Re: hip
Stewart McCoy wrote: snip... music by Holborne, for example, survives in arrangements for cittern, for lute, for bandora, for 5-part ensemble, for consort (of six), and for keyboard. Arrange it for charango, and you'll be utterly HIP. :-) and for cittern + bass (viol?) and for lute, superius and bassus and for treble and bass. Rainer adS
Free tablature pdf files
http://www.shipbrook.com/jeff/bookshelf/details.html?bookid=6 http://www.shipbrook.com/jeff/bookshelf/details.html?bookid=26 Rainer adS
Re: Une jeune fillette
G.R. Crona wrote: Dear List I'm trying to put together a program of the famous continental tune Une Jeune Fillette, known in England as The Queens Almaine (by a.o. Byrd; is there a lute version of Byrd?), in Italy as La Monica, and in Germany as the chorale Von Gott will ich nicht lassen. From my inventory for Welde: 6v/215. Away I have forsworne her Company The Queen's Almain Dallis 47/3the queenes almayne Dallis 213/1 The kinge of Africa For bandora Dallis 223/3 quenes almande For cittern CS B4v THe oulde Almaine. Dd.4.23 32v/1 The queenes Allmaine cf. DB 41: La Jeune Fillette, Daniel Bacheler Herbert 23v-25r La ieune fillette mr Daniel., for lute Pickering 30v-31r/1 [No title], for lute cf. CLM 93: Une jeune filette, John Dowland Montbuysson 11v-12r Ballet., for lute Schele 25-28/1 Del Excellentissimo Musico Jano Dúlando Andegaui, Anno 1614. 22 Jún., for lute cf. Une jeune fillette 266 109rIch ging ein mal spatzsieren ein Wege, for lute 266 109vHupff Auff, for lute 29485 4r almande de la nonette, for keyboard 40032 366/2-367/1 Una fillette Chançon françois, for lute 40032 382-385 La Monacha ballo francese una fillette chançon françoÿs, for lute 40098 No. 108a108. Tantz. Von Gott wil ich nicht laßen., for keyboard 40098 No. 108bDer Sprungkh drauff., for keyboard 40143 25r Vne jeune fillette 14. Novemb, for lute 40143 35r 16 Martij. 1601 / Courr. sur la voix de La jeune fitte, for lute 40143 35v-37v/1 Vne Jeune fillette, for lute 40153 20r/2 La Monicha, for lute 40591 2r [No title], for lute Amsterdam 74v/1 Ein ander Gütter tantz Matth. Wais: XC., for lute Amsterdam 74v/2 Saltarello., for lute Bautzen 18/2Vne Jeune fillette, for lute Berkeley 7578v-9v ???, for lute Berkeley 76025v ???, for lute Besard 1603 73r MA belle si ton ame, for lute and voice Besard 1603 131v-132r Alemande Vne Ieune fillette., for lute Besard 1617 D1v-D2r Vne Jeune fillette, for lute trio Besard 1617 D2v-D3r 2 pars precedentis mod, for lute trio Besard 1617 D3v-D4r 3 pars superioris mod:, for lute trio Bologna 746/a 746/a ???, for lute Bruxelles 16.66227v ???, for lute Caroso 1581 135r/1 Intauolatura di Liuto del Balletto Alta Morona., for lute Caroso 1581 135r/2 La sua Sciolta, for lute Cavalcanti 100v???, for lute Chilesotti 225 Ich gieng ein mage Bayieren, for lute Dc.5.12525r ://:, for lute Delitiae55v-56v/1 Vne Ieune Fillette. / Mr Iacques Pollonis., for lute Delitiae56v/2-57r Ultima Parte. / Joachimus vanden Hove., for lute Gorzanis 156?[3]K3v/2 Balo Todesco, for lute Gorzanis 156?[3]K4r La sua gagliarda, for lute Gorzanis 1579_1 K3v/2 Balo Todesco, for lute Gorzanis 1579_1 K4r La sua gagliarda, for lute Hainhofer 4, 23v Deutscher dantz., for lute II.6.15 528 Von Gott wil ich nicht laßen, for lute II.6.15 540 Von Gott will ich nicht lassen, for lute Jacobides No. 7 Ich ging einmal spatziren, for lute Jobin 15732 F2r/2-F2v/1 Teutscher Dantz., for lute Jobin 15732 F2v/2-F3r/1 Nach dantz., for lute Kargel 1578_4 M1r/1 Almande Ich ging ainmal spaciren, for cittern Kargel 1578_4 M1r/2 Reprinse, for cittern Königsberg 2v/1[No title], for lute Königsberg 2v/2[No title], for lute Königsberg 3r/1[No title], for lute Königsberg 42v/2 Von Gott will Ich nicht lassen, for lute Nobilta 3-vCeleste Giglio., for lute Piccinini 1623 104-106 PARTITE variate sopra quest'Aria francese detta l'Alemanna., for lute Piccinini 1623 107/1 CORRENTE VI: Sopra l'Alemana., for lute Piccinini 1623 107/2 PARTITA, for lute Piccinini 1623 84/2-85/1 CORRENTE XII: Fatta sopra l'aria Francese,che stà à carte 104., for lute Terzi 1593 115/2-117/1 Ballo Tedesco, Francese., for lute Terzi 1593 117/2 Il Saltarello del prescritto ballo, for lute Thysius 380rVne jeune fillette., for lute Vallet 1615 43-44 Vne Jeune fillette A.9., for lute W51030r-31r Ich gieng ein mal spatzieren, for lute Waissel 1573_3 M2r/1 46 Tantz., for lute Waissel 1573_3 M2r/2 Sprunck., for lute Wurstisen 268 ???, for lute
