from:"mjlh...@tiscali.co.uk"

[BAROQUE-LUTE] Re: Yet more Re: [VIHUELAR) Re: Moravsky Manuscript AND five course guitar stringing

2018-01-07 Thread mjlh...@tiscali.co.uk

I can't possibly respond to all of this.  You seem to be so muddled 
that it is difficult to grasp what you actually mean..
I think your interpretation of the tablature tuning checks is simply 
wrong. The fact that much of the music does not use the sixth unstopped 
course,(or for that matter the seven unstopped courses of the mandora) 
is irrelevant.  The tablature tuning check for the gytara indicates 
that it has 5 stopped courses and one unstopped bass. You are muddling 
up two different facets of the manuscript. None of this has any bearing 
on how the 5-course guitar was strung.

My analysis of the keys of the pieces is as accurate as I could make in 
the time available.The pieces which use the sixth course are in C major 
or flat keys and the ones which do not are almost all in A major, with 
a few in D major.   The manuscript was obviously copied over a period 
of time.  The pieces from f.76v form a new section with pieces numbered 
1-56, probably copied at a later date.  The manuscript is a very 
complex document.

You also seem to be confused about Stradivarius. It is not clear 
whether these instruments are lute shaped or figure of 8 shaped. The 
surviving patterns are of the neck and pegboxes only. The stringing 
instructions for the one of them indicate that the high octave strings 
are on the thumb side of the course.  

I will have to leave it there.

As ever
Monica

Original Message
From: hodgsonmar...@yahoo.co.uk
Date: 07/01/2018 14:48 
To: "Monica Hall"<mjlh...@tiscali.co.uk>, "Daniel Shoskes"<dshoskes@mac.
com>, "VihuelaList"<vihu...@cs.dartmouth.edu>, "Baroque Lute List"
<baroque-lute@cs.dartmouth.edu>
Subj: Yet more Re: [VIHUELAR) Re: Moravsky Manuscript AND five course 
guitar stringing

Dear Monica.
My responses are interposed below in bold, new roman and italic for 
clear differentiation (sadly, though, not in my preferred typeface for 
the others on the list version which only goes to them in standard 
typeface and no spacing but, from what Wayne tells me, it'll reach you 
with correct typeface etc)
I think we must still agree to disagree about much of 
this!......
Best wishes,
Martyn
  From: "mjlh...@tiscali.co.uk" <mjlh...@tiscali.co.uk>
 To: hodgsonmar...@yahoo.co.uk; Daniel Shoskes <dshos...@mac.com>; 
VihuelaList <vihu...@cs.dartmouth.edu> 
 Sent: Saturday, 6 January 2018, 16:41
 Subject: Re: [VIHUELA] Further to Re: Moravsky Manuscript AND five 
course guitar stringing
   
Unfortunately the folio numbers are not very clear in the pdf. Some of 
the pages seem to have been cropped on the right- hand side when the 
film was made and the recto and verso of each folio is on a single 
page 
of the pdf.-[MH: Yes - it's a shame about this]-   I will try to refer 
to the correct ones.
To recapFolio 48r is headed “Fundamenta Gytarra”. -[MH: Indeed, and not 
as just 'Cytarra' (or Chytarra) as correctly pointed out in my last]
- The tablature checks indicate that this instrument has five stopped 
courses and one additional unstopped bass course. Folio 48v is headed 
“Accordo Gytarra et Mandora”. -[MH: This is an incorrect assumption. 
The overwhelming bulk of pieces of pieces in this MS are clearly 
written for just a five course instrument  (see my telling note earlier 
about the transcription for a five course instrument  - I naturally 
suggest for gytarra for this version of the same (Losy?) 
piece presented earlier for a six course instrument, the mandora).-You 
are right – I agree that these are two different instruments. The 
Gytarra has five 
stopped courses and one unstopped bass as shown in the first section 
of 
the tablature.  -
{MH: No, you've got this mixed up, as explained earlier and again in 
this mail. The gytarra has five courses, the madora six. The theorboed 
instrument is probably a theorboed guitar a la Strad or similar..
- The Mandora has seven unstopped basses as shown in the 
second section of tablature. It is to be assumed that the stopped 
courses of both instruments are tuned in the same way. It is not for a 
five course gytarra or a six course mandora as you seem to suggest.
-[MH:  This is a mistaken view of what the source tells us since, 
as already pointed out, most of the pieces (some 85% of them) in the 
MS are for just a five course instrument. You have assumed that the 
part between the first set of double bar lines refers equally to the 
gytarra and to the mandora.  As already explained, this is mistaken 
because the overwhelming bulk of  pieces in the MS are, in fact,  for a 
five course instrument (thegytarra) rather than for the common mandora 
tuning with six courses.  I examine this matter again below]-I don’t 
think either of these two examples refer to an instrument with 
just five stopped courses.
-[ MH: as said above, you appear to have overlooked contrary 
information about the tablature already brought to your at

[LUTE] Re: Lute request

2017-11-14 Thread mjlh...@tiscali.co.uk

I had this message too - --

Original Message
From: howardpos...@ca.rr.com
Date: 14/11/2017 18:29 
To: "Lutelist"
Subj: [LUTE] Re: Lute request


> On Nov 14, 2017, at 10:00 AM, Ron Fletcher  wrote:
> 
>   Anyone had one of these?  What does it mean?

Could you offer more information?  It sounds like you may have found a 
suspicious link and clicked on it.  Others may not want to.



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[LUTE] Re: Paul O live concert on BBC

2017-10-03 Thread mjlh...@tiscali.co.uk

Thanks for the link - I listened to it live but was hoping to hear it 
all again.
Monica

Original Message
From: heiman.dan...@juno.com
Date: 03/10/2017 5:33 
To: "'Wayne'", "'lute net'"
Subj: [LUTE] Paul O live concert on BBC

Live concert at Wigmore Hall:

http://www.bbc.co.uk/programmes/b096gn2c

29 days left to listen

Daniel Heiman




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[LUTE] Re: Wolf Hall

2017-09-07 Thread mjlh...@tiscali.co.uk

I think the music for the DEvils was all arranged by Peter Maxwell 
DAvies - so may not have been "historically" informed.

Original Message
From: sfar...@gmail.com
Date: 06/09/2017 19:44 
To: "Rainer"
Cc: 
Subj: [LUTE] Re: Wolf Hall

I've always rather liked this scene from Ken Russell's The Devils.
   [1]https://www.youtube.com/watch?v=ZQcNkzs8bn0
   Aside from the fictional elements, any thoughts as to authenticity 
of
   performance?

   On Wed, Sep 6, 2017 at 3:34 PM, Rainer <[2]RadS.BERA_GmbH@t-online.
de>
   wrote:

 On 06.09.2017 20:54, Sean Smith wrote:

 I think it's safe to say we pay attention to details of movies 
when
 they overlap our areas of specific interest.

 Good point.
 Whenever anything that has to do with physics or (shudder)
 mathematics appears in a movie it is normally plain nonsense.
 Of course, this doesn't matter for non-mathematicians (or
 physicists).
 Rainer
 OF course, I am a mathematician :)

   To get on or off this list see list information at
   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. https://www.youtube.com/watch?v=ZQcNkzs8bn0
   2. mailto:rads.bera_g...@t-online.de
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Wolf Hall

2017-09-06 Thread mjlh...@tiscali.co.uk

Also of course Morales and Guerrero. When I visited the organist was 
playing Widor's toccata.
Monica

Original Message
From: john.mardi...@asu.edu
Date: 06/09/2017 18:57 
To: "Tristan von Neumann"
Cc: "lutelist Net"
Subj: [LUTE] Re: Wolf Hall

More than movies: I recently visited the Sevilla Cathedral, where
   Alonso Mudarra had been Canon from 1546-1580, and the electronic
   self-guide devices had all background music from Handel's Messiah 
and
   Xerxes. No Spanish renaissance music. Appalling.

   On Sep 6, 2017, at 9:07 AM, Tristan von Neumann
   <[1]tristanvonneum...@gmx.de> wrote:

   Hello Rainer, and fellow cinephile Lutists,
   This is a long standing topic of mine...
   Movies mess up the music and/or historical facts nearly all the 
time...
   I wonder why that is? There's really good and authentic music for
   almost all purposes available, yet the makers choose some pseudo
   historical orchestral music, sometimes most hilariously acted as if
   played on real Renaissance instruments.
   Also, the absence of music in many scenes is irritating, where
   historical environments would certainly have had some musicians
   playing.
   However, some movies seem curiously real, though they are designed 
to
   be anachronistic.
   One of my favorites is "Bill", a Pythonesque (yet much more
   heartwarming) comedy about the dark years of Shakespeare.
   This is a must see, and though there are no original lute pieces in 
it,
   the soundtrack contains many real lutes.
   The movie is much better than "Shakespeare in Love" and much 
funnier,
   yet very respectful, and gets more facts right, for example: the 
Queen
   is already old and grumpy.
   The story is complex and extremely witty. Also, much detail is put 
into
   lesser figures. My favorite is the palace guard who comments on his
   favorite entertainment music or trumpet calls, though he can only 
hear
   them from outside the hall.
   Do not watch the trailer, or at least keep in mind that the music in 
it
   does not appear in the movie.
   Which is everyone's favourite Period Movie when it comes to well 
placed
   authentic music?
   Cheers!
   Tristan
   Am 06.09.2017 um 17:41 schrieb Rainer:

 This reminds me of "Shakespeare in Love" which I recently watched 
a
 second time on German TV - with very mixed feelings :)
 Of course there are many weird ideas. The queen would never enter 
a
 public theatre.

   To get on or off this list see list information at
   [2]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth

   .edu_-7Ewbc_lute-2Dadmin_index.html=DwICaQ=l45AxH-
kUV29SRQusp9vYR0n
   1GycN4_2jInuKy6zbqQ=VLPJ8OE-
c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E'pZf

ykcj6faFVQaY044WnS8xhbpPtOXODddIn0fxzs=xgAyYKtxi0KrYDZVQaAhRk5Mitm2CF
   gpqqnSvLyRJas=

   A. John Mardinly, Ph.D., P.E.
   Classical Guitarist/Lutenist

References

   1. mailto:tristanvonneum...@gmx.de
   2. 
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html=DwICaQ=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E

'pZfykcj6faFVQaY044WnS8xhbpPtOXODddIn0fxzs=xgAyYKtxi0KrYDZVQaAhRk5Mitm2CFgpqqnSvLyRJas=

[LUTE] Re: Wolf Hall

2017-09-06 Thread mjlh...@tiscali.co.uk

Surely it has to be "Tous le matins du mond"?
The music was authentic but the plot was not.
Monica


Original Message
From: rads.bera_g...@t-online.de
Date: 06/09/2017 16:25 
To: "lutelist Net"
Subj: [LUTE] Re: Wolf Hall

On 06.09.2017 18:07, Tristan von Neumann wrote:
> Which is everyone's favourite Period Movie when it comes to well 
placed authentic music?

https://www.youtube.com/watch?v=LTwkQEHBUQk

Rainer




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[LUTE] Re: Shorter emails

2017-09-06 Thread mjlh...@tiscali.co.uk

Well - that's useful - I didn't know that. This is checking whether it 
works.

Original Message
From: howardpos...@ca.rr.com
Date: 06/09/2017 9:43 
To: "LutList"<lute@cs.dartmouth.edu>
Subj: [LUTE] Re: Shorter emails

And while we’re on protocol, if you hit “reply all” and then eliminate 
all the addresses other than the list’s, the other listers don’t get 
your message more than once.

> On Sep 6, 2017, at 12:44 AM, mjlh...@tiscali.co.uk wrote:
> 
> 
> I agree with Martyn too. We have had this discussion about protocol 
so 
> many times before and no one will agree. 
> It is much better if people put their reply at the top whatever may 
> have been de riguer in the past. In every way this makes more sense 
- 
> and is especially helpful in the archived messages.
> And pace Ralf it would be better if people didn't try to put in 
> diacritical marks if this renders their messages gobbleggook.
> You have to be practical about these things. We are trying to 
> communicate with one another.
> Monica



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[LUTE] Re: Shorter emails

2017-09-06 Thread mjlh...@tiscali.co.uk

I agree with Martyn too. We have had this discussion about protocol so 
many times before and no one will agree. 
It is much better if people put their reply at the top whatever may 
have been de riguer in the past. In every way this makes more sense - 
and is especially helpful in the archived messages.
And pace Ralf it would be better if people didn't try to put in 
diacritical marks if this renders their messages gobbleggook.
You have to be practical about these things. We are trying to 
communicate with one another.
Monica

Original Message
From: howardpos...@ca.rr.com
Date: 06/09/2017 7:21 
To: "Lute net"
Subj: [LUTE] Re: Shorter emails

As always, I agree with Martyn.

> On Sep 6, 2017, at 12:10 AM, Martyn Hodgson  wrote:
> 
> The advantage of including all (or most) emails in a thread is that 
if
>   one wishes to be reminded of previous matters discussed in the 
thread,
>   it easy to simply scroll down - otherwise the laborious business of
>   trawling through previous emails on the topic is necessary
>   And if the latest is always put at the top of a thread the reader 
can
>   always choose not to read on.

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[LUTE] Re: Digitised Music Mss at Brirish Librarfy

2017-08-02 Thread mjlh...@tiscali.co.uk

How do you track down individual manuscript?. so far I haven't found an 
entry for Murcia's Passacalles y obras which is Add. Ms 31640 but 
perhaps it is not included. Is there a cut off date?
Monica

Original Message
From: tk...@orchid.plala.or.jp
Date: 02/08/2017 1:51 
To: "'Arthur Ness'", 
Subj: [LUTE] Re: Digitised Music Mss at Brirish Librarfy

There seems to be eight articles.

http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_29246
http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_29247
http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_30513
http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_31922
http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_33933
http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_61814_A
http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=MS_Mus._1591
http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Royal_Appendix_MS_58

Kakinami


-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On 
Behalf
Of Arthur Ness
Sent: Tuesday, August 1, 2017 11:09 PM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Digitised Music Mss at Brirish Librarfy

   Here's the link

 
http://www.bl.uk/manuscripts/?_ga=2.209772245.1771726681.1501595289-18604386

49.1501595289

   Now 335 Mss, only a few with tablature, e.g., Paston MS

   Arthur Ness
   arthurjn...@verizon.net

   --


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[LUTE] Re: Mailing List Software [was] Re: Sermisy

2017-07-26 Thread mjlh...@tiscali.co.uk

Hear! Hear! or is it Here! Here!

