№ 181. Min hertz in hohen fröuden score video
from Das Buxheimer Orgelbuch (1460), German tablature manuscript.
Cipriano de Rore (1515-1565) score video
Num.55. Anchor che col’ partire. à 4.
from the Bernhard Schmid II Tabulaturbuch, Straßburg, 1607. German tablature print. Intabulation.
Antonio de Cabezón (1510-1560) score video
Quatro favordones del sexto tono
from Obras de musica para tecla, arpa y vihuela, Madrid, 1578. Spanish tablature print.
Girolamo Frescobaldi (1583-1643) score video
Toccata Nona in F
from Il Secondo Libro di Toccate, Canzone, Versi d'Hinni, Magnificat, Gagliarde, Correnti et altre
Borbone revised edition, Rome, 1637. Staff notation engraved print.
Jean Henri d’Anglebert (1620-1691) score video
Prélude in C
Chaconne du Vieux Gaultier in C
from the Rès 89ter manuscript. Notation non-mesuré; staff notation manuscript.
Johann Sebastian Bach (1685-1750) score video
Harpsichord Concerto in F-Major, BWV 1057, Leipzig, 1738/1739.
Staff notation autograph manuscript.
(without tempo indication) - Andante - Allegro assai
The pieces that are not notated in tablature still have a role to play in the coming discussion. For instance, the toccata by Frescobaldi is one of the prime examples of alternative notation and publication method of keyboard music outside the Spanish and German tablature method. The pieces by d’Anglebert were hand-written transcriptions for the harpsichord from lute pieces notated in lute tablature and show how lute music and notation translate to harpsichord notation. The autograph full-score of the Bach concerto includes Bach’s hand-written musical notes in German tablature—all of these will be discussed in detail in the following chapters.
In addition to my performance, I have devised and carried out an extensive experiment to put the tablature notation into practice: I have created 2 one-hour modules with original excerpts (one in Spanish tablature according to Obras de Musica, 1578; the other in German tablature according to Bernhard Schmid II Tabulaturbuch, 1607) to try out with different people. My target participants were basically anyone—not only harpsichordists, organists, pianists but singers and instrumentalists of any level (beginner, intermediate, advanced or amateur, professional) but with non-keyboardists and even non-musicians with absolutely no prior knowledge of music notation. The results were astounding and confirmed exactly what the 16th-century sources said about the tablature notation.