Re: Tablature rhythm signs
Stewart McCoy wrote: .. The note known as a long would not normally feature in tablature, because tablature was nearly always barred. If a very long note was required (long or otherwise), it would be notated as lots of shorter notes tied together from one bar to the next. Milan uses the longa and it looks - like a longa :) Rainer adS
Music's Duel
Richard Crashaw THE DELIGHTS OF THE MUSES. MUSIC'S DUEL. NOW westward Sol had spent the richest beams Of noon's high glory, when, hard by the streams Of Tiber, on the scene of a green plat, Under protection of an oak, there sat A sweet lute's master : in whose gentle airs He lost the day's heat, and his own hot cares. Close in the covert of the leaves there stood A nightingale, come from the neighbouring wood : The sweet inhabitant of each glad tree, Their muse, their Syren, harmless Syren she, There stood she list'ning, and did entertain The music's soft report, and mould the same In her own murmurs, that what ever mood His curious fingers lent, her voice made good. The man preceived his rival, and her art ; Disposed to give the light-foot lady sport, Awakes his lute, and 'gainst the fight to come Informs it, in a sweet præludium Of closer strains ; and ere the war begin He slightly skirmishes on every string, Charged with a flying touch ; and staightway she Carves out her dainty voice as readily Into a thousand sweet distinguish'd tones : And reckons up in soft divisions Quick volumes of wild notes, to let him know By that shrill taste she could do something too. His nimble hand's instinct then taught each string A cap'ring cheerfulness ; and made them sing To their own dance ; now negligently rash He throws his arm, and with a long-drawn dash Blends all together, then distinctly trips From this to that, then, quick returning, skips And snatches this again, and pauses there. She measures every measure, everywhere Meets art with art ; sometimes, as if in doubt Not perfect yet, and fearing to be out Trails her plain ditty in one long-spun note Through the sleek passage of her open throat : A clear unwrinkled song ; then doth she point it With tender accents, and severely joint it By short diminutives, that, being rear'd In controverting warbles evenly shared, With her sweet self she wrangles ; he, amazed That from so small a channel should be raised The torrent of a voice, whose melody Could melt into such sweet variety, Strains higher yet, that tickled with rare art The tattling stringseach breathing in his part Most kindly do fall out ; the grumbling base In surly groans disdains the treble's grace ; The high-perch'd treble chirps at this, and chides Until his fingermoderatorhides And closes the sweet quarrel, rousing all, Hoarse, shrill, at once : as when the trumpets call Hot Mars to th' harvest of death's field, and woo Men's hearts into their hands ; this lesson, too, She gives him back, her supple breast thrills out Sharp airs, and staggers in a warbling doubt Of dallying sweetness, hovers o'er her skill, And folds in waved notes, with a trembling bill, The pliant series of her slippery song ; Then starts she suddenly into a throng Of short thick sobs, whose thundring volleys float And roll themselves over her lubric throat In panting murmurs, 'still'd out of her breast, That ever-bubbling spring, the sugar'd nest Of her delicious soul, that there does lie Bathing in streams of liquid melody, Music's best seed-plot ; when in ripen'd airs A golden-headed harvest fairly rears His honey-dropping tops, plough'd by her breath, Which there reciprocally laboureth. In that sweet soil it seems a holy quire Founded to th' name of great Apollo's lyre ; Whose silver roof rings with the sprightly notes Of sweet-lipp'd angel-imps, that swill their throats In cream of morning Helicon ; and then Prefer soft anthems to the ears of men, To woo them from their beds, still murmuring That men can sleep while they their matins sing ; Most divine service ! whose so early lay Prevents the eyelids of the blushing day. There might you hear her kindle her soft voice In the close