For some reason messages don't always seem to arrive or get archived 
but this seems to be just a glitch in the system - not personal dislike 
of the sender...
Best
Monica - always one for setting the cat amongst the pigeons... 

Original Message
From: kalei...@gmail.com
Date: 26/07/2017 18:16 
To: "LutList"
Subj: [LUTE] Re: Mailing List Software [was] Re: Sermisy

Well, this list is quirky to say the least. It seems to work 99% of the
   time, but sometimes messages arrive, sometimes not. Sometimes you 
can
   access material, sometimes not. Trying to open the archives today f.
ex.
   doesn't work.
   The mailing list is another matter. In 2008 I sent this message to 
the
   list on the heading: Longest 6c piece, started by Ron. All the other
   messages are displayed in the mailing list, but not mine. I wonder 
if
   the robot didn't like something in the message? As the archives are
   closed, I cannot check if it was at least recorded there.
   In spite of a few hicks, I think we should all be extremely grateful
   for the herculean service Wayne has been providing, since 1990 (!) 
and
   even free of charge! Its easy to take it for granted.
   G.
   -- Forwarded message --
   From: G. Crona <[1]kalei...@gmail.com>
   Date: Wed, Apr 16, 2008 at 12:45 PM
   Subject: [LUTE] Re: Longest 6c piece?
   To: [2]Lute@cs.dartmouth.edu
   Several years ago, I uploaded the following PDF of the "monster"
   recercar to Wayne's (sadly) unattributed list:
   [3]http://tinyurl.com/6bnn5s
   If you click on the link, you'll download the 18 pages of the piece
   which is from the Siena ms. (840 Kb)
   At the time, (rightly or wrongly) I wondered if the piece could be 
by
   Paladino, as I felt that some of the themes seemed to associate to
   themes by him.
   The piece is also wrongly stored / hidden in the mus_266_french 
folder.
   That one'll keep you busy for a while...
   ;)
   G.

   --

References

   1. mailto:kalei...@gmail.com
   2. mailto:Lute@cs.dartmouth.edu
   3. http://tinyurl.com/6bnn5s


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[LUTE] Re: Sermisy - Dont vient cela

2017-07-26 Thread mjlh...@tiscali.co.uk

I am just a pragmatist - the programme that runs this list wont 
reproduce diacritical marks so it is pointless to try and include 
themActually in early sources accents aren't always used anyway. In 
Spanish acute and grave accents are not used although the tilde usually 
is. I don't think anyone on this list (not even our Spanish members) 
would lose any sleep if I write espanola without the tilde... I am sure 
everyone on this list is intelligent to understand what is 
intended..
Monica
P.S. at least I now know what the title of this song is supposed to 
be...

Original Message
From: al...@musickshandmade.com
Date: 26/07/2017 15:27 
To: 
Cc: "Lute List"
Subj: [LUTE] Sermisy - Dont vient cela

Interesting - There are many intabulations of Dont vient cela 
including 
English and Italian sources. It was a very popular tune. I don't 
suppose 
there are any plans for the CMME format to support tablature...?

Using the old French "Dont" BTW solves the accent's problem, as 
opposed 
to the modern  "D'où" ... Obviously Monica is blissfully unaware of 
all 
the political issues linked to  the "réforme de l'orthographe" in 
France. Getting rid of accents is akin to the English getting rid of 
the 
pound and switching to euros instead: a very sensitive issue likely to 
cause large numbers of people to gather in the streets, some of them 
armed with pitch forks.

Alain

On 07/26/2017 04:16 AM, Ralf Mattes wrote:
>   
> Am Mittwoch, 26. Juli 2017 04:59 CEST, "Edward C. Yong"  schrieb:
>   
>> Hello!
>> Years ago I had the London Pro Musica edition of Sermisy's D'oÃ¹ 
vient
>> cela - it came together with Tant que vivray in a nice SATB 
version
>> with a solo voice plus lute insert. I can't now find that 
insert. Tant
>> que vivray is everywhere on the internet but not
>> D'oÃ¹ vient cela. Would anyone have it in electronic form 
anywhere?
>> Many thanks in advance!
> An excellent starting point for research would be:
>
>   http://ricercar.cesr.univ-tours.fr/3-programmes/basechanson/index.htm

>
> In your case that would lead to
>
>   
> http://ricercar.cesr.univ-tours.fr/3-programmes/basechanson/03231-3.asp?numfiche=2080

>
> Which links to an edition (in XML format) of the chanson. That xml is 
in CMME format, so it
> does need some pre-processing ...
>
> HTH, Ralf Mattes
>> Edward C. Yong
>>
>> --
>>
>>
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>   
>   
>   
>   
>
>
>
>

[LUTE] Re: Mailing List Software [was] Re: Sermisy

2017-07-26 Thread mjlh...@tiscali.co.uk

We have hundreds of words in English which are spelt in the same way 
but have different meanings depending on the context and we usually 
manage to understand what is intended without diacritical marks. 
This list is conducted in English - is it helpful to insist on sending 
messages which are difficult to decipher for everyone on it regardless 
of what their mother tongue might be?
Monica
 

Original Message
From: r...@mh-freiburg.de
Date: 26/07/2017 12:19 
To: <mjlh...@tiscali.co.uk>
Cc: "LutList"<lute@cs.dartmouth.edu>
Subj: Mailing List Software [was] Re: Sermisy


Am Mittwoch, 26. Juli 2017 11:26 CEST, "mjlh...@tiscali.co.uk" 
<mjlh...@tiscali.co.uk> schrieb:

<...>
> surely it is not necessary.

That's pretty much an anglocentric, snobbish statement.
Those little speckles aren't just arabesque ornamental decoration, they 
carry a meaning.
It really makes a difference if you write someone is from "Düsseldorf" 
(village near the river
Düssel) or "Dusseldorf" (village of the morons).
At least attempting to use propper spelling seems to be a laudeable 
goal, even outside
"scholarly dissertations".

Of course, the right thing to do would be to fix that small bugglet in 
the ML software.
I'd be more than happy to assist.

Cheers, RalfD








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[LUTE] Re: Re=3A?=_?=_Re=3A?= _Sermisy=3D27s=5FD=3D27o=3DC3=3DB9=5Fvient=5Fcela=3F=3D?=

2017-07-26 Thread mjlh...@tiscali.co.uk

Well if it is just a question of whether or not you put in accents - 
surely it is not necessary. We all understand what is meant without 
them. You are not writing a scholarly dissertation.
Monica

Original Message
From: r...@mh-freiburg.de
Date: 26/07/2017 9:19 
To: "G. C."
Cc: "LutList"
Subj: [LUTE] Re=3A?=_?=_Re=3A?= 
_Sermisy=3D27s=5FD=3D27o=3DC3=3DB9=5Fvient=5Fcela=3F=3D?=

Am Mittwoch, 26. Juli 2017 10:17 CEST, "G. C."  
schrieb: 

>Its only because posters are not aware, that to this list they 
must set
>up their mail program to send text only.

Sorry, bat that's absolutely wrong!
What come over garbled was the mail subject line and that get's 
transfered in the mail header
and that is (as specified in RFC  5322) 7-bit (sic!) ANSI encoded. So, 
a standard email subject 
can not contain characters outside the ŕather limited set of the 127 
stndard ASCI characters.
That's nothing a client should (or could) mess with. Now, since the 
rest of the (non-american) world
obviously would appreciate being able to use more characters there's a 
standard way to encode these
characters (called 'encoded-word' syntax in rfc2047). That all should 
be done authomatically by the mail
client software.
Unfortunately, from all Ican tell this mailing list does not use one of 
freely available list management software
(mailman, sympa, majordomo ...) but rather a seemingly self-written 
solutions that a certain spots might be
missing some sophistication (see for example the explosion of links in 
reply mails ...).

Cheers, Ralf Mattes

P.S.: to the list master, in case he reads this: please don't take the 
above as a critique, I'm thankful
for the list in it's current state.

>G.
> 
>--
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Sermisy=27s_D=27o=C3=B9_vient_cela?=

2017-07-26 Thread mjlh...@tiscali.co.uk

Why do we get these message with jumbled up headings and in some cases 
jumbled up text as well. Is it because people are putting in accents - 
if so perhaps wouldn't it be better to leave them out in the interests 
of intelligibilty.
Just a thought.
MOnica

Original Message
From: edward.y...@gmail.com
Date: 26/07/2017 6:58 
To: "Jurgen Frenz"
Cc: "T.Kakinami", "Lute List"
Subj: [LUTE] Re: Sermisy=27s_D=27o=C3=B9_vient_cela?=

Thank you everyone! :D

   On 26 July 2017 at 14:26, Jurgen Frenz
   <[1]eye-and-ear-cont...@protonmail.com> wrote:

   The same is true for "d'ou vient cela", it's no. 23

   "You are not a drop in the ocean. You are the entire ocean in a 
drop"
   Rumi

    Original Message 

   Subject: [LUTE] Re: Sermisy=27s_D=27o=C3=B9_vient_cela?=

   Local Time: July 26, 2017 12:27 PM

   UTC Time: July 26, 2017 5:27 AM

   From: [2]tk...@orchid.plala.or.jp

   To: 'Edward C. Yong' <[3]edward.y...@gmail.com>, 'Lute List'
   <[4]lute@cs.dartmouth.edu>

   Hello,

   Solo voice and lute version of Tant que Vivray is included in

   "Tres breve et familiere intrducion, Attaignant, Paris 1529".

   Minkoff edition.

   Toshiaki Kakinami

   -Original Message-

   From: [5]lute-...@cs.dartmouth.edu [mailto:[6]lute-arc@cs.dartmouth.
   edu] On Behalf

   Of Edward C. Yong

   Sent: Wednesday, July 26, 2017 11:59 AM

   To: Lute List

   Subject: [LUTE] Sermisy=27s_D=27o=C3=B9_vient_cela?=

   Hello!

   Years ago I had the London Pro Musica edition of Sermisy"s D"oÃ£ÃÂ´Ã
£Â±
   vient

   cela - it came together with Tant que vivray in a nice SATB version

   with a solo voice plus lute insert. I can"t now find that insert. 
Tant

   que vivray is everywhere on the internet but not

   D"oÃ£ÃÂ´Ã£Â± vient cela. Would anyone have it in electronic form 
anywhere?

   Many thanks in advance!

   Edward C. Yong

   --

   To get on or off this list see list information at

   [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:eye-and-ear-cont...@protonmail.com
   2. mailto:tk...@orchid.plala.or.jp
   3. mailto:edward.y...@gmail.com
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:lute-...@cs.dartmouth.edu
   6. mailto:lute-...@cs.dartmouth.edu
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Django

2017-06-20 Thread mjlh...@tiscali.co.uk

If anyone uses Djangp tablature programme - how do you delete pages or 
sections from a document. I cannot find anywhere to do this!
Thank-you for any help.
Monica 



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[LUTE] Re: Django/Fandango help!

2017-06-06 Thread mjlh...@tiscali.co.uk

Thank you. That's very helpful.
Monica

Original Message
From: p.st...@inrim.it
Date: 06/06/2017 9:36 
To: <mjlh...@tiscali.co.uk>
Subj: Re: [LUTE] Django/Fandango help!

Dear Monica,

retrieving  the palettes is easy: on the main (?) bar on the right hand
side there is an icon to display all the palettes. Once they all appear 
you
can then simply close those that you're not interested in.
The palette for note lengths should show ALL the notes, not just 
omitting
one of them.
Inserting the 10th, 11th etc frets I usually do by hitting the
corresponding letter on the keyboard. In case you meant the basses, so 
from
7th to 14th course, I also do that directly from the keyboard using the
'downwards' arrow and counting from just below the 6th course.

I hope this helps ...

Peter

2017-06-06 10:41 GMT+02:00 mjlh...@tiscali.co.uk <mjlh...@tiscali.co.
uk>:

> Does anyone on this list use Django/Fandango for tablature.  I am
> trying to get used to the new format.
>
> 1. I have lost the palettes down the left side with note values etc..
> How can I restore them?
>
> 2. I couldn't find the minim or half note!
>
> 3.   I couldn't remember how to put in the 10th, 11th and 12 frets.
>
> Can anyone advise?
>
> Best wishes to all
>
> MOnica
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>

[LUTE] Django/Fandango help!

2017-06-06 Thread mjlh...@tiscali.co.uk

Does anyone on this list use Django/Fandango for tablature.  I am 
trying to get used to the new format.

1. I have lost the palettes down the left side with note values etc.. 
How can I restore them?

2. I couldn't find the minim or half note!

3.   I couldn't remember how to put in the 10th, 11th and 12 frets.

Can anyone advise?

Best wishes to all

MOnica



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[LUTE] Re: Cumb=C3=A9es?=

2017-05-28 Thread mjlh...@tiscali.co.uk




Wow.  You just used the word “quiet” to describe Trump.

> Well he just has a lot of other things to shout about at the moment.  
With a name like that I can't resist the temptation to comment that 
"the trumpet shall sound and the dead shall be raised 
incorruptible" perhaps the rapture is imminent.

Completely off topic - but when I reply to messages it doesn't 
distinguish my reply from what has gone before. Can anyone tell me what 
I am doing wrong.

MOnica


> On May 28, 2017, at 12:26 PM, mjlh...@tiscali.co.uk wrote:
> 
>>>> I don't think even he could achieve that - and I don't think he 
> would get Africa to pay for it either. He seems to have gone a bit 
> quiet on that one




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[LUTE] Re: Cumb=C3=A9es?=

2017-05-28 Thread mjlh...@tiscali.co.uk



>Perhaps we should hire President Trump to build a wall for us.

   I seem to recall some guy named Hadrian attempted the barrier 
solution
   a few years back.  
>>> Parts of it are still there and Nicola Sturgeon (if you have heard 
about her) is trying to get it repaired this time to keep the English 
out of Scotland rather than the other way around. 

But I for one would donate money if you would hire
   Donald Trump to build a wall, just as long as you keep him busy and
   keep him over there.
   RA

>>>I don't think even he could achieve that - and I don't think he 
would get Africa to pay for it either. He seems to have gone a bit 
quiet on that one but perhaps that's just the calm before the storm.  
As Pope Francis (bless him) said - we should be building bridges, not 
walls.

