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| '''[[Edward Tambling|Composer page for Edward Tambling]]
| | My main editing sources include the [http://www.diamm.ac.uk/index.html Digital Imaging Archive of Medieval Music] (although a resource not exclusively limited to Medieval music - it extends well into the 16th Century), along with printed facsimiles of [[William Byrd]] and [[Thomas Tallis]] and their joint 1575 publication of [[Cantiones, quae ab argumento sacrae vocantur (William Byrd/Thomas Tallis)|Cantiones Sacræ]] and the Haberl edition of [[Palestrina]] on [http://imslp.org/wiki/Giovanni_Palestrina_-_Complete_Works_Edition IMSLP]. |
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| My principal aims as a CPDL editor are to provide accurate, scholarly editions of Renaissance polyphony as edited either from original source (see below) or from out-of-copyright editions (e.g. Haberl and Sanberger editions of [[Palestrina]] and [[Lassus]] etc.). For those interested, the complete Haberl volumes of Palestrina are available as scans from [http://imslp.org/wiki/Main_Page IMSLP] as PDF files on [http://imslp.org/wiki/Giovanni_Palestrina_-_Complete_Works_Edition this page].
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| While a passionate, academic proponent of the original-pitch theory of English Renaissance polyphony posed by Roger Bowers (clarified by Andrew Johnstone, and opposed by David Wulstan et al.), I am also inclined to produce editions of pieces suited to lower-voice combinations (such as ATTBarB) making the repertoire more accessible to all-male choirs. Much of the repertoire over the past decades has, in my humble opinion, been placed out of the reach of such ensembles, particularly when transposed into too high a pitch (according to high-pitch theory). This often obscures the nature of the original notation, while making the repertoire more accessible for modern SATB-based choirs, although SATB-friendly transpositions should not be taken as the benchmark from which to create modern editions, as I believe.
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| My main source of material is the [http://www.diamm.ac.uk/index.html Digital Imaging Archive of Medieval Music] (although a resource not exclusively limited to Medieval music - it extends well into the 16th Century), along with printed facsimiles of [[William Byrd]] and [[Thomas Tallis]] and their joint 1575 publication of [[Cantiones, quae ab argumento sacrae vocantur (William Byrd/Thomas Tallis)|Cantiones Sacræ]]. | |
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| I am recently in receipt of full-colour facsimiles of [[Dow Partbooks|The Dow Partbooks]] (MSS 984-988) and [[Eton Choirbook| The Eton Choirbook]] (MS 178) (both available for purchase via [http://www.diamm.ac.uk/publications.html DIAMM Publications]), and will be using these accordingly from which to create editions of the music therein.
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| ==Original compositions==
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| Should they be of any use to the general public of the internet, I intend at a later date to upload the fauxbourdon ''Magnificat'' settings, written for the choir of [http://www.westminstercathedral.org.uk/index.php Westminster Cathedral]
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| These alternate between two separate fauxbourdon sections, framing a metrical ''Esurientes implevit bonis'' section, but continuing with the two fauxbourdons thereafter. The style is of Renaissance pastiche, and the structure of the collection is thus: the odd-numbered tones are on original material (or, in one instance, plainsong), whereas the even-numbered verses are parody settings upon works by the Renaissance masters.
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| Each setting is in four parts with an optional fifth voice (the ''Quintus''), without which the texture is otherwise complete, although less elaborate and sonorous.
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| The links below will direct the user to two versions of each setting, namely the (slightly altered) original pitch for AT(T)BarB and the upwardly-transposed pitch for SA(T)TB.
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| <table border="0" cellpadding="5" cellspacing="0" width="100%">
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| <tr><td width=50% valign="TOP">
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| {|class="wikitable sortable"
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| |-
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| !
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| ! Tone
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| ! Characteristics
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| |-
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| |align=left| ''1.
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| | ''[[Magnificat primi toni (Edward Tambling)|Magnificat primi toni]]''
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| | original
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| |align=left| ''2.
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| | ''[[Magnificat secundi toni (Edward Tambling)|Magnificat secundi toni]]''
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| | upon [[Gombert]]'s [http://www.cpdl.org/wiki/images/4/47/Gombert-Lugebat_David_Absalon.pdf ''Lugebat David Absalon'']
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| |-
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| |align=left| ''3.
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| | ''[[Magnificat tertii toni (Edward Tambling)|Magnificat tertii toni]]''
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| | original
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| |align=left| ''4.
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| | ''[[Magnificat quarti toni (Edward Tambling)|Magnificat quarti toni]]''
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| | upon [[Josquin]]'s [http://www.cpdl.org/wiki/images/sheet/jos-mill.pdf ''Mille regretz'']
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| |-
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| |align=rleft| ''5.
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| | ''[[Magnificat quinti toni (Edward Tambling)|Magnificat quinti toni]]''
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| | original/upon elements of Credo III
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| |-
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| |align=left| ''6.
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| | ''[[Magnificat sexti toni (Edward Tambling)|Magnificat sexti toni]]''
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| | upon [[Palestrina]]'s [http://www.cpdl.org/wiki/images/1/14/Sicut_cervus_original_pitch.pdf ''Sicut cervus'']
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| |-
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| |align=left| ''7.
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| | ''[[Magnificat septimi toni (Edward Tambling)|Magnificat septimi toni]]''
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| | original
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| |align=left| ''8.
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| | ''[[Magnificat octavi toni (Edward Tambling)|Magnificat octavi toni]]''
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| | upon [[Victoria]]'s [http://www.uma.es/victoria/pdf/O_Quam_Gloriosum_Est_Regnum.pdf ''O quam gloriosum'']
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| |-
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| |}
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| </td></tr></table>
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| ==Contact information== | | ==Contact information== |