murmur of a sparkling noise, And lay the ground-work of her hopeful song ; Still keeping in the forward stream so long, Till a sweet whirlwind, striving to get out, Heaves her soft bosom, wanders round about, And makes a pretty earthquake in her breast ; Till the fledged notes at length forsake their nest, Fluttering in wanton shoals, and to the sky, Wing'd with their own wild echos, pratt'ling fly. She opes the floodgate, and lets loose a tide Of streaming sweetness, which in state doth ride On the waved back of every swelling strain, Rising and falling in a pompous train ; And while she thus discharges a shrill peal Of flashing airs, she qualifies their zeal With the cool epode of a graver note ; Thus high, thus low, as if her silver throat Would reach the brazen voice of war's hoarse bird ; Her little soul is ravish'd : and so pour'd Into loose ecstasies, that she is placed Above herselfmusic's enthusiast ! Shame now and anger mixed a double stain In the musician's face ; yet once again, Mistress, I come.Now reach a strain, my lute, Above her mock, or be for ever mute ; Or tune a song of victory to me, Or to thyself sing thine own obsequy ! So said, his hands sprightly as fire he flings,
Re: Une jeune fillette again
This is the Schele version - attributed to Dowland. Rainer Ed Durbrow wrote: I never did figure out which version of Une jeune fillette I have. Being unfamiliar with the gazillion concordances in Rainer's database, I have no idea which one it could be. I've determined that I am probably missing 38 measures or more. It seems like I have the beginning and ending pages and am missing the middle page. Once through the complete song seems to be 48 measures. I have two complete iterations with 8 extra measures at the bottom of the first page that correspond with the beginning and 2 at the start of the second page that correspond with an end. Let me try to write the beginning and ending in tab and see if it is familiar to anyone. Spacing approximates duration.Please use a mono spaced font. The first line. |__|___a__|b__d_b_|a__|_|_|a_|| |__|d__r__|d__|_d_|b_a__|a_b_d|b_|d___a_r_| |_d|d__d__|d__|___|d|b___d|__|d___| |__|a_|a__|___|r|a|__|a___| |__|___a__|___r___|d__a___|_|_|e_|| |__|__|___|___|b|d___b|a_|| The last line: |__a_b___|a__|___|_| b_d_b_a___a_b___|a___a_r_d_d_|__d_b_a_r__a_r_|d__b_a_|_| d_d_|__d_|___|d__d_b_a___|_| ||a___r__|ar_|a| a___||___|___|___a_| b___|d___|___|___|_| aa a Thanks in advance to anyone who can identify this and double thanks to anyone who can supply me with the missing middle variation(s).
Re: Je by Dowland
Richard Corran wrote: I am aware of versions of variations on Une Jeune Fillette as follows:- Schele Ms (Hamburg) attributed to Dowland but with similarities to but not the same as Batchelar, see below - I have to rely on other views of this because my photocopy has the attribution cut off and I can't work out folios or page numbers, 9 course, 7th - 9th course in F, E flat and C Besard - Thesauris Harmonicus, 7th Book, Allemandes, P 131v. - 7 course, 7th course in F Vallet - Secretum Musarum 1, Fol F3, p 43. 9 course, 7th - 9th course in F, E flat and C den Hove 1612 (Delitiae Musicae) attributed to Jaob Polak (Iacques Pollonis) but with an added variation by den Hove himself, Fol 55v, 7 course, 7th in F Lord Herbert of Cherbury and Pickering both have Batchelar's version, not quite identical (are they ever?) but undoubtedly the same version with only minor variants apart from variations 5 and 6 in Herbert which are absent from Pickering I am also aware of a courante in Piccinini 1623 book and OI think a version for Chitarrone. There are doubtless many others, perahps under the name of La Monica or even, I understand a Bach Chorale. Does anyone know of any others? Erm you have missed a few (from an electronically generated inventory for Newsidler's 1574 book): K1v/3-K2r/1 36. 28. Ich gieng ein mal spacieren. MN 31a Ich gieng einmal spazieren, Melchior Neusidler cf. DB 41: La Jeune Fillette, Daniel Bacheler Herbert 23v-25r La ieune fillette mr Daniel., for lute Pickering 30v-31r/1 [No title], for lute cf. CLM 93: Une jeune filette, John Dowland Montbuysson 11v-12r Ballet., for lute Schele 25-28/1 Del Excellentissimo Musico Jano D´ ulando Andegaui, Anno 1614. 