Monica
 __

   From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on 
behalf
   of mjlh...@tiscali.co.uk <mjlh...@tiscali.co.uk>
   Sent: Sunday, May 28, 2017 1:59 PM
   To: howardpos...@ca.rr.com
   Cc: LutList
   Subject: [LUTE] Re: Cumb=C3=A9es?=

   Original Message
   From: howardpos...@ca.rr.com
   Date: 28/05/2017 0:08
   To: "Lute List"<lute@cs.dartmouth.edu>
   Subj: [LUTE] Re: Cumb=C3=A9es?=
   > On May 27, 2017, at 6:37 AM, mjlh...@tiscali.co.uk wrote:
   >
   >  there were a lot of Africans in Spain during
   > the 16th and 18th centuries. North African is just a short 
distance
   > across the Mediterranean from Spain.
   Tangier is, but itâs 3,300 kilometers from Gibraltar to Dakar and 
4,500
   kilometers to Sierra Leone.  Is the cumbee a Moorish dance?
- That is a good question.  Spain held territories in North Africa 
and
   Spain and Portugal navigated down the west coast of Africa long 
before
   they reached the New World. Vasco da Gama sailed to India round the
   southern tip of Africa etc. at the same time that Columbus 
discovered
   the West Indies. So the idea that any African dances must have come
   from Mexico doesn't really hold water. I think the received wisdom 
is
   that the cumbees, paracumbe and guinea and a few others all came 
from
   Guinea or that part of Africa rather than from north of the Sahara.
   Distance is not really a factor - it was Aristotle I believe - 
correct
   me if I am wrong - who said "We Greeks live like frogs around a 
pond".
   The Mediterranean is not much of a barrier - refugees are flooding 
from
   Africa into Europe in boatloads by that route today. Perhaps we 
should
   hire President Trump to build a wall for us. A suspension bridge 
might
   be a better idea - fewer people would drown. The Roman Empire
   encompassed a lot of North Africa and Spain was invaded by people 
from
   North Africa long before the Moors arrived and some of them must 
have
   been ethnically African.
- So take your pick.
   Monica

   --


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[LUTE] Re: Cumb=C3=A9es?=

2017-05-28 Thread mjlh...@tiscali.co.uk



Original Message
From: howardpos...@ca.rr.com
Date: 28/05/2017 0:08 
To: "Lute List"<lute@cs.dartmouth.edu>
Subj: [LUTE] Re: Cumb=C3=A9es?=


> On May 27, 2017, at 6:37 AM, mjlh...@tiscali.co.uk wrote:
> 
>  there were a lot of Africans in Spain during 
> the 16th and 18th centuries. North African is just a short distance 
> across the Mediterranean from Spain. 

Tangier is, but it’s 3,300 kilometers from Gibraltar to Dakar and 4,500 
kilometers to Sierra Leone.  Is the cumbee a Moorish dance?

 - That is a good question.  Spain held territories in North Africa and 
Spain and Portugal navigated down the west coast of Africa long before 
they reached the New World. Vasco da Gama sailed to India round the 
southern tip of Africa etc. at the same time that Columbus discovered 
the West Indies. So the idea that any African dances must have come 
from Mexico doesn't really hold water. I think the received wisdom is 
that the cumbees, paracumbe and guinea and a few others all came from 
Guinea or that part of Africa rather than from north of the Sahara. 
Distance is not really a factor - it was Aristotle I believe - correct 
me if I am wrong - who said "We Greeks live like frogs around a pond". 
The Mediterranean is not much of a barrier - refugees are flooding from 
Africa into Europe in boatloads by that route today. Perhaps we should 
hire President Trump to build a wall for us. A suspension bridge might 
be a better idea - fewer people would drown. The Roman Empire 
encompassed a lot of North Africa and Spain was invaded by people from 
North Africa long before the Moors arrived and some of them must have 
been ethnically African.
 - So take your pick.

Monica

[LUTE] Re: Marini (1655)

2017-05-27 Thread mjlh...@tiscali.co.uk

Thank you so much - that really is most helpful.
Have a nice weekend.
Monica

Original Message
From: jmpoiri...@wanadoo.fr
Date: 27/05/2017 13:57 
To: "Monica Hall"<mjlh...@tiscali.co.uk>, "'Lute List'"<lute@cs.
dartmouth.edu>
Subj: Re: [LUTE] Marini (1655)

Violino Primo :
p. 8 : Balletto 3 and Balletto quarto
p. 9 : Zarabanda prima and Zarabanda Seconda

Violino Secondo :
p. 8 : Zarabanda Prima and Zarabanda Seconda
p. 9 : Zarabanda Terza and Zarabanda Quarta

Viola e Basso
p. 8 : Zarabanda Prima and Zarabanda Seconda (Tenor clef C3)
p. 9 : Zarabanda Terza and Zarabanda Quarta (Tenor clef C3

Basso Continuo : (with Alfabeto)
p. 8 : Zarabanda Prima and Zarabanda Seconda
p. 9 : Zarabanda Terza and Zarabanda Quarta

Hope it helps !

All the best,

Jean-Marie


--
 
>Does anyone happen to have a copy of Biagio Marini's Per ogni sorti 
>d'instrumento musicale (1655) to hand?  If they have I wonder if they 
>would be kind enough to look at the Zarabanda Seconda on page 8 and 9 
a 
>tell me how the parts are arranged on the pages. Are there two parts 
to 
>a page facing one another and if so which parts are on which page... 
I 
>hope that makes sense. 
>Thanks
>Monica
>
>
>
>To get on or off this list see list information at
>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Marini (1655)

2017-05-27 Thread mjlh...@tiscali.co.uk

Does anyone happen to have a copy of Biagio Marini's Per ogni sorti 
d'instrumento musicale (1655) to hand?  If they have I wonder if they 
would be kind enough to look at the Zarabanda Seconda on page 8 and 9 a 
tell me how the parts are arranged on the pages. Are there two parts to 
a page facing one another and if so which parts are on which page... I 
hope that makes sense. 
Thanks
Monica



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[LUTE] Cumb=C3=A9es?=

2017-05-27 Thread mjlh...@tiscali.co.uk

Briefly - the cumbee is an African rather than a Mexican popular dance 
- and surprise, surprise - there were a lot of Africans in Spain during 
the 16th and 18th centuries. North African is just a short distance 
across the Mediterranean from Spain. There are examples of the cumbee 
in other Spanish sources which have nothing to do with the New World. 
What Russell has to say on the subject is not very helpful as he 
thought it was Mexican or rather that Spaniards got it from African 
slaves in Mexico and brought it back to Spain. Pity he didn't look at 
an atlas. 
Monica 

Original Message
From: lucashar...@live.ca
Date: 26/05/2017 19:47 
To: "lute@cs.dartmouth.edu"
Subj: [LUTE] Cumbées

Hello, friends,


   Can anybody give me any background about the âCumbÃ©esâ 
variations from
   Santiago de Murciaâs SaldÃvar Codex?


   Is it related at all to the popular dance genre in Colombia called
   âcumbiaâ?


   Does anyone have Craig Russellâs book on de Murcia and could 
possibly
   look up for me what he says about the CumbÃ©?


   If itâs indeed a West African genre, how would de Murcia have 
heard it
   if, as is now thought, he didnât travel to the New World and hear 
it as
   brought there by slave populations?  Should we presume that Africans
   would have brought those sounds to Iberia as well?


   Many thanks!


 * Lucas Harris

   --


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[LUTE] Re: Facsimile links to lute sources

2017-05-12 Thread mjlh...@tiscali.co.uk

I use Google Chrome - but since "upgrading" to Windows 10 everything is 
a bit faint and fuzzy. Someone told me I need a new monitor. But my eye 
site is also getting worse - old age - can't escape it.
Monica

Original Message
From: rads.bera_g...@t-online.de
Date: 12/05/2017 14:39 
To: <mjlh...@tiscali.co.uk>
Subj: Re: [LUTE] Re: Facsimile links to lute sources

Which browser do you use?

In firefox there is the option enter reader view under view.

Rainer

PS
My eyes are getting worse, too :)


On 12.05.2017 09:46, mjlh...@tiscali.co.uk wrote:
> Thank you - that's very helpful and it includes guitar things too. 
But
> I wish people would stick to black and white - I found the text very
> difficult to read!
> Monica
> 
> Original Message
> From: kalei...@gmail.com
> Date: 12/05/2017 7:34
> To: "lute"<lute@cs.dartmouth.edu>
> Subj: [LUTE] Re: Facsimile links to lute sources
> 
> Thats really wonderful! Thanks a lot Anthony.
> BR
> G
> 
> On Thu, May 11, 2017 at 11:05 PM, Anthony Hart
> <[1]anthony.hart1...@gmail.com> wrote:
> 
>  I was browsing for copies of links to facsimiles and came
> across
>   this
>  website. It contains links to original lute books etc held 
by
> the
>   major
>  libraries throughout the world.
>  Maybe it is already known but I thought I would share.
>  [1][2]http://www.jobringmann.de/facsimile-links
>  --
>  
>   __
>  Anthony Hart   MSc, LLCM,ALCM.
>  Musicologist   and   Independent   Researcher
>  Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174,
> MALTA
>  Mob: +356 9944 9552.
>  e-mail:   [2][3]resea...@antoninoreggio.com; web:
>  [3][4]www.monsignor-reggio.com
>  NEW   Publications:   EDIZIONE   ANTONINO   REGGIO
>  -   [4][5]www.edizionear.com
>  for information and special offer
>  --
>   References
>  1. [6]http://www.jobringmann.de/facsimile-links
>  2. mailto:[7]resea...@antoninoreggio.com
>  3. [8]http://www.monsignor-reggio.com/
>  4. [9]http://www.edizionear.com/
>   To get on or off this list see list information at
>   [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> --
> 
> References
> 
> 1. mailto:anthony.hart1...@gmail.com
> 2. http://www.jobringmann.de/facsimile-links
> 3. mailto:resea...@antoninoreggio.com
> 4. http://www.monsignor-reggio.com/
> 5. http://www.edizionear.com/
> 6. http://www.jobringmann.de/facsimile-links
> 7. mailto:resea...@antoninoreggio.com
> 8. http://www.monsignor-reggio.com/
> 9. http://www.edizionear.com/
>10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> 
> 
>

[LUTE] Re: Facsimile links to lute sources

2017-05-12 Thread mjlh...@tiscali.co.uk

Thank you - that's very helpful and it includes guitar things too. But 
I wish people would stick to black and white - I found the text very 
difficult to read!
Monica

Original Message
From: kalei...@gmail.com
Date: 12/05/2017 7:34 
To: "lute"
Subj: [LUTE] Re: Facsimile links to lute sources

Thats really wonderful! Thanks a lot Anthony.
   BR
   G

   On Thu, May 11, 2017 at 11:05 PM, Anthony Hart
   <[1]anthony.hart1...@gmail.com> wrote:

I was browsing for copies of links to facsimiles and came 
across
 this
website. It contains links to original lute books etc held by 
the
 major
libraries throughout the world.
Maybe it is already known but I thought I would share.
[1][2]http://www.jobringmann.de/facsimile-links
--

 __
Anthony Hart   MSc, LLCM,ALCM.
Musicologist   and   Independent   Researcher
Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, 
MALTA
Mob: +356 9944 9552.
e-mail:   [2][3]resea...@antoninoreggio.com; web:
[3][4]www.monsignor-reggio.com
NEW   Publications:   EDIZIONE   ANTONINO   REGGIO
-   [4][5]www.edizionear.com
for information and special offer
--
 References
1. [6]http://www.jobringmann.de/facsimile-links
2. mailto:[7]resea...@antoninoreggio.com
3. [8]http://www.monsignor-reggio.com/
4. [9]http://www.edizionear.com/
 To get on or off this list see list information at
 [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:anthony.hart1...@gmail.com
   2. http://www.jobringmann.de/facsimile-links
   3. mailto:resea...@antoninoreggio.com
   4. http://www.monsignor-reggio.com/
   5. http://www.edizionear.com/
   6. http://www.jobringmann.de/facsimile-links
   7. mailto:resea...@antoninoreggio.com
   8. http://www.monsignor-reggio.com/
   9. http://www.edizionear.com/
  10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Vivat Eliza - Afterword

2017-04-26 Thread mjlh...@tiscali.co.uk




   By the way, the video of the coronation (thanks, Monica) was a bit
   startling.  I would not have been surprised had the new Queen turned
   tail and fled in terror, what with all that shouting at her set to 
some
   truly scary music.

