Editorial policy
Our purpose is to provide performing scores of instrumental and vocal music from the sixteenth, seventeenth and eighteenth centuries for the general musician. Editing is kept to a minimum, particularly of interpretation and articulation; often little is provided beyond transcription, indicating original decoration, slurring, etc. but leaving the majority of realization to the knowledge and taste of the performer. Figured basses are realized sufficiently to enable adequate performance, but figuring is also provided for the more specialist player. Although information is kept to a minimum on the face of the music, academic enquiries by email are not discouraged.
Licensing/Copyright on Paid Purchases
All items are copyright.
Legitimate copies of items are restricted to the number of items paid for, with the exception of ancillary instrumental parts; purchasers are welcome to copy those as often as necessary.
Any bundled part named on the PDF as a 'score' is restricted to a single copy; all other bundled parts are unrestricted.
Copyright dates are not disclosed. It is sufficient to know that they are good for the remainder of the editor's lifetime. This coyness is in accordance with eighteenth century practice: "The late Mr Walsh, finding that old music books were like old almanacs, ceased very early in this [18th] century to ascertain the time of their birth by dates, which have ever since been as carefully concealed as the age of stale virgins" (Charles Burney).
Licensing of Free Downloads
Each free download published by notAmos Performing Editions is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
For details of attribution requirements, please see the relevant score's detail page in this catalogue.
Barring
There is no satisfactory system of barring polyphony. notAmos barring derives from the conventions adopted by Thomas Tudway when compiling his pioneering collection of English polyphony in the second decade of the eighteenth century. Tudway used unsignalled variable bars applicable to all parts. A combination of 3/2 and 2/2 bars covers virtually every contingency (the assiduous reader will find one 5/4 bar in our editions to date). In performance, most particularly in sight-reading, it has been found useful to signal a change in bar length by use of a time signature. We have therefore adopted the following convention: that a tactical change in the number of beats is signalled by a time signature. A strategic change (permanent or long-term; a change to triple time for example) is signalled by the inclusion of a double barline. notAmos barring is intended as an aid to unity of purpose, principally as an aid to the eye. It should not be taken to sanction a Lullian thump on the first beat of each bar. And on occasion it implies a tyranny of the outer parts which is as unwelcome as it is inevitable.
Any bundled part named on the PDF as a 'score' is restricted to a single copy; all other bundled parts are unrestricted.
Copyright dates are not disclosed. It is sufficient to know that they are good for the remainder of the editor's lifetime. This coyness is in accordance with eighteenth century practice: "The late Mr Walsh, finding that old music books were like old almanacs, ceased very early in this [18th] century to ascertain the time of their birth by dates, which have ever since been as carefully concealed as the age of stale virgins" (Charles Burney).
Licensing of Free Downloads
Each free download published by notAmos Performing Editions is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
For details of attribution requirements, please see the relevant score's detail page in this catalogue.
Barring
There is no satisfactory system of barring polyphony. notAmos barring derives from the conventions adopted by Thomas Tudway when compiling his pioneering collection of English polyphony in the second decade of the eighteenth century. Tudway used unsignalled variable bars applicable to all parts. A combination of 3/2 and 2/2 bars covers virtually every contingency (the assiduous reader will find one 5/4 bar in our editions to date). In performance, most particularly in sight-reading, it has been found useful to signal a change in bar length by use of a time signature. We have therefore adopted the following convention: that a tactical change in the number of beats is signalled by a time signature. A strategic change (permanent or long-term; a change to triple time for example) is signalled by the inclusion of a double barline. notAmos barring is intended as an aid to unity of purpose, principally as an aid to the eye. It should not be taken to sanction a Lullian thump on the first beat of each bar. And on occasion it implies a tyranny of the outer parts which is as unwelcome as it is inevitable.
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