22 J´ un., for lute cf. The Queens Almain CS B4v THe oulde Almaine., for cittern Dallis 47/3 the queenes almayne, for lute Dallis 213/1 The kinge of Africa, for lute Dallis 223/3 quenes almande, for bandora Dd.4.23 32v/1 The queenes Allmaine, for cittern Welde 6v/2 Away I have forsworne her Company, for lute cf. Une jeune fillette 266 109r Ich ging ein mal spatzsieren ein Wege, for lute 266 109v Hupff Auff, for lute 29485 4r almande de la nonette, for keyboard 40032 366/2-367/1 Una fillette Chanc¸on franc¸ois, for lute cf. DB 41: La Jeune Fillette, Daniel Bacheler Herbert 23v-25r La ieune fillette mr Daniel., for lute Pickering 30v-31r/1 [No title], for lute cf. CLM 93: Une jeune filette, John Dowland Montbuysson 11v-12r Ballet., for lute Schele 25-28/1 Del Excellentissimo Musico Jano D´ ulando Andegaui, Anno 1614. 22 J´ un., for lute cf. The Queens Almain CS B4v THe oulde Almaine., for cittern Dallis 47/3 the queenes almayne, for lute Dallis 213/1 The kinge of Africa, for lute Dallis 223/3 quenes almande, for bandora Dd.4.23 32v/1 The queenes Allmaine, for cittern Welde 6v/2 Away I have forsworne her Company, for lute cf. Une jeune fillette 266 109r Ich ging ein mal spatzsieren ein Wege, for lute 266 109v Hupff Auff, for lute 29485 4r almande de la nonette, for keyboard 40032 366/2-367/1 Una fillette Chanc¸on franc¸ois, for lute 40032 382-385 La Monacha ballo francese una fillette chanc¸on franc¸o¨ ys, for lute 40098 No. 108a 108. Tantz. Von Gott wil ich nicht laßen., for keyboard 40098 No. 108b Der Sprungkh drauff., for keyboard 40143 25r Vne jeune fillette 14. Novemb, for lute 40143 35r 16 Martij. 1601 / Courr. sur la voix de La jeune fitte, for lute 40143 35v-37v/1 Vne Jeune fillette, for lute 40153 20r/2 La Monicha, for lute 40591 2r [No title], for lute Amsterdam 74v/1 Ein ander G¨ utter tantz Matth. Wais: XC., for lute Amsterdam 74v/2 Saltarello., for lute Bautzen 18/2 Vne Jeune fillette, for lute Berkeley 757 8v-9v ???, for lute Berkeley 760 25v ???, for lute Besard 1603 73r MA belle si ton ame, for lute and voice Besard 1603 131v-132r Alemande Vne Ieune fillette., for lute Besard 1617 D1v-D2r Vne Jeune fillette, for lute trio Besard 1617 D2v-D3r 2 pars precedentis mod, for lute trio Besard 1617 D3v-D4r 3 pars superioris mod:, for lute trio Bologna 746/a 746/a ???, for lute Bruxelles 16.662 27v ???, for lute Caroso 1581 135r/1 Intauolatura di Liuto del Balletto Alta Morona., for lute Caroso 1581 135r/2 La sua Sciolta, for lute Cavalcanti 100v ???, for lute Chilesotti 225 Ich gieng ein mage Bayieren, for lute Dc.5.125 25r ://:, for lute Delitiae 55v-56v/1 Vne Ieune Fillette. / Mr Iacques Pollonis., for lute Delitiae 56v/2-57r Ultima Parte. / Joachimus vanden Hove., for lute Gorzanis 156?[3] K3v/2 Balo Todesco, for lute Gorzanis 156?[3] K4r La sua gagliarda, for lute Gorzanis 15791 K3v/2 Balo Todesco, for lute Gorzanis 15791 K4r La sua gagliarda, for lute Hainhofer 4, 23v Deutscher dantz., for lute II.6.15 528 Von Gott wil ich nicht laßen, for lute II.6.15 540 Von Gott will ich nicht lassen, for lute Jacobides No. 7 Ich ging einmal spatziren, for lute Jobin 15732 F2r/2-F2v/1 Teutscher Dantz., for lute Jobin 15732 F2v/2-F3r/1 Nach dantz., for lute Kargel 15784 M1r/1 Almande Ich
Re: Je by Dowland
Ed Durbrow wrote: I've been looking at variations on Une Jeune Fillette. The tab looks like it had been cut up, pasted together and then photocopied in order to eliminate a notation transcription and fit the tab onto two pages. The typesetting looks like the Poulton book. I'm sure I got this from my old roomate who often pasted things up like that. It was in my Dowland folder. Can anyone furnish me with information on it's provenance? Stylistically, it sounds so much like Vallet to me. Is it sure this is Dowland? TIA The pice appears in two sources: Schele, 25-28/1, Del Excellentissimo Musico Jano Dúlando Andegaui, Anno 1614. 22 Jún. Montbuysson, 11v-12r, Ballet. The version in the Kassel Ms is much shorter. In her dissertation Claudia Knispel speculates that Schele may have added his own variations to the piece which perhaps was really composed by Dowland. It is very unlikely that Dowland composed all those variations in Schele... Rainer adS
Re: milano concordances