   RA

Are you referring to Parry's "I was glad"? It is a standard piece in 
the Anglican repertoire performed on every ceremonial occasion.
Monica
 __

   From: lute-...@cs.dartmouth.edu  on 
behalf
   of Ron Andrico 
   Sent: Monday, April 24, 2017 12:25 PM
   To: Mumin Lute
   Cc: Lute Society of America
   Subject: [LUTE] Re: Vivat Eliza

  Hello Tomoko:
  You initiated an interesting discussion, but I'm not certain 
you've
  actually gotten an answer to your original question, which
  (paraphrased) had to do with how one should pronounce the Latin 
bits
   in
  the three-part song cycle in Dowland's _Second Booke of Songs or
   Ayres_
  (1600). The cycle, numbers VI-VIII in the book, begins with 
"Tymes
  eldest sonne, olde age the heyre of ease", the second part 
beginning
   "
  Then sit thee downe and say thy Nunc demittis".  Your question
  asked how to pronounce "Vivat Eliza", which is in the third song 
in
   the
  cycle.  The text of this section is:
  When others sings Venite exultemus
  Stand by and turne to Noli emulari,
  For quare fremuerunt vse oremus
  Viuat Eliza, for an aue mari,
  And teach those swains that liues about thy cell,
  To say Amen when thou dost pray so well.
  The first clue lies in the spelling of text, associated with the
  constantly-retiring Sir Henry Lee.  Apart from the antique
   substitution
  of letter "u" for "v", the spellings are sometimes different from
   the
  accepted normal Latin spellings.  Another clue is the rhyme 
scheme,
   and
  "Ave Maria" must rhyme with "emulari", meaning that you must drop
   the
  final "a" of Maria.
  There is absolutely no reason to doubt the pronunciation used by
   David
  Thomas in the circa 1980 recording by the Consort of Musicke.  
There
  have been no recent breakthroughs in establishing a more 
"authentic"
  pronunciation of English Latin from 1600, other than the 
(specious)
  application of French vowel sounds used by choirs in singing 
Byrd.
  There is very little substance to justify this approach applied
  wholesale.
  For those who may be serious about authentic Tudor pronunciation 
(of
   a
  single dialect), an  important and currently overlooked source is
   the
  autobiography of Thomas Whythorne (1528Ã¢â¬â1595).  Whythorne 
wrote in
   what
  he called a "new orthografye", spelling words as they sounded.
   Oxford
  University Press published both the original and an edition
   translated
  into more modern English.  Apart from Wythorne's very interesting
  observations on the life of a musician in Tudor England, his work 
is
   a
  valuable resource for those who want to understand "authentic"
  pronunciation.
  A final word: When denizens of the British Isles pronounce 
foreign
  words as they may be incorporated into a sentence (or song), the
   words
  often sound very different from the expected original language.  
And
  Americans just make everything sound American.
  RA

__
  From: lute-...@cs.dartmouth.edu  on
   behalf
  of Mumin Lute 
  Sent: Monday, April 24, 2017 10:44 AM
  To: David van Ooijen
  Cc: Lute Society of America
  Subject: [LUTE] Re: Vivat Eliza
 Dear David san
 I didn't think of HIP, but am glad that the topic moved on to 
it
   and
  to
 know the latest perspective of experts' ... :-) I know Robert
  Spencer's
 opinion on singing early modern English which I am not trying 
to
 question at the moment.
 I should have asked 'received pronunciation' (?) of Laten in
  Anglican
 church of today..
  I am not sure about "Eliza" in latin. "Vivat" is to be
   pronounced
  like
 vee-vat as far as I know... ( other Latin phrases appear in 
the
   song
 didn't sound that English-like in the Rooley's recording.)
 Tomoko
 2017/04/24 0:48 "David van Ooijen" <[1]davidvanooijen@gmail.
com>:
  HIP 2.0 (?!)
  Wa chotto hen desu, yo!
  ***
  David van Ooijen
  [1][2]davidvanooi...@gmail.com
  [2][3]www.davidvanooijen.nl
  ***
  On 23 April 2017 at 17:44, Jerzy Zak
   <[3][4]jurek...@gmail.com>
   wrote:
Dear Tomoko,
Try

[LUTE] Re: Vivat Eliza

2017-04-24 Thread mjlh...@tiscali.co.uk



   I should have asked 'received pronunciation' (?) of Laten in 
Anglican
   church of today..

There is no received pronunciation of Latin in the Anglican Church of 
today.  Latin is not the language normally used in the Anglican church 
today. Nor was it in the Elizabethan era. If it is used it is entirely 
a matter for whoever is conducting the service to decide how it is 
pronounced. 

At the queen's coronation the acclamation sung by the boys of 
Westminster School as she arrived at the Abbey was "Vivat regina 
Elizabetha" pronounced vyvat regyna as I recall.

Monica (paid up Anglican)

 

I am not sure about "Eliza" in latin. "Vivat" is to be pronounced 
like
   vee-vat as far as I know... ( other Latin phrases appear in the song
   didn't sound that English-like in the Rooley's recording.)
   Tomoko
   2017/04/24 0:48 "David van Ooijen" <[1]davidvanooi...@gmail.com>:

HIP 2.0 (?!)
Wa chotto hen desu, yo!
***
David van Ooijen
[1][2]davidvanooi...@gmail.com
[2][3]www.davidvanooijen.nl
***
On 23 April 2017 at 17:44, Jerzy Zak <[3][4]jurek...@gmail.com>
 wrote:
  Dear Tomoko,
  Try GoogleTranslate. Put your fraze in the space on the left,
 choose
  a language you think it is in, and press the little speaker
  underneath. Then keep changing languages until you think it
 rhymes
  best with ÃÂ¢Ave MarÃa'. Stupid but works ;)
  Jerzy
  ÃÂ¢
  > On 23 Apr 2017, at 17:02, lutenist.mumin.koide gmail
  <[4][5]lutenist.mumin.ko...@gmail.com> wrote:
  >
  > Dear lute-list,
  >
  > Could anyone help me clarify pronunciation of "Vivat Eliza"
 in
  Dowland's composition
  > to Sir. Henry Lee's poem "Time's Eldest Son"?
  >
  > I thought it could be " viÃvÃ Â¦t ("Vivat" read in
 ecclesiastical
  Latin?) and " ÃiÃzÃ" (with this pronunciation it rhymes 
with
 "Ave
  Maria" ) though many sang it " vaÃ ÂªvÃ Â¦t ÃlÃ Â¬Ã ÂªzÃ
" for which
 I
  couldn't find any reason...
  >
  > Tomoko
  >
  >
  >
  >
  >
  > To get on or off this list see list information at
  > [5][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

--
 References
1. mailto:[7]davidvanooi...@gmail.com
2.  [8]http://www.davidvanooijen.nl/
3. mailto:[9]jurek...@gmail.com
4. mailto:[10]lutenist.mumin.ko...@gmail.com
5.  [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   2017/04/24 0:48 "David van Ooijen" <[12]davidvanooi...@gmail.com>:

HIP 2.0 (?!)
Wa chotto hen desu, yo!

  ***
  David van Ooijen
  [1][13]davidvanooi...@gmail.com
  [2][14]www.davidvanooijen.nl
  ***

  On 23 April 2017 at 17:44, Jerzy Zak <[3][15]jurek...@gmail.com>
   wrote:
Dear Tomoko,
Try GoogleTranslate. Put your fraze in the space on the left,
   choose
a language you think it is in, and press the little speaker
underneath. Then keep changing languages until you think it 
rhymes

  best with ÃÂ¢Ave MarÃa'. Stupid but works ;)
  Jerzy
  ÃÂ¢

> On 23 Apr 2017, at 17:02, lutenist.mumin.koide gmail

<[4][16]lutenist.mumin.ko...@gmail.com> wrote:
>
> Dear lute-list,
>
> Could anyone help me clarify pronunciation of "Vivat Eliza" 
in
Dowland's composition
> to Sir. Henry Lee's poem "Time's Eldest Son"?
>

  > I thought it could be " viÃvÃ Â¦t ("Vivat" read in
 ecclesiastical
  Latin?) and " ÃiÃzÃ" (with this pronunciation it rhymes 
with
 "Ave
  Maria" ) though many sang it " vaÃ ÂªvÃ Â¦t ÃlÃ Â¬Ã ÂªzÃ
" for which
 I

couldn't find any reason...
>
> Tomoko
>
>
>
>
>
> To get on or off this list see list information at

  > [5][17]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


  --
   References
  1. mailto:[18]davidvanooi...@gmail.com
  2. [19]http://www.davidvanooijen.nl/

3. mailto:[20]jurek...@gmail.com
4. mailto:[21]lutenist.mumin.ko...@gmail.com
5. [22]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:davidvanooi...@gmail.com
   2. mailto:davidvanooi...@gmail.com
   3. http://www.davidvanooijen.nl/
   4. mailto:jurek...@gmail.com
   5. mailto:lutenist.mumin.ko...@gmail.com
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. mailto:davidvanooi...@gmail.com
   8. http://www.davidvanooijen.nl/
   9. mailto:jurek...@gmail.com
  10. mailto:lutenist.mumin.ko...@gmail.com
  11.

[LUTE] Re: Vivat Eliza

2017-04-24 Thread mjlh...@tiscali.co.uk

I wonder whether English lute songs were ever performed in Romanesque 
churches in the Elizabethen era.
Monica

Original Message
From: dail...@club-internet.fr
Date: 23/04/2017 22:06 
To: "Ron Andrico"
Cc: "lutelist Net"
Subj: [LUTE] Re: Vivat Eliza

It would be interesting to know when Robert Spencer made his comment. 
Some years ago now, I suspect, and many aspects of early music 
performance have probably evolved positively since.

If a good quality lute in the right hands is played in an appropriate 
acoustic (here in France we are lucky to have numerous Romanesque 
churches which certainly fit the bill), it is anything but 'nearly 
inaudible'. As to the music being 'strange', I have very often noted 
how 
immediately many even neophyte audiences take to renaissance music.

What is this 'inward' looking you suggest Ron? What ulterior motives 
should I be looking for??

Here is a link to an introduction by David Crystal of original 
pronunciation:

https://www.youtube.com/watch?v=gPlpphT7n9s

I think he makes a very convincing case for the use and 
intelligibility 
of an early accent. Obviously there was not just one Elizabethan 
accent 
but that is hardly a reason for downing tools and systematically 
adopting R.P., which itself is an obvious instance of your McDonald's 
'predictable French fries' (and I am definitely not a consumer of the 
latter). In my opinion, pronunciation is every bit as important as 
many 
other aspects of early music performance for conveying aesthetics, 
meaning and emotion and is anything but 'so much window dressing'.

Best,

Matthew

On 23/04/2017 23:28, Ron Andrico wrote:
> While there is a case to be made for singers studying early
> pronunciation, I have to say I agree with Robert Spencer that the
> primary objective in performing lute songs to modern audiences is 
to
> communicate the aesthetic to that audience.  It's really enough 
to ask
> of a modern audience just to sit and listen to strange music sung 
to
> the accompaniment of a nearly inaudible instrument, let alone 
making an
> otherwise familiar language obscure.   I think those who strongly
> advocate performing with a (very questionable) "authentic" 
English
> pronunciation to a modern audience should look inward and ask
> themselves what their real motives might be.
>
> I, too, am a little tired of singers who learn and perform with a
> "one-size-fits-all" technique - singing Morley today, Monteverdi
> tomorrow, Machaut next week and Mahler next month.  While it can 
be
> done, it can't be done well and up to the standard we should 
expect.
> Most importantly, specializing in lute songs means learning to 
sing
> with a natural voice.  Lute songs were nearly always performed in 
an
> intimate, domestic environment, and singing with a modern 
projected
> voice severely distorts the aesthetic of the music, which I 
happen to
> think is much worse than trivial issues to do with pronunciation.
>
> I don't recall who remarked that, when dealing with "authentic"
> pronunciation, one must decide which pronunciation.  Regional 
dialects
> abound in every country and from every period.  Deciding on one
> approved historical pronunciation is following the path of 
McDonalds,
> who used modern production techniques to produce a very 
predictable
> french fry.   I don't think this is a good thing.
>
> Much to consider, but the most important aspect of performing 
early
> music to modern audiences is to convey the aesthetic of the 
music.  All
> else is so much window dressing.
>
> RA

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[LUTE] Re: 4course guitar

2017-04-16 Thread mjlh...@tiscali.co.uk

I was able to download this free at www.guitarlessonz.com.  It is in 
staff notation and I think although I haven't looked all the way 
through it is arranged for classical guitar.
Monica

Original Message
From: arc...@verizon.net
Date: 16/04/2017 16:27 
To: "Lute List"
Subj: [LUTE] 4course guitar

Is there a decent anthology of 16th c. 4-course guitar tab available?  
Any
tabs for download?

Thanks,
Leonard Williams

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[LUTE] Re: Latin translation

2017-03-30 Thread mjlh...@tiscali.co.uk

Original Message
From: mathias.roe...@t-online.de
Date: 30/03/2017 16:22 
To: "'LutList'"
Subj: [LUTE] Re: Latin translation

Philipo Thomas Howard pr[a]edicatorium etc... 
In obsequi[i] pignus addictis[s]imus servus Jacobus de Rubeis. 

To Philip Thomas Howard …
as pledge of obedience, [your] most obliged servant Jacobus de Rubeis.

The upper line seems a little unclear to me. "To Philip Thomas Howard" 
would actually be " Philipo Thomae". Secondly, praedicatorium is a 
study (room). I was wondering, as Philip Howard had joined the 
Dominican Order in 1645, if "predicatorium etc" was rather meant to 
read predicatorum ord, "of the Dominican Order".

Mathias

Thank you - that's very helpful. You are right about predicatorum. The 
first line is actually Philippo Thomae Howard ordinis praedicatorum S.R.
E. Presb. Card. de Norfolcia Hiberie Anglie e Scotie Protectoris.

I am a bit puzzled by "Hiberie" which I assume is actually Hibernia = 
Ireland. It can't be Spain. He was Protector of catholics in England 
and Scotland but not as far as I know in Ireland.

Thank you again.
Monica

> It appears at the bottom of an engraved portrait of the English King 
James II. Philip Howard was an English Catholic Cardinal adviser to 
James and Jacobus de Rubeis was the engraver but it is not clear to me 
who is doing what to whomI think, but may be wrong, that Howard 
commissioned the engraving from Rubeis aka Giacomo de Rossi

Any help would be much appreciated.

Monica

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[LUTE] Latin translation

2017-03-30 Thread mjlh...@tiscali.co.uk

I wonder if anyone with better Latin than me can translate the 
following phrase...

Philipo Thomas Howard predicatorium etc... 
In obsequi pignus addictisimus servus Jacobus de Rubeis. 

It appears at the bottom of an engraved portrait of the English King 
James II. Philip Howard was an English Catholic Cardinal adviser to 
James and Jacobus de Rubeis was the engraver but it is not clear to me 
who is doing what to whomI think, but may be wrong, that Howard 
commissioned the engraving from Rubeis aka Giacomo de Rossi

Any help would be much appreciated.

