User talk:DaveF
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 
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)