Taco Walstra wrote: hello, does anybody have a list of ness numbers and their location in original editions? I've a few facsimile editions with milano pieces but would like to know which ness numbers they have. Taco Walstra I have only entered a few Milano pieces in my database: Piece Source Page/No.Title in source Ness, No. 11266 27vRe.car MD. La Ness app. 4305637v-38v A fancie. Ness 3340032 218-219 Fantasia di Francesco Milanese Ness 3440032 220-221 Fantasia del Franc.co de Milano Ness 2440632 43v-44r Fantasia de Franco Mila. Ness app. 13Becchi 1568[1] 85-86 Recercare Ness 20Casteliono 1536[9] 3r-4v Fantasia del diuino Francisscho da Milano Ness 21Casteliono 1536[9] 25r-25v Fantasia del diuino Fran. Da Milano Ness 22Casteliono 1536[9] 54r-55r Fantasia del diuino Francesco da Milano Ness 23Casteliono 1536[9] 55r-56v [contents:] Fantasia del ditto Ness 24Casteliono 1536[9] 62r-63v Fantasia del diuino Francisscho da Milano Ness 34Cavalcanti 70r-71r Ricerca di francesco da Milano / [contents:] Ricercha fantasia Dj f Da mj Ness 33Cavalcanti 71v-72v Ricercha Di Fr: / [contents:] Richercha Dj Fo Da milano Ness, No. 4 Cavalcanti 73v Ricercha di Francesco da Milano Ness 33ChCH 1280 ?? ??? Ness 40Dallis 99/1 fantasia Ness, app. 8Dc.5.12522v-24v/1 F. Ness 33Dc.5.12526v-28v .f. Ness, app. 30 (Josquin: Benedicta es) Dc.5.12547v-50r .r. .B. / T. f. Ness, app. 30 (Josquin: Benedicta es) Dc.5.12581v-84r benedicta Ness, No. 87b Dc.5.12584v-86r/1 a fansi de francesco [?]de melayne Ness, app. 29 Dd.2.11 1r/3 francesco Ness 83Dd.2.11 16r/1 fantasia fran:de melan Ness 82Dd.2.11 16r/2 Fantasia Fra. de Mylan Ness 83Dd.2.11 18r/2 fantazia Ness, No. 11Dohna No. 45 Recercario Ness, No. 3 Gerle 1546[9] a1v-a2r Priambel Ness 33Hainhofer3, 11v-12v Phantasia Diomedis Ness 33Haslemere II.C.23 13/6??? Ness, No. 3 Heckel 1556[6] ??? ??? Ness, No. 3 Heckel 1562[4] 211-214 Ein sehr lieblich Fantasey durch Wolff Heckel Ness, No. 62Hirsch 64v/2 No Title Ness 83Hirsch 65v/1 No Title Ness 33II.6.15 52-53 Fantasia / Gregory 8 Ness 30Kargel 1586[5] 5r-5v FANTASIA I Ness 33Kargel 1586[5] 7v Fantasia Ness, No. 3 Marsh94 fansy by franc Mylla. Ness 28Marsh 129 No Title Ness, No. 39Marsh 138 No Title Ness, No. 5 Marsh 173-175/1 No Title Ness app. 3Marsh 228/2-229 No Title Ness 31Matelart 15598v/1 Seguens le Recercate concertate / Di M.Francesco Milanese la prima. Ness 41Matelart 15598v/2 La seconda Ness 32Matelart 15599v/1 Fantasia di M.Francesco Milanese la quarta. Ness 40Matelart 15599v/2 Fantasia di M.Francesco Milanese la quinta. Ness 33Mertel 206/2-208/1 Phantasiæ et Fugæ 68 Ness 83Mertel 222/2-223/1 Phantasiæ et Fugæ 79 Ness, No. 1 Milano 1536[3] 2r-3r/1Recercare Ness, No. 2 Milano 1536[3] 3r/2-3v/1 Recercar Ness, No. 3 Milano 1536[3] 3v-4v Recercare Ness, No. 4 Milano 1536[3] 4v Recercar Ness, No. 5 Milano 1536[3] 4v-6r Recercar Ness, No. 6 Milano 1536[3] 6v-7r Recercar Ness, No. 7 Milano 1536[3] 7v Recercar Ness, No. 8 Milano 1536[3] 7v-8r Recercar Ness, No. 9 Milano 1536[3] 8v-9r Recercar Ness, No. 10Milano 1536[3] 9r-9v Recercar Ness, No. 11Milano 1536[3] 9v Recercar Ness, No. 12Milano 1536[3] 9v-10v Recercar Ness, No. 13Milano 1536[3] 10v-11r Recercar Ness, No. 14Milano 1536[3] 11r Recercar Ness, No. 15Milano 1536[3] 11v-12r Recercar Ness, No. 16Milano 1536[3] 12r/2-12v/1 Recercar Ness, No. 17Milano 1536[3] 12v-13v Recercar Ness, No. 18Milano 1536[3] 13v-14v Recercar Ness, No. 19Milano 1536[3] 14v-16r Recercar Ness 96, Mon père si ma marie Milano 1536[3] 16r-17r Mon per si ma marie Ness 97, La plus gorgiase du monde Milano 1536[3] 17r-17v Le plus gorgias du monde Ness 98, Que voulez vous dire de moi Milano 1536[3] 17v-18r Chi uoleno dir de moy Ness 99, Tu disois que je mourroye Milano 1536[3] 18r-19r Tu discois Ness 100, Fors seulementMilano 1536[3] 19r-19v Fort. se. lament Ness 101, Nous Bergiers Milano 1536[3] 20r-20v Nos bergiers Ness 102, Can gieto fu marieMilano 1536[3] 20v-21v Can gieto fu marie Ness 103, Si la nature en la diversité Milano 1536[3] 21v Se la natura Ness 104, Gentil galans Milano 1536[3] 22r Gentil galans Ness 105, Resjouissez vous bougeoises Milano 1536[3] 22v-23r Resionit Ness 106, Las je m'y plains
Re: Vihuela Songs - cd-rom