Monica



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[LUTE] Re: Earliest printed tablature with ornaments

2017-03-06 Thread mjlh...@tiscali.co.uk

Wikipedia is no more unreliable than other encyclopedias which claim to 
be of academic merit. Some of the entries in Groves online are 
ludicrously inaccurate.  And a lot of what passes for academic research 
today is also inaccurate.  
Monica

Original Message
From: r.turov...@gmail.com
Date: 06/03/2017 12:41 
To: "Rainer", "Lute Net"
Subj: [LUTE] Re: Earliest printed tablature with ornaments

Wikipedia has strict rules against original research, and all 
information
it permits has to externally documented with reliable scholarly 
sources.
RT


On 3/6/2017 7:31 AM, Rainer wrote:
> Of course, Wiki is unreliable.
> And - of course - there is no reason to believe the citation is 
> incorrect.
>
> However, why do you think I have asked for prints before 1596?
>
> Barley has ornaments.
>
> Rainer
>
> As usual you have pressed reply to all :)
>
> On 06.03.2017 12:32, Ron Andrico wrote:
>>While Wikipedia is untrustworthy in most respects, in this case 
it 
>> may
>>be correct.  While ornaments appear liberally in manuscript 
sources,
>>and there are various indications for right-hand fingering and
>>left-hand holds in earlier typeset prints of lute music, Vallet's
>>tablatures were engraved in copper, a very costly procedure that
>>probably contributed to his personal financial ruin.  But this 
was 
>> the
>>only means of adding the extraordinarily detailed slurs, 
>> fingerings and
>>ornament signs to his printed tablatures.  Since the statement
>>attributed to Herr Neumann is qualified with "may have been", 
>> there is
>>no reason to doubt the claim.
>>
>>RA
>> __
>>
>>From: lute-...@cs.dartmouth.edu  on 
behalf
>>of Rainer 
>>Sent: Monday, March 6, 2017 10:49 AM
>>To: Lute net
>>Subject: [LUTE] Earliest printed tablature with ornaments
>>
>>Dear lute netters,
>>According to Wikipedia
>>"According to Frederick Neumann,[2] Vallet may have been among 
the
>>first to introduce ornaments into lute tablature."
>>Of course this is nonsense.
>>Anyway, does anybody know of printed tablature with ornaments 
before
>>1596?
>>Rainer
>>To get on or off this list see list information at
>>[1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>[2]Frequently Asked Technical Questions about the lute mail list
>>www.cs.dartmouth.edu
>>Frequently Asked Technical Questions about the lute mail list. 
>> getting
>>on and off the list; How do I get on the lute mail list? How do I 
get
>>off the lute mail list?
>>
>>--
>>
>> References
>>
>>1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>
>>
>
>

[LUTE] Re: lute music for Candlemas

2017-01-23 Thread mjlh...@tiscali.co.uk

If you are looking for something easy to arrange Johannes Eccard's 
"When Mary to the temple came" might be suitable. It's German title is 
Maria wallt zum Heiligtum.   It is chorale like and hugely popular over 
here. Every choir sings it on the appropriate day. 
Monica

Original Message
From: davidvanooi...@gmail.com
Date: 23/01/2017 13:41 
To: "lutelist Net"
Subj: [LUTE] lute music for Candlemas

Dear collected wisdom
   I'm to play something like 20 minutes in a concert around the theme 
of
   Canldemas, aka Feast of the Purification of the Blessed Virgin Mary.
   It's the occasion 40 days after his birth Maria presented Jesus in 
the
   temple. Jesus is regared the light of the world, so it's the 
occasion
   of having your candles blessed in church. Simeon was the priest on 
duty
   and he blessed Jesus with a Nunc Dimittis. Simeon died afterwards, 
as
   was foretold to him by the Holy Spirit.
   So much for history. Now for music. Themes can be light, Simeon, 
Nunc
   Dimittis, whatever else you can think of.
   I'm open to suggestions of good lute pieces. Preferably, but
   necessarily confined to, 16th century polyphony.
   David
   PS: For those who wondered what I did for the Song of Songs concert, 
I
   intabulated four motets by Palestrina and six by Lechner. The latter
   was a very welcome tip from one of you.
   ***
   David van Ooijen
   [1]davidvanooi...@gmail.com
   [2]www.davidvanooijen.nl
   ***

   --

References

   1. mailto:davidvanooi...@gmail.com
   2. http://www.davidvanooijen.nl/

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[LUTE] ribattute and durezze

2017-01-11 Thread mjlh...@tiscali.co.uk




I have had a query from someone about a theorbo ms. in New York Public 
Library. It seems that there were originally 2 vols, but the one that 
explains the examples has gone missing. Pat O’Brien apparently passed 
around copies of it.  Not being a theorbo player I am not sure I can 
answer it and  I am hoping that the collective wisdom can shed some 
light on it.  Does anyone actually have a copy of it.  Unfortunately I 
don't have the shelf mark!

The specific query relates to the terms durezze and ribattute placed 
above some of the examples. As far as I can make out it is similar to 
the continuo exrecises found in guitar books – the bass line is shown 
with appropriate harmonies. The page I have been sent illustrates “G 
sol re ut con terza maggiore. It’s in Italian tab.

As far as I can see ribattute seems to refer to a dominant 7th chord 
with a “4-3” suspension in the lowest part. Strictly speaking it is 2 
3# I think.  Ribattute refers to the fact that the harmony is inverted.

The notes top down are
5  5  (blank) 5   5  (blank) for the first chord; 
5  5  (blank) 5   4  (blank) for the second chord. 

Durezze as far as I can guess just refers to the fact that the chord is 
dissonant.  The notes top down are

3  2  3 followed by 2  3  3

lower courses blank.

If anyone can help I could send them a copy of the page off the list.

Thanks in advance for any help.





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[LUTE] Barry Mason

2017-01-02 Thread mjlh...@tiscali.co.uk

Does anyone by any chance know whether Barry Mason is still around. He 
played the lute and baroque guitar and directed Camerata of London with 
Glenda Simpson and later was running the Spanish Guitar Centre in 
London but that seems to have gone into liquidation.  Has anyone been 
in touch with him recently.
Meahwhile a happy New Year to one and all.
Monica



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[LUTE] Hexachordal System

2016-12-28 Thread mjlh...@tiscali.co.uk

I have a query about the hexachordal system - I wonder if anyone can 
elucidate.  In some French guitar sources, notably Corbetta, but also 
Grenerin, the solmisation syllable are arranged in a different order 
from what was usual earlier.  The first hexachord starts on F instead 
of G; the second on C, and the third on G as follows.  Sorry I can't 
make then overlap. 
Hexachordal System – late 17th Century French

Ut re mi fa sol la
F  G  A  B  C   D

Ut re mi fa sol la
C  D  E  F  GA

Ut re mi fa sol la
G  A  B  C   D   E

The keys are identified as follows -
A mi la re
B fa mi
C sol ut fa
D la re sol
E mi la
F ut fa
G sol re ut
G re sol ut [Grenerin]

Does this occur in other French sources - in lute sources for example 
or theoretical sources. Does anyone know why the hexachords were re-
arranged like this?

Regards
Monica






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[LUTE] Italian translation query

2016-12-11 Thread mjlh...@tiscali.co.uk

Montesardo in the section "Del modo di sonare con la mano dritta 
says... 

Chi vorrà hauer una bella, e leggiadra mano su la Chitarra, è 
necessario prima, e principalmente tener la mano relassa dall’
attaccatura di essa, quanto sia possibile, tanto che diventi leggiera; 
che cosi sarà molto leggiadra al sonare, 

I translated this as 

If you wish to have a beautiful and elegant hand on the guitar it is 
necessary first and foremost to keep the hand relaxed from the [wrist] 
joint of this as much as possible so that it becomes very light.  

However someone else I know thinks that because the word attaccatura in 
later sources refers to the joint between the body and neck of the 
guitar the phrase

"tener la mano relassa dall’attaccatura di essa" 

should be translated as 

"to keep the hand relaxed at the point where the neck joins the body, 
as far as may be possible".

I wonder whether any of our Italian members can say which  translation 
is the more likely or indeed whether either might be appropriate and 
the sentence is ambiguous.

Elsewhere Montesardo says you should play between the rose and the 
fingerboard, as does Abadessa.

Any help would be much appreciated.

Regards
Monica





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[LUTE] Re: Cavalli

2016-11-18 Thread mjlh...@tiscali.co.uk

It is indeed from Erismena. I was able to find the score on ISMLP. Many 
thanks to both of you for your help.
Monica

Original Message
From: jo.lued...@t-online.de
Date: 17/11/2016 11:51 
To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>, "lute@cs.dartmouth.
edu"<lute@cs.dartmouth.edu>
Subj: [LUTE] Re: Cavalli

Dear Monica,

isn't that an aria in L'Erismena?

Best,

Joachim

-Original-Nachricht-
Betreff: [LUTE] Cavalli
Datum: 2016-11-17T12:12:00+0100
Von: "mjlh...@tiscali.co.uk" <mjlh...@tiscali.co.uk>
An: "LutList" <lute@cs.dartmouth.edu>

I am trying to trace a piece by Cavalli with the title "Son spezzate 
le 
cattene". Does anyone know if it is a separate piece or an aria from 
an 
opera?
As ever
Monica

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[LUTE] Cavalli

2016-11-17 Thread mjlh...@tiscali.co.uk

I am trying to trace a piece by Cavalli with the title "Son spezzate le 
cattene". Does anyone know if it is a separate piece or an aria from an 
opera?
As ever
Monica



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[LUTE] Andrew Hartig

2016-10-25 Thread mjlh...@tiscali.co.uk

Many thanks to all of you who replied to my message.  Very Helpful as 
usual.
Monica



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[LUTE] Andrew Hartig

2016-10-24 Thread mjlh...@tiscali.co.uk

Does anyone have Andrew Hartig's e-mail. Gerard Rebours would like to 
get in touch with him.
Please reply off the list.
Monica



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[LUTE] Re: Archive files

2016-10-18 Thread mjlh...@tiscali.co.uk

Thank you all very much for your help. This is exactly what I want. 
Truly this list is wonderful - there are always several people who can 
come up with the answer I'm looking for.  It is interesting to look 
back at the messages when we were all younger and wiser.
Again - many thanks.
Monica

Original Message
From: lex.eisenha...@gmail.com
Date: 18/10/2016 17:26 
To: <mjlh...@tiscali.co.uk>
Cc: <lute@cs.dartmouth.edu>
Subj: [LUTE] Re: Archive files

Perhaps this is what you're looking for 
https://www.mail-archive.com/vihuela@cs.dartmouth.edu/msg01314.html
 ?
Lex

-Oorspronkelijk bericht-
Van: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] 
Namens Ralf Mattes
Verzonden: dinsdag 18 oktober 2016 19:19
Aan: Ralf Mattes
CC: mjlh...@tiscali.co.uk; lute@cs.dartmouth.edu
Onderwerp: Re: Fwd: Re: Re: Archive files

Just some more info : the archive webpages will only go back to 2008 
but the search will return results from earlier messages, Just type 
something into the basic search field (i,e. "2005"). On the result page 
you'll find a link to "advanced search" - there you can restrict your 
search to a time period.

HTH RalfD

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[LUTE] Re: Archive files

2016-10-18 Thread mjlh...@tiscali.co.uk

That's very helpful. I'm almost there. But the messages which I want to 
look at are on the vihuela list between March 2006 to the end of 2007 
and are compressed I think.  The uncompressed files for lute and 
vihuela seem to end in 2008.
Best wishes
Monica 

Original Message
From: rads.bera_g...@t-online.de
Date: 18/10/2016 13:45 
To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>
Cc: <lute@cs.dartmouth.edu>
Subj: [LUTE] Re: Archive files

Dear Monica,

What exactly do you want to do?

If you are looking for old mails with a specific topic/content try

https://www.mail-archive.com/lute@cs.dartmouth.edu/maillist.html

Rainer


On 18.10.2016 10:09, mjlh...@tiscali.co.uk wrote:
> Dear Rainer
> I use Windows 10 unfortunately and get my mail via Talk talk's 
website
> - not my choice either it just happened. IT is not my thing.
> Monica
>
> Original Message
> From: rads.bera_g...@t-online.de
> Date: 17/10/2016 12:44
> To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>, <lute@cs.
dartmouth.
> edu>
> Subj: Re: [LUTE] Archive files
>
> Dear Monica,
>
> which operating system and which mail program do you use?
>
> Rainer
>
> On 17.10.2016 14:32, mjlh...@tiscali.co.uk wrote:
>> I have been trying to consult some of the archive files but can't 
get
>> them to open.  I downloaded what I think is the right app for this
> and
>> the files appear with the appropriate icon but they don't open.  Ha
>> anyone got the time to explain to me what I am doing wrong.
>> Many thanks
>> Monica
>>
>>
>>
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>
>
>
>
>
>

[LUTE] Re: Archive files

2016-10-18 Thread mjlh...@tiscali.co.uk

Dear Rainer
I use Windows 10 unfortunately and get my mail via Talk talk's website 
- not my choice either it just happened. IT is not my thing.
Monica

Original Message
From: rads.bera_g...@t-online.de
Date: 17/10/2016 12:44 
To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>, <lute@cs.dartmouth.
edu>
Subj: Re: [LUTE] Archive files

Dear Monica,

which operating system and which mail program do you use?

Rainer

On 17.10.2016 14:32, mjlh...@tiscali.co.uk wrote:
> I have been trying to consult some of the archive files but can't get
> them to open.  I downloaded what I think is the right app for this 
and
> the files appear with the appropriate icon but they don't open.  Ha
> anyone got the time to explain to me what I am doing wrong.
> Many thanks
> Monica
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>

[LUTE] Archive files

2016-10-17 Thread mjlh...@tiscali.co.uk

I have been trying to consult some of the archive files but can't get 
them to open.  I downloaded what I think is the right app for this and 
the files appear with the appropriate icon but they don't open.  Ha 
anyone got the time to explain to me what I am doing wrong.
Many thanks
Monica



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Theorbo and baroque guitar played by Miguel Rincón

2016-10-13 Thread mjlh...@tiscali.co.uk

Thanks for the link.   A very interesting performance on the  baroque 
guitar!  A very HIP performance.
Monica

Original Message
From: dmorale...@cuerdaspulsadas.com
Date: 13/10/2016 7:28 
To: "List LUTELIST"
Subj: [LUTE] Theorbo and baroque guitar played by Miguel Rincón

Dear lute friends,
   Let me share with you two great videos:
   [1]https://vimeo.com/186238735
   [2]https://vimeo.com/186238734
   Regards.
   --
   Cuerdas Pulsadas
   [3]www.cuerdaspulsadas.com || [4]h...@cuerdaspulsadas.com
   [5]BLOG || [6]AGENDA || [7]TIMELINE

[8]blog [9]facebook [10]twitter [11]instagram

   --

References

   1. https://vimeo.com/186238735
   2. https://vimeo.com/186238734
   3. http://www.cuerdaspulsadas.com/
   4. mailto:h...@cuerdaspulsadas.com
   5. http://www.cuerdaspulsadas.es/blog
   6. http://cuerdaspulsadas.es/blog/agenda/
   7. http://www.cuerdaspulsadas.com/timeline
   8. http://.cuerdaspulsadas.com/blog
   9. http://www.facebook.com/cuerdaspulsadas
  10. http://www.twitter.com/cuerdaspulsadas
  11. http://www.instagram.com/cuerdaspulsadas


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[LUTE] Re:

2016-10-13 Thread mjlh...@tiscali.co.uk

Many thanks to those of you who replied to my tech query.  It seems 
other people have problems with Windows 10. 
Regards
Monica
Original Message
From: brai...@osu.edu
Date: 12/10/2016 13:33 
To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>
Subj: RE: [LUTE] 

If you haven't heard yet, opening any folder should display a search 
window in the top right corner of its window specific to that folder.

