideline, as I very much enjoy the readability and layout of your pages, however I have never wanted to literally copy your work. I apologize for any trouble this may have caused, it has all been removed. I'll figure out what was done and try to get some useful information [of my own!!] posted later. Please let me know if I can do anything further.

Jay 07.56, 30 JUNE 2015

Byrd Christ Rising - viol parts?

Your edition, as always, is obviously the one to go for; I'd like viol parts - I don't suppose you'd lend me the Sibelius [I presume] file to save me time copying them out? Thanks! Katiehawks (talk) 14:42, 25 October 2015 (UTC)