What's the resolution (size in pixels) of the images? Rainer adS G.R. Crona wrote: Jason, I just received the CD-rom. WOW!!! This is indeed good news for us vihuela buffs! Just a suggestion to your problem with accessing the pages consecutively. Simple. Access them from the imagenes folder, using another graphics program like ACDSee32. You can then shift pages just by hitting space. Unfortunately some of the images are difficult to read the text from, (like the mensurally notated songs in Valderrabano. Anyway. This is excellent value, and a format I hope will be applied to further works of interest to us all. Best Regards Göran - Original Message - From: Jason Yoshida [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: 15. januar 2004 22:39 Subject: RE: Vihuela Songs - cd-rom | I just got the cd-rom with the 7 vihuela books yesterday. You can get it | from Los Angeles Classical Guitars. www.lacg.net | The cd-roms are not posted on the website yet because they received the | shipment on the same day I was there. Just call or email them to buy the | Cd-Rom. I think it was about six-eight or seventy-dollars. | It is a really nice Cd-rom and it comes with an eighty-six page booklet | (in Spanish). The facsimiles are accessed through a navigational GUI | program. You can also print from it. I think the program is a bit clumsy | to navigate if you are trying to play from the screen. Maybe I have not | figured it out yet, but you cannot go to the next page when the pages | are shown at full size. You have to return to the index. I also think | you cannot size fit taller pages to fit on the computer screen. Maybe I | need to play with it more but it's probably better not to spend a lot of | time reading music from a CRT. The reproductions are very clear. | The really wonderful part about this publication, besides having all of | the main vihuela books, is that the pieces for vihuela and voice are | reproduced in color. You can see the vocal melody notated as red numbers | in the tablature. | | Regards, | Jason Yoshida | | | -Original Message- | From: Monica Hall [mailto:[EMAIL PROTECTED] | Sent: Thursday, January 15, 2004 6:30 AM | To: Stewart McCoy | Cc: lutenet | Subject: Re: Vihuela Songs | | The Charles Jacobs Milan edition was published by Pennsylvania State | U.P. | in | 1971. The Leo Schrade edition of Milan originally published by Breitkopf | | Hartel and reprinted by Georg Olms in 1976 (still available I think) | does | have both tablature with the voice part in italics and a transcription | | The problem with Charles Jacobs, and the MME volumes is that the music | is | sometimes transcribed in odd keys due to a misunderstanding about the | instructions which appear at the beginning of many of the pieces which | match | them to the hexachordal system. A list of Vihuela tablature - | facsimiles | and complete editions compiled by yours truly is in the October 2002 | issue | of | Lute News. | | The CDROM should be on sale at the Lute Society meeting in London on | Saturday - price £36. | | Monica | | | | - Original Message - | From: Stewart McCoy [EMAIL PROTECTED] | To: Lute Net [EMAIL PROTECTED] | Sent: Thursday, January 15, 2004 11:01 AM | Subject: Vihuela Songs | | | Dear David, | | Charles Jacobs has edited Luys Milan's _El Maestro_. I'm afraid I | don't have a copy to hand, so can't provide all the bibliographical | details. He also edited Fuenllana's _Orphénica Lyra_. I looked at | this book the other day to check something out, so have the details | jotted down: Miguel de Fuenllana, _Orphénica Lyra_, ed. Charles | Jacobs (Oxford: Oxford University Press, 1978). A transcription of | the vihuela music of Narvaez and Valderrábano were published as part | of the Monumentos series. | | -o-O-o- | | Talking of the vihuela, a message has just been posted to the | Spanish Vihuela Mailing List by Carlos González. He is selling CD | Roms of all seven printed books of vihuela music in facsimile for a | mere 60 euros, or 50 euros for members of a lute society. The | contact address is | | [EMAIL PROTECTED] | | I could pass on a copy of his e-mail (in Spanish), which he sent to | the Vihuela List, but I don't know if it is acceptable to copy | messages from one list to another like that. | | Wayne, please could you tell me if it would be in order to do this? | | Best wishes, | | Stewart. | | | - Original Message - | From: David Rastall [EMAIL PROTECTED] | To: [EMAIL PROTECTED] | Sent: Thursday, January 15, 2004 12:06 AM | Subject: Vihuela Songs | | | Hi Luters, | | Are there any modern editions available of Spanish vihuela songs? | I | have the Mudarra facsimile, which has some songs in it, but I'm | wondering what there is available in modern edition of songs of | other | 16th-century Spanish composers (unfortunately, my Milan