Best,

E

[The Ohio State University]
Eugene C. Braig IV Program Director, Aquatic Ecosystems
Ohio State University Extension School of Environment and Natural 
Resources
379a Kottman Hall | 2021 Coffey Rd. Columbus, OH 43210
614-292-3823 Office | 614-292-7432 Fax
brai...@osu.edu<mailto:brai...@osu.edu> osu.edu<http://osu.edu/>
http://senr.osu.edu/our-people/eugene-braig

-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On 
Behalf Of mjlh...@tiscali.co.uk
Sent: Wednesday, October 12, 2016 4:27 AM
To: LutList
Subject: [LUTE]

This is a technical question rather than a lute one but I hope some of 
the tech wizards on the list will be able to help.

It used to be possible to search for the location of a file or name 
within a file by putting it into the search facility.  This doesn't 
seem to be possible with Windows 10.  Does anyone know how to do this?

Advice would be much appreciated.

Monica

To get on or off this list see list information at 
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE]

2016-10-12 Thread mjlh...@tiscali.co.uk

This is a technical question rather than a lute one but I hope some of 
the tech wizards on the list will be able to help.

It used to be possible to search for the location of a file or name 
within a file by putting it into the search facility.  This doesn't 
seem to be possible with Windows 10.  Does anyone know how to do this?
Advice would be much appreciated.
Monica 



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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Purcell

2016-10-01 Thread mjlh...@tiscali.co.uk

Hello Dan

It is a large manuscript in the Nederlands Muziek Instituut in the 
Hague with the call mark NL:DHgm Ms.4 E.73.   It has always been known 
as "Princess Ann’s Lute Book” although all the music in it is for 5-
course guitar.  It belonged to our Queen Anne before she became queen 
in 1702.  She was an accomplished guitarist and had Corbetta for her 
teacher.  It was previously erroneously thought to have belonged to the 
Princess Anne who was the daughter of George II who married one of the 
Staddholders in the Netherland - can't remember which one.   How it 
came to be in the Netherlands is a bit of a mystery - some Dutch 
collector purchased it in the 19th century and it was just assumed to 
be Dutch.
Hope that is enlightening.

Monica

Original Message
From: dwinh...@lmi.net
Date: 01/10/2016 16:03 
To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>, <mjhodgson@hotmail.
co.uk>
Cc: "LutList"<lute@cs.dartmouth.edu>
Subj: Re: [LUTE] Re: Purcell

Hello Monica-
I have never heard of Princess Anne's Lute Book- could you please 
enlighten me a little further?
Thanks,   Dan W.

On 10/1/2016 1:25 AM, mjlh...@tiscali.co.uk wrote:
> And if you have access to it, Princess Anne's Lute Book includes
> arrangements of about 20 pieces from Purcell's stage works of the 
1690s
> including one piece that might just possibly be one of those played
> during a performance of Dido.
> Monica
>
>
> Original Message
> From: mjhodg...@hotmail.co.uk
> Date: 01/10/2016 8:04
> To: "Bruno Figueiredo"<bruno.l...@gmail.com>, "List LUTELIST"
<lute@cs.
> dartmouth.edu>
> Subj: [LUTE] Re: Purcell
>
> If you play the 5 course (baroque) guitar then you'll see that 
Purcell
> asks for a couple of dances for this instrument so this will best
> fit
> the composer's intentions - as well as having audience appeal.
> Select
> a chaconne  and another piece by, say, Corbetta and this will 
work
> very well in performance.
>
> Peter Holman, with whom I've frequently played continuo in D,
> believes Purcell expected guitar continuo for much of this
> particular work.
>
> MH
>   
__
>
> From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on
> behalf
> of Bruno Figueiredo <bruno.l...@gmail.com>
> Sent: 30 September 2016 14:18
> To: List LUTELIST
> Subject: [LUTE] Purcell
>
>I have been asked to play on Purcell's Dido (modern orchestra 
at
> 442
>with my little 8 course - ok, we can skip this part) and the
> conductor
>asked for a solo lute piece by Purcell or someone in the same
> style.
> Is
>there any dance tune of him transcribed for renaissance lute? 
I
> thought
>that maybe a saraband by Puccinini might work...
>Any advice is welcomed!
>--
>Bruno Figueiredo
>Pesquisador autÃÂ´nomo da prÃÂ¡tica e interpretaÃÂ§ÃÂ£o
>historicamente informada no alaÃÂºde e teorba.
>Doutor em PrÃÂ¡ticas Interpretativas  pela
>Universidade Federal do Estado do Rio de Janeiro.
>--
> To get on or off this list see list information at
> [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> [2]Frequently Asked Technical Questions about the lute mail list
> www.cs.dartmouth.edu
> Frequently Asked Technical Questions about the lute mail list.
> getting
> on and off the list; How do I get on the lute mail list? How do I
> get
> off the lute mail list?
>
> --
>
> References
>
> 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
>
>
>

[LUTE] Re: Purcell

2016-10-01 Thread mjlh...@tiscali.co.uk

And if you have access to it, Princess Anne's Lute Book includes 
arrangements of about 20 pieces from Purcell's stage works of the 1690s 
including one piece that might just possibly be one of those played 
during a performance of Dido.
Monica

Original Message
From: mjhodg...@hotmail.co.uk
Date: 01/10/2016 8:04 
To: "Bruno Figueiredo", "List LUTELIST"
Subj: [LUTE] Re: Purcell

If you play the 5 course (baroque) guitar then you'll see that Purcell
   asks for a couple of dances for this instrument so this will best 
fit
   the composer's intentions - as well as having audience appeal.  
Select
   a chaconne  and another piece by, say, Corbetta and this will work
   very well in performance.

   Peter Holman, with whom I've frequently played continuo in D,
   believes Purcell expected guitar continuo for much of this
   particular work.

   MH
 __

   From: lute-...@cs.dartmouth.edu  on 
behalf
   of Bruno Figueiredo 
   Sent: 30 September 2016 14:18
   To: List LUTELIST
   Subject: [LUTE] Purcell

  I have been asked to play on Purcell's Dido (modern orchestra at 
442
  with my little 8 course - ok, we can skip this part) and the
   conductor
  asked for a solo lute piece by Purcell or someone in the same 
style.
   Is
  there any dance tune of him transcribed for renaissance lute? I
   thought
  that maybe a saraband by Puccinini might work...
  Any advice is welcomed!
  --
  Bruno Figueiredo
  Pesquisador autÃÂ´nomo da prÃÂ¡tica e interpretaÃÂ§ÃÂ£o
  historicamente informada no alaÃÂºde e teorba.
  Doutor em PrÃÂ¡ticas Interpretativas  pela
  Universidade Federal do Estado do Rio de Janeiro.
  --
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   [2]Frequently Asked Technical Questions about the lute mail list
   www.cs.dartmouth.edu
   Frequently Asked Technical Questions about the lute mail list. 
getting
   on and off the list; How do I get on the lute mail list? How do I 
get
   off the lute mail list?

   --

References

   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Baroque guitar tablature

2016-09-02 Thread mjlh...@tiscali.co.uk

Yes - Martyn is right.  Sincere apologies are in order. I was about to 
go out and didn't read the message properly - thought he was referring 
to the first bit.  Should have waited til I got back. There are 
slightly different signs for the quaver following a dotted note and the 
minim but it all works out properly in the end.  I have now made a 
rough transcription of it.
Not sure that it is really worth the effort but still - interesting.
Monica

Original Message
From: al...@musickshandmade.com
Date: 02/09/2016 15:33 
To: "Martyn Hodgson"<hodgsonmar...@yahoo.co.uk>, "mjlh...@tiscali.co.uk"
<mjlh...@tiscali.co.uk>
Cc: "LutList"<lute@cs.dartmouth.edu>
Subj: [LUTE] Re: Baroque guitar tablature

Martyn and Monica,

   Gerard Rebours seems to agree with Martyn on the 'Y' - here is what 
he
   wrote me:

   6) Le 'y' qui ressemble au 'x' ci-dessus: aucune idee...

   Probablement encore un agglomerat du signe de battue vers le bas 
avec
   cette fois un rythme de blanche.

   Extrapolation, certes, mais c,a fonctionne!

   Avec tout c,a, on a bien une piece `a quatre mesures de trois temps 
par
   section.
   -End of quote -
   In English: "Probably a combination of a strumming down sign with 
the
   value of a half note. This is course an extrapolation, but it 
works...
   With this interpretation, we have a piece with 4 bars with three 
beats
   each per section"
   Gerard actually was good enough to send me an MP3 of his 
interpretation
   of the piece - that sounds very chaconne like. Looking at other 
pages
   of the facsimile is probably necessary to resolve this issue for 
good.
   There is a second page to this sarabande BTW: See:
   [1]http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove//319_pag

   e_0273-62.jpg
   If you have a registered account on my site you can view part of the
   facsimile at
   [2]http://django.musickshandmade.com/facsimiles/book_view/374. If 
not
   it is on Google books.
   Many thanks to all who contributed to this thread and made it so
   interesting and lively!
   Alain

   On 09/02/2016 05:22 AM, Martyn Hodgson wrote:

   Dear Monica,
   If we're both looking at the same piece and line (the third line), 
then
   the preceding chord (to the chord with a Y sign) is marked as a
   crotchet and with no dot after it ie not a dotted crotchet as you
   suggest.
   Perhaps you've misunderstood my code - sorry!.  To  avoid
   misunderstanding here is the sequence for the third (and fourth ) 
line
   again, but this time no code except for the / to indicate a bar
   line. This pattern also fits with the typical sarabande form of the
   period.
   Crotchet, minim / dotted crotchet, quaver, crotchet(NB weak) /
   crotchet, minim / dotted crotchet, quaver, crotchet(weak) //.
   If, as you suggest, the first chord of the third line is a dotted
   quaver (despite there being no dot associated with it), how do you
   think the sequence proceeds for the remainder of the line? Please 
bear
   in mind the distinctive weak third beat usually expected on the last
   chord of a two bar phrase in these sarabandes.
   Martyn
 ______

   From: [3]"mjlh...@tiscali.co.uk" [4]<mjlh...@tiscali.co.uk>
   To: [5]hodgsonmar...@yahoo.co.uk
   Cc: LutList [6]<lute@cs.dartmouth.edu>
   Sent: Friday, 2 September 2016, 13:06
   Subject: Re: [LUTE] Re: Baroque guitar tablature
   Sorry - I don't agree with you. You are ignoring the fact that the
   preceding chord is a dotted crotchet.  Look at any sarabande of the
   period and I think you will see that the rhythm is more or less as I
   describe it in my previous message.
   Monica
   Original Message
   From: [[7]1]hodgsonmar...@yahoo.co.uk
   Date: 02/09/2016 10:13
   To: [8]"[2]mjlh...@tiscali.co.uk"[9]<[3]mjlh...@tiscali.co.uk>,
   [10]"[4]mar...@gmlutz.de"
   [11]<[5]mar...@gmlutz.de>
   Cc: "LutList"[12]<[6]lute@cs.dartmouth.edu>
   Subj: Re: [LUTE] Re: Baroque guitar tablature
   Markus and Monica,
   Looking at the phrasing of this piece ( and noting that sarabandes 
of
   this period generally are in two regular bar phrases with the third
   beat of the second being particularly weak), I'm inclined to think 
that
   the Y (or V) sign indicates a chord twice the length of the usual
   crotchet time,  ie a minim.
   So that the duration/lengths of chords in each line is as below 
with' I
   ' being a crotchet duration (also dotted where appropriate), 'T' 
being
   a quaver, 'Y' being a minim and / representing the bar line. 
Direction
   of strokes are as described earlier.
   First and second lines have same four bar note values: I I I / I. T 
I /
   I I I / I. T I  //
   Similarly the third and fourth have these:I Y  / I. T I / I Y  / I. 
T I
   //
   Sorry about the odd code - it was all I could think of!
   Martyn

[LUTE] Re: Baroque guitar tablature

2016-09-02 Thread mjlh...@tiscali.co.uk

Sorry - I don't agree with you. You are ignoring the fact that the 
preceding chord is a dotted crotchet.  Look at any sarabande of the 
period and I think you will see that the rhythm is more or less as I 
describe it in my previous message.
Monica

Original Message
From: hodgsonmar...@yahoo.co.uk
Date: 02/09/2016 10:13 
To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>, "mar...@gmlutz.de"
<mar...@gmlutz.de>
Cc: "LutList"<lute@cs.dartmouth.edu>
Subj: Re: [LUTE] Re: Baroque guitar tablature

Markus and Monica,
Looking at the phrasing of this piece ( and noting that sarabandes of 
this period generally are in two regular bar phrases with the third 
beat of the second being particularly weak), I'm inclined to think that 
the Y (or V) sign indicates a chord twice the length of the usual 
crotchet time,  ie a minim. 
So that the duration/lengths of chords in each line is as below with' I 
' being a crotchet duration (also dotted where appropriate), 'T' being 
a quaver, 'Y' being a minim and / representing the bar line. Direction 
of strokes are as described earlier. 
First and second lines have same four bar note values: I I I / I. T I / 
I I I / I. T I  //
Similarly the third and fourth have these:I Y  / I. T I / I Y  / I. T I 
//
Sorry about the odd code - it was all I could think of!
Martyn
  From: "mjlh...@tiscali.co.uk" <mjlh...@tiscali.co.uk>
 To: mar...@gmlutz.de 
Cc: LutList <lute@cs.dartmouth.edu>
 Sent: Friday, 2 September 2016, 9:52
 Subject: [LUTE] Re: Baroque guitar tablature

Yes - I think that the "Y" or "V" sign represents a quaver or eighth 
note but there is also a stroke mark after it it indicating that it is 
an upward strum. It doesn't indicate an up stroke on its own.
The opening passage of the sarabande is
crotchet - crotchet - crotchet - dotted crotchet - quaver - crotchet 
etc.
  D -  U - D - D - U - D
This is the usual rhythmic pattern for the Sarabande.  
Hope that makes sense.
Monica      

Original Message
From: mar...@gmlutz.de
Date: 02/09/2016 0:12 
To: "Lute List"<lute@cs.dartmouth.edu>
Subj: [LUTE] Re: Baroque guitar tablature

Seems as if my first message hadn't come directly to the lute list, 
except in Monicas reply down (I included the lute list with cc: ??):

One adding:
Possibly the Y (or sometimes V)-shaped -sign could mean a strum with 
the 
length of a half note, but I'm not sure about that, as there are no 
bar 
lines at all ...

