Re: reentrant tuning
Actually I meant what I said. Without belaboring the point, whether you think of the tuning of 16c 4 cs guitar tunings (g,c,e,a or a,c,e,a) as reentrant or not depends on if you think of the bourdon as the primary or secondary string. Assuming that you are using a one at all. (The practice of using a bourdon for the low g or a does seem pretty much universal.) Craig - Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger --
Re: reentrant tuning
At 07:56 AM 6/7/04, you wrote: Actually I meant what I said. Without belaboring the point, whether you think of the tuning of 16c 4 cs guitar tunings (g,c,e,a or a,c,e,a) as reentrant or not depends on if you think of the bourdon as the primary or secondary string. Craig, Can you cite any examples of 16th cent guitar music that uses the bourdon as a secondary string? In light of later guitar practice it is interesting to imagine that 4th course as an octave higher but LeRoy and Morlaye consistently treat it as the lowest note available*. Sometimes they even tuned it down a step for a little more reach. I haven't gone through all the vihuelist books yet so you may know something I don't...and should. And tell me more of this a,c,e,a tuning. Where does this turn up? Sean *admittedly the hurdygurdy-like Branles de Poitou in LeRoy's 3rd book could go either way but would hardly justify restringing the guitar. Assuming that you are using a one at all. (The practice of using a bourdon for the low g or a does seem pretty much universal.) Craig - Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger -- --
My Sweetest Lesbia
Dear List, Campion's My Sweetest Lesbia is mostly in 3/4 (indicated by a 3 in the original tab), but the last two measures are in 4/4 (or perhaps 2/2 would better reflect the C-slash in the original). How should this be played. Does the duration of the 1/4 notes stay the same throughout, or should the tempo speed up by a factor 4/3 so that the time between down beats stays the same? If neither, then what? Peter. -- the next auto-quote is: If only God would give me some clear sign! Like making a large deposit in my name in a Swiss bank. (Woody Allen) /\/\ Peter Nightingale Telephone (401) 874-5882 Department of Physics, East Hall Fax (401) 874-2380 University of Rhode Island Kingston, RI 02881
Heringman CD
Greetings All Again from Axel: I also forgot the name of Mr. Herringman's latest CD, but want a copy of it to work with the issue of the LSA Journal which has published the music from it. Let us all hope that Mr. Herringman brings many copies of this CD for sale to Cleveland. Best Wishes, Axel --
Re: really bad deals and reentrant tuning
it would make sense to me to assume that string manufacturing influenced how early instruments were tuned. flabby g's sounded better when they were tuned up an octave but too-taught e's probably didn't last the course (pun intended). it would also make sense to assume that if a combination of strings made a decent sound it would continue be used in remote parts of europe, on a variety of instruments where musical fashion and technical innovation (better string manufacturing, methods of play and tuning, notation, etc.) didn't have much impact, ie in remote, rural areas - long after it fell out of fashion in town. the music and instruments that were first introduced to south america and hawaii came from working people (sailors, farmers, etc.) not court musicians. these folk methods of tuning were probably considered hopelessly rustic and rude by trained musicians. if documentation doesn't exist to support the existence of reentrant tuning or alternative tunings in the renaissance and baroque periods, then how did what eventually became a ukulele get its reentrant tuning and how did the vihuela that eventually became a charango end up with that clanger of an octave 3rd? the reason i originally asked the question had more to do with sound than history. a ukulele just doesn't sound like early music to me - a medieval tune like caldy valdy on my charango sounds like something from the andes. i hope this doesn't get misconstrued as a bizarre sweeping statement - i'm just curious. - bill
Re: Ice cream and gentleness...
I am frightened that a single letter inserted into a word (not of the sender's native language) should create such baggage as to be noted on the list. JWM But I do well respect if someone decides to use the music as a private entertainment. And even when playing in public it could be that you are playing for yourself - a good way to reduce stage-freight BTW. I think the latter can only be alleviated by the imposition of customs duties and excise taxes collected at the door. RT
Re: Moot (off topic)
Yes, but in this country if you ask someone: Do you like Kipling?, you'll get an answer: I don't know, how does one kiple?. Hence the dictum. RT Was this from the Man Who Would Be King? His mistake was not knowing the country he was in. JWM
Re: Ice cream and gentleness...
Thomas, Quite right, I started performing for others in about 1948 - and alternated between stage fright and competance for years. I learned years ago that if one enjoys one's own music the audience will sense that, and respond. There are technical audiences who are listening for detail, but to hell with them. If they want a mechanic then more power to them, they will never be satisfied as they will always look for a higher perfection. There is nothing more boring in music than rote perfection (unless it is an old man pontificating g). Music is a living thing, and if you can't smile to yourself as you play it then the audience will know. You and the audience are sharing the ice cream, and the secret of the music. Best, Jon
Re: really bad deals and reentrant tuning
What is re-entrant tuning. In computer programming it is a form such that a subroutine can be used again and again during a system routine without distrurbing the basic program. I'll not get into the details, but it was a question when we used to program in machine language and real time. Best, Jon
Re: Fancy metronome.
I have an organic metronome, and it also skips a beat now and then. It is a cat, with a very active tail and a basic 4/4 beat. But she can be recycled into 3/4 with well timed shouts. Best, Jon
Re: My Sweetest Lesbia
Peter, I don't think there is an answer to your question. I have seen it in the theoreticals both ways - maintain the beat of the note, or the time of the measure. In the absence of a CD by Campion, which might be hard to find, I'd say that your feeling for the sound should be as good as anyone else's. Tempo is a bitch when looking at old tabs, and even modern score. Is 6/8 really 2/2 played with triplets? Best, Jon