Re: Mad Dog
Leonard Williams wrote: A short while back, there was a thread concerning a composition from the 2nd Matthew Holmes Lute Book entitled Mad Dog. I have some questions about it: 1) Was this the actual title in the book, or was it simply a title chosen for the program in which it was performed? This title is based on nothing. 2) Is this perhaps a galliard? yes. 3) Composer known, or the prolific Irishman Anon O'Mouse? Holborne. Rainer adS
Re: Contnl. double 1st?
Haven't you read my citation from Virdung? By the way, the lute on the title page of Besard's Isagoge has a double first course. On the other hand Attaignant says (Tres brève ...): Le lutz a XI cordes ordonnez par six ordres... and Enguilbert de Marnef (1556): .. a cause que l'on met deux cordes pour une par tout, fors au son le plus haut, ... Like Virdung, he mentions lutes with 7 courses. Rainer adS Arne Keller wrote: Again: Double 1st course is English usage/invention, only later spread to continent. Right? Arne.
The Chilesotte Book
Dear lute netters, today I received Chilesotti's famous edition of the lost lute book via ILL. I have to say that I am disappointed. In general the music is rather simple, often boring and only a few pieces are really charming. By the way, the title of the piece on page 176 (which Chilesotti could not decipher) is Huner gschrai = Hühnergeschrei. This reminds me of Gallus et Gallina in Besard's 1617 book. Rainer adS
Re: Gerle
Jason Kortis wrote: Hello everyone, Does anyone know where I might find some information about Gerle's Das ander Buch Laub 1549? Specifically, who are the composers and does the book contain reprints of earlier works? Best regards, Jason ??? Such a book does not exist. Do you mean Neusidler's book? The Laub doesn't make sense :) Rainer adS
Re: new pictures
Stewart McCoy wrote: Dear Arne, Martin is absolutely right. 1) In _The Schoole of Musicke_ (London, 1603) Thomas Robinson gives instructions on how to tune the lute. He begins with the 1st course, which, as far as he is concerned, clearly consists of two strings: Now you shall learne to tune your Lute, and for a generall rule, first set up the _Treble_ so high as you dare venter [=venture] for breaking, setting them both in one tune or sound called an unison .. That's pretty unequivocal. Treble is singular, because it refers to the first course, but the rest of the quotation shows that it is a double course. 2) In his Other Necessary Observations belonging to the Lute in Robert Dowland's _Varietie_ (London, 1610) John Dowland refers to Trebles (plural) for the 1st course: ... first set on your Trebles, which must be strayned neither too stiffe nor too slacke, but of such a reasonable height that they may deliver a pleasant sound ... Again, it is quite clear that Dowland has in mind a lute with a double first course. 3) On page 41 of _Musick's Monument_ (London, 1676) Thomas Mace writes: And here you must take notice, that when we say a Lute of 12 Strings, there are but 6; and likewise a Lute of 24 Strings, there are but 12, (as to substantial Use). Virdung already mentions lutes with 13 or 14 Strings, i.e. 7 courses. Rainer adS
Re: commas and cents
BobClair or EkkoJennings wrote: PS: If anyone asks you why temperament ?, the shortest answer is 2 to the N th power = 3 to M th power has no non-trivial solutions for integer N and M If nothing else that should leave the questioner in stunned silence while you make your escape. :-) Even a mathematical idiot will know that 2 is even and 3 is odd... Rainer adS
Re: lute and viol
nigelsolomon wrote: Does anybody have the gamba part for the pavan for lute and viol by Francis Pilkington (1st book of Ayres)? Thanks Nigel Yes, I have it. I can send a pdf file. Rainer adS
Re: Tab/Staff and the rest of it