Best regards
Markus

Am 01.09.2016 um 13:36 schrieb mjlh...@tiscali.co.uk:
> Yes - I think the rather florid looking x or slash at the top of the
> stave is a quaver or eighth note.  Should complement the dotted 
strokes.
> The small x is an appoggiatura or upper note trill.
> MOnica
>
> ----Original Message
> From: mar...@gmlutz.de
> Date: 01/09/2016 9:07
> To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>,
> <al...@musickshandmade.com>
> Cc: "LutList"<lute@cs.dartmouth.edu>
> Subj: Re: [LUTE] Re: Baroque guitar tablature
>
> Probably the page is 62v - the numbering of the scans on the page is
> quite misleading.
>
> The x in this case probably mean an eigthth strum. That fits with
> understanding the |. as a punctated strum.
> In the manuscript there also seems to be a "x" for an appogiatura or
> mordent from above.
>
> Best regards
> Markus
>
>
> Am 01.09.2016 um 10:43 schrieb mjlh...@tiscali.co.uk:
>>
>> Can't actually access the page you have given.  However I have a 
copy
>> of the ms.
>>
>> The vertical dasshes below and above the highest line indicate the
>> strumming. Down from the line is a bass to treble stroke and up from
>> the line is a treble to bass stroke.
>> The open courses should be included in the chords provided that they
>> belong to the basic triad.  They don't include the "As" unless this
> is
>> essential to make sense.
>> A dot after a stroke may indicate that it is a dotted note - but I
>> can't see which specific piece you are referring to.
>> An x is usually a descending appoggiatura from the note above.
>> Oblique dashes below the stave  usually mean that the chord is to be
>> sustained.
>> If you can tell me the page number or the title of the specific
> pieces
>> I might be able to shed a bit more light.
>> BEst
>> Monica
>> Original Message
>> From: al...@musickshandmade.com
>> Date: 01/09/2016 8:05
>> To: "Lute List"<lute@cs.dartmouth.edu>
>> Subj: [LUTE] Re: Baroque guitar tablature
>>
>> I am hoping someone can help me understand some of the symbols on
> this
>>    piece of Baroque guitar tablature - maybe Monica?
>>    Here is a facsi

[LUTE] Re: Baroque guitar tablature

2016-09-02 Thread mjlh...@tiscali.co.uk

Yes - I think that the "Y" or "V" sign represents a quaver or eighth 
note but there is also a stroke mark after it it indicating that it is 
an upward strum. It doesn't indicate an up stroke on its own.
The opening passage of the sarabande is
crotchet - crotchet - crotchet - dotted crotchet - quaver - crotchet 
etc.
  D -  U - D - D - U - D
This is the usual rhythmic pattern for the Sarabande.  
Hope that makes sense.
Monica   


Original Message
From: mar...@gmlutz.de
Date: 02/09/2016 0:12 
To: "Lute List"<lute@cs.dartmouth.edu>
Subj: [LUTE] Re: Baroque guitar tablature

Seems as if my first message hadn't come directly to the lute list, 
except in Monicas reply down (I included the lute list with cc: ??):

One adding:
Possibly the Y (or sometimes V)-shaped -sign could mean a strum with 
the 
length of a half note, but I'm not sure about that, as there are no 
bar 
lines at all ...

Best regards
Markus



Am 01.09.2016 um 13:36 schrieb mjlh...@tiscali.co.uk:
> Yes - I think the rather florid looking x or slash at the top of the
> stave is a quaver or eighth note.  Should complement the dotted 
strokes.
> The small x is an appoggiatura or upper note trill.
> MOnica
>
> Original Message
> From: mar...@gmlutz.de
> Date: 01/09/2016 9:07
> To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>,
> <al...@musickshandmade.com>
> Cc: "LutList"<lute@cs.dartmouth.edu>
> Subj: Re: [LUTE] Re: Baroque guitar tablature
>
> Probably the page is 62v - the numbering of the scans on the page is
> quite misleading.
>
> The x in this case probably mean an eigthth strum. That fits with
> understanding the |. as a punctated strum.
> In the manuscript there also seems to be a "x" for an appogiatura or
> mordent from above.
>
> Best regards
> Markus
>
>
> Am 01.09.2016 um 10:43 schrieb mjlh...@tiscali.co.uk:
>>
>> Can't actually access the page you have given.  However I have a 
copy
>> of the ms.
>>
>> The vertical dasshes below and above the highest line indicate the
>> strumming. Down from the line is a bass to treble stroke and up from
>> the line is a treble to bass stroke.
>> The open courses should be included in the chords provided that they
>> belong to the basic triad.  They don't include the "As" unless this
> is
>> essential to make sense.
>> A dot after a stroke may indicate that it is a dotted note - but I
>> can't see which specific piece you are referring to.
>> An x is usually a descending appoggiatura from the note above.
>> Oblique dashes below the stave  usually mean that the chord is to be
>> sustained.
>> If you can tell me the page number or the title of the specific
> pieces
>> I might be able to shed a bit more light.
>> BEst
>> Monica
>> Original Message
>> From: al...@musickshandmade.com
>> Date: 01/09/2016 8:05
>> To: "Lute List"<lute@cs.dartmouth.edu>
>> Subj: [LUTE] Re: Baroque guitar tablature
>>
>> I am hoping someone can help me understand some of the symbols on
> this
>>piece of Baroque guitar tablature - maybe Monica?
>>Here is a facsimile copy:
>>[1]http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page

>
>>
>>_0205.jpg
>>1 ) Small vertical dashes above the first line: I understand this
> is
>> an
>>indication of strumming with the hand from the bottom up - or is
> it
>> the
>>other way?
>>2) The dots after a vertical dash - like this "|."  : is that a
>> dotted
>>(invisible) flag value -- or a bar line -- or?
>>3) the 'x' - often following the dotted dash mentioned above:  a
>> shake
>>or mordent??? If so it looks a little far away from its note...
>>4) the 'y' that looks like the 'x' described above but more like 
a
>> 'y'
>>(or a 'v') and bigger: 
>>5) Oblique dashes on the first and/or 5th line: no idea what 
these
>>are...
>>I am also kind of wondering if open strings are not sort of
> implied
>>within a chord ...
>>Any help on any of the above appreciated. To me, it looks like
>> pretty
>>amazing short-hand from someone who knew the instrument extremely
>>well...
>>Alain
>>--
>>
>> References
>>
>>1. 
>> http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page_0205.jpg

>
>>
>>
>>
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>
>>
>>
>
>


-- 

Markus Lutz
Schulstraße 11

88422 Bad Buchau

Tel  0 75 82 / 92 62 89
Fax  0 75 82 / 92 62 90
Mail mar...@gmlutz.de

[LUTE] Re: Baroque guitar tablature

2016-09-01 Thread mjlh...@tiscali.co.uk

I have never really studied this in detail. 
First of all the date. In the description at the beginning of the ms. 
it says 17th century with the date 1635 after the name  Isabel 
Langhenhove. I'm not sure if that is actually the date of the ms. Jim 
Tyler says mid-17th century and that seems a bit more likely especially 
as it includes some gavottes and at least one bourree which are more 
associated with Louis XIV and Lully - but I am not an expert on these 
things.
It is interesting that it is in French tablature because early French 
sources are few and far between.It uses Italian strumming symbols 
rather than the French system of putting note values on the stave. The 
earliest dated sources of this kind of notation are the Dupille mss.(F-
Psg ms. res. 2344/2349 and 2351). One of these is dated 1649. So 
Langhenhove might be slightly earlier.
I am not quite sure what you mean by the !Y! shape attached to the 
first line. The longer stroke marks followed by a dot are dotted 
quarter notes and the florid x symbol may be the complementary 8th 
note.
The music looks rather sketchy but is in what we (or I) refer to as 
"mixed" style - it combines strummed chords (most of which are the same 
as those represented by alfabeto in Italian sources) with plucked lute 
style passages. But it is a manuscript and possibly just a sort of aide 
memoire for the player. It is very difficult to judge these things for 
quality because the player may have elaborated on what is actually 
written.
Hope that is helpful.
Monica

Original Message
From: al...@musickshandmade.com
Date: 01/09/2016 16:28 
To: "LutList"<lute@cs.dartmouth.edu>
Subj: [LUTE] Re: Baroque guitar tablature

Hi Monica,

Thank you for your science - the sequence seems to be : vertical dash 
with dot followed by the x, i.e. "|. x".

The 'Y' shape is attached to the first line, which I guess might mean 
some indication of strumming?

I just picked a random piece in the MS as an example -- it happens to 
be 
a saraband on p.205 of the microfilm - this may or may not correspond 
to 
anything outside the microfilm copy...

What is the overall quality of the music in that "Langhenhove" MS? It 
is 
dated 1635, which makes it fairly early but the notation seems to me 
very established and fluent.

Alain

On 09/01/2016 04:36 AM, mjlh...@tiscali.co.uk wrote:
> Yes - I think the rather florid looking x or slash at the top of the
> stave is a quaver or eighth note.  Should complement the dotted 
strokes.
> The small x is an appoggiatura or upper note trill.
> MOnica
>
> Original Message----
> From: mar...@gmlutz.de
> Date: 01/09/2016 9:07
> To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>,
> <al...@musickshandmade.com>
> Cc: "LutList"<lute@cs.dartmouth.edu>
> Subj: Re: [LUTE] Re: Baroque guitar tablature
>
> Probably the page is 62v - the numbering of the scans on the page is
> quite misleading.
>
> The x in this case probably mean an eigthth strum. That fits with
> understanding the |. as a punctated strum.
> In the manuscript there also seems to be a "x" for an appogiatura or
> mordent from above.
>
> Best regards
> Markus
>
>
> Am 01.09.2016 um 10:43 schrieb mjlh...@tiscali.co.uk:
>> Can't actually access the page you have given.  However I have a 
copy
>> of the ms.
>>
>> The vertical dasshes below and above the highest line indicate the
>> strumming. Down from the line is a bass to treble stroke and up from
>> the line is a treble to bass stroke.
>> The open courses should be included in the chords provided that they
>> belong to the basic triad.  They don't include the "As" unless this
> is
>> essential to make sense.
>> A dot after a stroke may indicate that it is a dotted note - but I
>> can't see which specific piece you are referring to.
>> An x is usually a descending appoggiatura from the note above.
>> Oblique dashes below the stave  usually mean that the chord is to be
>> sustained.
>> If you can tell me the page number or the title of the specific
> pieces
>> I might be able to shed a bit more light.
>> BEst
>> Monica
>> Original Message
>> From: al...@musickshandmade.com
>> Date: 01/09/2016 8:05
>> To: "Lute List"<lute@cs.dartmouth.edu>
>> Subj: [LUTE] Re: Baroque guitar tablature
>>
>> I am hoping someone can help me understand some of the symbols on
> this
>> piece of Baroque guitar tablature - maybe Monica?
>> Here is a facsimile copy:
>> [1]http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page

>> _0205.jpg
>> 1 ) Small vertical dashes above the first line: I understand 
this
> is
>> an
>>

[LUTE] Re: Baroque guitar tablature

2016-09-01 Thread mjlh...@tiscali.co.uk

Yes - I think the rather florid looking x or slash at the top of the 
stave is a quaver or eighth note.  Should complement the dotted strokes.
The small x is an appoggiatura or upper note trill.
MOnica

Original Message
From: mar...@gmlutz.de
Date: 01/09/2016 9:07 
To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>, 
<al...@musickshandmade.com>
Cc: "LutList"<lute@cs.dartmouth.edu>
Subj: Re: [LUTE] Re: Baroque guitar tablature

Probably the page is 62v - the numbering of the scans on the page is 
quite misleading.

The x in this case probably mean an eigthth strum. That fits with 
understanding the |. as a punctated strum.
In the manuscript there also seems to be a "x" for an appogiatura or 
mordent from above.

Best regards
Markus


Am 01.09.2016 um 10:43 schrieb mjlh...@tiscali.co.uk:
>
> Can't actually access the page you have given.  However I have a copy
> of the ms.
>
> The vertical dasshes below and above the highest line indicate the
> strumming. Down from the line is a bass to treble stroke and up from
> the line is a treble to bass stroke.
> The open courses should be included in the chords provided that they
> belong to the basic triad.  They don't include the "As" unless this 
is
> essential to make sense.
> A dot after a stroke may indicate that it is a dotted note - but I
> can't see which specific piece you are referring to.
> An x is usually a descending appoggiatura from the note above.
> Oblique dashes below the stave  usually mean that the chord is to be
> sustained.
> If you can tell me the page number or the title of the specific 
pieces
> I might be able to shed a bit more light.
> BEst
> Monica
> Original Message
> From: al...@musickshandmade.com
> Date: 01/09/2016 8:05
> To: "Lute List"<lute@cs.dartmouth.edu>
> Subj: [LUTE] Re: Baroque guitar tablature
>
> I am hoping someone can help me understand some of the symbols on 
this
>piece of Baroque guitar tablature - maybe Monica?
>Here is a facsimile copy:
>[1]http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page

>
>_0205.jpg
>1 ) Small vertical dashes above the first line: I understand this 
is
> an
>indication of strumming with the hand from the bottom up - or is 
it
> the
>other way?
>2) The dots after a vertical dash - like this "|."  : is that a
> dotted
>(invisible) flag value -- or a bar line -- or?
>3) the 'x' - often following the dotted dash mentioned above:  a
> shake
>or mordent??? If so it looks a little far away from its note...
>4) the 'y' that looks like the 'x' described above but more like a
> 'y'
>(or a 'v') and bigger: 
>5) Oblique dashes on the first and/or 5th line: no idea what these
>are...
>I am also kind of wondering if open strings are not sort of 
implied
>within a chord ...
>Any help on any of the above appreciated. To me, it looks like
> pretty
>amazing short-hand from someone who knew the instrument extremely
>well...
>Alain
>--
>
> References
>
>1. 
> http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page_0205.jpg

>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
>


-- 

Markus Lutz
Schulstraße 11

88422 Bad Buchau

Tel  0 75 82 / 92 62 89
Fax  0 75 82 / 92 62 90
Mail mar...@gmlutz.de

[LUTE] Re: Baroque guitar tablature

2016-09-01 Thread mjlh...@tiscali.co.uk


Can't actually access the page you have given.  However I have a copy 
of the ms.