[EMAIL PROTECTED] wrote: snip And in view of the fact that so much lute music has been transcribed for the guitar, it seems to me that one could do the same for the lute without losing overmuch. I guess this the point you are missing. Almost no lute music has been transcribed for guitar. Before the 18th century the lute was by far the most important instrument. According to Arthur at least 60.000 to 80.000 pieces for lute have survived. A few hundred pieces have been transcribed for the guitar and nobody will transcribe all these pieces into anything. If you want to play the lute you have to read tablature - you simply have no choice... Rainer adS
Re: Assorted Questions
Arne Keller wrote: Hans Dagobert Bruger, in his Schule des Lautenspiels, Wolfenbuettel 1926, explains the name Judenkunig in this way: Der auffallende Name Judenkunig oder Judenkuenig (d.i. Juden-Koenig) erklaert sich daraus, dass ein Ahnherr dieses Namens ihn als Beinamen wegen seiner Mitwirkung bei Passionsspielen in der Rolle des Christus oder Judenkoenigs empfing. The remarkable name Judenkunig or Judenkoenig (i.e. Jew-King) is explained by the fact, that a predecessor was given this name as a nick-name, due to his participation in passion plays in the role of Christ, King of Jews. In his article about Judenkunig Rudolf Henning mentions that a Hartmann Schmid (possibly JK's grandfather) is mentioned as called Judenküng in 1420 and 9 years later as Hartmann Jundenküng. Apparently he adopted his nickname as his official name. Rainer ads PS See LS journal 1976.
For Francesco Tribioli
Francesco, your account is broken - in the hope that you have another one :) Rainer adS
Re: Conversion table, 1/1000 inch to mm.
Most people on this list know how to multiply. Rainer adS Herbert Ward wrote: Here is a table for conversion from thousandths of an inch to millimeters (and vice-versa). It can be used, for example, in ordering strings from mearsurements with an American micrometer. The table is computer generated, and pasted with a mouse, so there are no typos, calculator mistakes, or round-off errors. Example:52 thousandths inch = 1.32 mm. 0 = 0.00 50 = 1.27 100 = 2.54 150 = 3.81 bla, bla, bla, ...
Re: Gypsie's Lilt
Thomas Schall wrote: Hi, this is one of the most beautifull chords in renaissance lute music! Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha This is by far the most ridiculous error I have seen in any lute manuscript. And - BTW - it HAS to be a chord which sounds a bit out of place given the progression of the music. Sure, and 2 + 2 = 5. I well remember the discussion we had about the chord several years ago as Rob still pleeded for Lutars for an independant scotland :-) So do I - I can't believe it - once again... Rainer adS
Re: historical fretting instructions
Howard Posner wrote: Rainer aus dem Spring at [EMAIL PROTECTED] wrote: Of course, there is Galilei's 18/17 rule. My recollection is that this is the only historical instruction for equal temperament. Can anyone think of another? Mersenne (a rather mediocre mathematician, by the way) Zarlino Bermudo (he descibes different tuning systems) Faulhaber 1630 Brouncker, 1653 Rainer adS
Re: Welde Lute Book
[EMAIL PROTECTED] wrote: I find Stewart McCoy's discussion fascinating. His distinction between primary sources and the sometimes crucial value of secondary sources when they preserve evidence of notations recently lost is important. As an art conservator specializing paintings in the museum field I deal with these matters and issues quite regularly. The challenge of understanding original artistic intent, especially when compromised by damage or change, must be understood not only in the original work of art, but also through critical and direct comparison with early copies of works of art. Sometimes these copies provide important clues on color intensities, compositional completeness, and context which are lost in the autograph version of a painting. When involved in a restoration treatment, I must consider all the surviving evidence to understand artistic intent, aesthetic appearance, and interpretation of a work of art. With the lute, for example, think of where we would be without the sole extant copies of the Chilesotti lutebook or the Straloch lutebook... Erm, I can live without the Straloch book :) Rainer