The vertical dasshes below and above the highest line indicate the 
strumming. Down from the line is a bass to treble stroke and up from 
the line is a treble to bass stroke.
The open courses should be included in the chords provided that they 
belong to the basic triad.  They don't include the "As" unless this is 
essential to make sense.  
A dot after a stroke may indicate that it is a dotted note - but I 
can't see which specific piece you are referring to.
An x is usually a descending appoggiatura from the note above.
Oblique dashes below the stave  usually mean that the chord is to be 
sustained.
If you can tell me the page number or the title of the specific pieces 
I might be able to shed a bit more light.
BEst
Monica
Original Message
From: al...@musickshandmade.com
Date: 01/09/2016 8:05 
To: "Lute List"
Subj: [LUTE] Re: Baroque guitar tablature

I am hoping someone can help me understand some of the symbols on this
   piece of Baroque guitar tablature - maybe Monica?
   Here is a facsimile copy:
   [1]http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page

   _0205.jpg
   1 ) Small vertical dashes above the first line: I understand this is 
an
   indication of strumming with the hand from the bottom up - or is it 
the
   other way?
   2) The dots after a vertical dash - like this "|."  : is that a 
dotted
   (invisible) flag value -- or a bar line -- or?
   3) the 'x' - often following the dotted dash mentioned above:  a 
shake
   or mordent??? If so it looks a little far away from its note...
   4) the 'y' that looks like the 'x' described above but more like a 
'y'
   (or a 'v') and bigger: 
   5) Oblique dashes on the first and/or 5th line: no idea what these
   are...
   I am also kind of wondering if open strings are not sort of implied
   within a chord ...
   Any help on any of the above appreciated. To me, it looks like 
pretty
   amazing short-hand from someone who knew the instrument extremely
   well...
   Alain
   --

References

   1. 
http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page_0205.jpg



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[LUTE] Re: Privacy

2016-08-11 Thread mjlh...@tiscali.co.uk

Danny 
Thank you for the advice which is very helpful
However I think we have rather lost the plot here.
Originally one person sent an simple message to the list drawing 
attention to some work he had posted on line which other people have 
said in the past they found useful.
Someone else on the list sent him an unsolicited message privately 
commenting on his work in an rather offensive manner.  Not surprisingly 
the recipient was very upset and raised the matter briefly on the list.
All that I tried to say initially was that I don't think that we should 
take advantage of the fact that we can contact people off the list to 
send other members messages which may upset them.  There seemed to me 
to be no justification in this instance to do so
Maybe we can let the matter rest now.
Monica 

Original Message
From: rowlho...@gmail.com
Date: 11/08/2016 9:57 
To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>
Subj: Re: [LUTE] Re: Privacy

Monica,

I'm mostly a "lurker" on the lute list, but would like to point out one
thing, because it might help you avoid an awkward situation one day:

If I send someone a private email, then the contents of my email are
protected under copyright (prior to 1989 US copyright law required a 
notice
to be included, but that's not the case now). Therefore their rights to
copy my private email to a 3rd party, let alone the public domain, are
extremely limited.

That's the case for not just any pictures/art/music/audio etc that I 
send,
but the actual words too.

So in the case of this email, you would have the right to write to the 
list
and say "Danny wrote to me and told me X", but you wouldn't actually 
have
the right to include my email verbatim - unless I gave you explicit
permission (which I do, but I suggest that the list is tired of the 
subject
now!).

All the best - Danny

On 11 August 2016 at 09:42, mjlh...@tiscali.co.uk <mjlh...@tiscali.co.
uk>
wrote:

> Well - I don't agree and I reserve the right to ignore messages sent 
to
> me off list or to reply to them on the list if I am so minded.
> Monica
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>

-- 
http://www.rowlhouse.co.uk/main.html

[LUTE] Re: Privacy

2016-08-11 Thread mjlh...@tiscali.co.uk

Well - I don't agree and I reserve the right to ignore messages sent to 
me off list or to reply to them on the list if I am so minded.
Monica



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[LUTE] Re: Protocol was Re: Privacy

2016-08-05 Thread mjlh...@tiscali.co.uk

But on the other hand you can listen to almost anything on You Tube.  
Whenever our choirmaster comes up with a new anthem or mass setting or 
the vicar discovers another hymn we haven't had before I can usually 
find a recording of it instantly available on You Tube when I get home 
from church.  You pays your money and takes your choice.   Whether the 
artists make any money out of it is another matter.
As ever
MOnica  

Original Message
From: john.mardi...@asu.edu
Date: 05/08/2016 17:25 
To: "M Hall"<mjlh...@tiscali.co.uk>
Cc: "LutList"<lute@cs.dartmouth.edu>, "Martyn Hodgson"
<hodgsonmar...@yahoo.co.uk>
Subj: [LUTE] Re: Protocol was Re: Privacy

To me, the real tragedy of YouTube is that they pander to some of the
   lowest forms of entertainment imaginable. I have, unfortunately 
learned
   about some of them from my 14 year old daughter. Top of the trash 
heap
   is PewDiePie, a purveyor of profanity, stupidity and trash with 42
   million subscribers and an income from YouTube of approximately $14
   Million dollars per year. My daughter is addicted to "Dan and Phil",
   panderers of senseless nonsense who earn $6 Million per year from
   1.6 million subscribers. The list goes on and on ad nauseum. The old
   adage that TV was the vast wasteland has been replaced by YouTube 
being
   the vast wasteland. Whatever promise existed in the past for 
lutenists
   to make some money on YouTube could be very well obliterated by
   this assault from low budget, low skill set potty-mouthed amateurs
   commandeering the attention of the juvenile audience.

   A. John Mardinly, Ph.D., P.E.
   Retired Principal Materials Nanoanalysis Engineer
   EMail: [1]john.mardi...@asu.edu
   Cell: [2]408-921-3253 (does not work in TEM labs)
   But don't call the lab....I won't be there!

   On Aug 5, 2016, at 9:41 AM, [3]mjlh...@tiscali.co.uk wrote:

   Clearly this is going to run and run as Martyn can never admit that 
he
   might be in the wrong.
   As far as I am aware Martyn does not know Anton personally, knows
   nothing about him or his work, doesn't understand why he is doing it 
or
   why he sends messages to the list to draw attention to it.
   I think it was officious and patronising of Martyn to contact Anton 
off
   the list and say to him - if this is what he did say
   "Have you ever considered learning to play from figured bass? This
   would save
   you much mundane work making these unnecessary
   transcriptions/arrangements".
   Anton is a professional player and doesn't need any advice from 
Martyn.
   Other people certainly don't think that Anton's transcriptions are
   unnecessry.
   If what you want to say is not suitable to be said in public perhaps
   you should ask yourself what right you have to contact someone whom 
you
   have never met and say it to them in private.
   That seems like harassment to me.
   As ever
   Monica
   Original Message
   From: [4]ari...@hotmail.co.uk
   Date: 05/08/2016 12:38
   To: "[5]lute@cs.dartmouth.edu"<[6]lute@cs.dartmouth.edu>,
   "[7]mjlh...@tiscali.co.
   uk"<[8]mjlh...@tiscali.co.uk>
   Subj: Fw: Protocol was Re: [LUTE] Privacy
   Dear Monica,
   Well, to be clear, I didn't wish to say anything on the open list
   since, knowing how some may take any suggestion, even if meant
   helpfully (as explained in my longer subsequent posting), as a 
slight,
   a private rather than public message was thought more appropriate in
   this case. Just because someone's name is on this list doesn't 
prohibit
   one from conducting private communications if considered more
   appropriate (and tactful..).
   In general I think the usual protocol is probably the wisest to 
follow:
   a personal message is just that. Ralf Mattes well sets this out in 
his
   message yesterday.
   And yes, if we think it more appropriate to discuss things 
personally
   with another individual list member (who we may already know anyway)
   then I can see no problem with that. Indeed, some of the more useful
   and helpful messages I receive from time to time are by from 
individual
   list members not copied to the entire list. Horses for courses I
   think..
   regards,
   Martyn.
   
   From: "[9]mjlh...@tiscali.co.uk" <[10]mjlh...@tiscali.co.uk>
   To: LutList <[11]lute@cs.dartmouth.edu>
   Sent: Thursday, 4 August 2016, 15:31
   Subject: [LUTE] Privacy
   I think that what I was trying to say has been misconstrued - as is
   often the case with these arguments.
   If you are on Facebook - or Earlyguitar.ning people can only contact
   you directly if you accept them as friends.
   This list is different.  Anyone can join, there is no moderator, 
nobody
   decides who may join.  That means that everyone on the list has 
access
   to everyone else's e-mails. This facility should not be abused.
   As I un

[LUTE] Re: Protocol was Re: Privacy

2016-08-05 Thread mjlh...@tiscali.co.uk

Clearly this is going to run and run as Martyn can never admit that he 
might be in the wrong.
As far as I am aware Martyn does not know Anton personally, knows 
nothing about him or his work, doesn't understand why he is doing it or 
why he sends messages to the list to draw attention to it.
I think it was officious and patronising of Martyn to contact Anton off 
the list and say to him - if this is what he did say 

"Have you ever considered learning to play from figured bass? This 
would save 
you much mundane work making these unnecessary 
transcriptions/arrangements".

Anton is a professional player and doesn't need any advice from Martyn. 
Other people certainly don't think that Anton's transcriptions are 
unnecessry.

If what you want to say is not suitable to be said in public perhaps 
you should ask yourself what right you have to contact someone whom you 
have never met and say it to them in private.

That seems like harassment to me. 
As ever
Monica





Original Message
From: ari...@hotmail.co.uk
Date: 05/08/2016 12:38 
To: "lute@cs.dartmouth.edu"<lute@cs.dartmouth.edu>, "mjlh...@tiscali.co.
uk"<mjlh...@tiscali.co.uk>
Subj: Fw: Protocol was Re: [LUTE] Privacy


Dear Monica,

Well, to be clear, I didn't wish to say anything on the open list 
since, knowing how some may take any suggestion, even if meant 
helpfully (as explained in my longer subsequent posting), as a slight, 
a private rather than public message was thought more appropriate in 
this case. Just because someone's name is on this list doesn't prohibit 
one from conducting private communications if considered more 
appropriate (and tactful..).

In general I think the usual protocol is probably the wisest to follow: 
a personal message is just that. Ralf Mattes well sets this out in his 
message yesterday.

And yes, if we think it more appropriate to discuss things personally 
with another individual list member (who we may already know anyway) 
then I can see no problem with that. Indeed, some of the more useful 
and helpful messages I receive from time to time are by from individual 
list members not copied to the entire list. Horses for courses I 
think..

regards,

Martyn.


________
From: "mjlh...@tiscali.co.uk" <mjlh...@tiscali.co.uk>
To: LutList <lute@cs.dartmouth.edu>
Sent: Thursday, 4 August 2016, 15:31
Subject: [LUTE] Privacy

I think that what I was trying to say has been misconstrued - as is
often the case with these arguments.
If you are on Facebook - or Earlyguitar.ning people can only contact
you directly if you accept them as friends.
This list is different.  Anyone can join, there is no moderator, nobody
decides who may join.  That means that everyone on the list has access
to everyone else's e-mails. This facility should not be abused.
As I understand it Martyn contacted Anton after he had posted details
of his latest intabulations on this list. If Martyn has anything
helpful to say that might help Anton  to make his work even more useful
than it is already - and a lot of people do find it very useful and are
grateful to him for posting the details - then why not say it here. We
have discussed this before.
Does being on this list mean that anyone is entitled to engage in a 
one-
to-one correspondence with you?
Better leave it at that as this will probably be misconstrued too.
Monica




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[LUTE] Privacy

2016-08-04 Thread mjlh...@tiscali.co.uk

I think that what I was trying to say has been misconstrued - as is 
often the case with these arguments.
If you are on Facebook - or Earlyguitar.ning people can only contact 
you directly if you accept them as friends.
This list is different.  Anyone can join, there is no moderator, nobody 
decides who may join.  That means that everyone on the list has access 
to everyone else's e-mails. This facility should not be abused.  
As I understand it Martyn contacted Anton after he had posted details 
of his latest intabulations on this list. If Martyn has anything 
helpful to say that might help Anton  to make his work even more useful 
than it is already - and a lot of people do find it very useful and are 
grateful to him for posting the details - then why not say it here. We 
have discussed this before.
Does being on this list mean that anyone is entitled to engage in a one-
to-one correspondence with you?
Better leave it at that as this will probably be misconstrued too.
Monica
 



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[LUTE] Re: insinuations

2016-08-03 Thread mjlh...@tiscali.co.uk

There is just one point that I would like to make and that is that if 
someone posts a message to this list I don't think that it is 
appropriate for anyone to reply to them privately unless the person 
posting the message has specifically asked people to do that.
That defeats the object of the list and I for one have not got time to 
engage separately in discussions with anyone and everyone about 
everything.  It is also a breach of someones' privacy.
As ever..
Monica 

Original Message
From: hodgsonmar...@mail.cs.dartmouth.edu
Date: 03/08/2016 16:24 
To: "List Lutelist"
Subj: [LUTE] Re: insinuations

note: I am resenbding this message becasue it got caught in spam traps 
- wayne

   Dear Anton Hoger,
   I sent you a private email trying to be helpful and was therefore a 
bit
   surprised to find you didn't reply to me but instead fired off a 
touchy
   general response!  And I really don't know what you mean by
   'insinuations' - insinuations of what? Believe it, or not, I was 
simply
   trying to helpfully suggest that you might save yourself a lot of 
time
   and effort if you read pieces directly from the staff notation and 
also
   learned figured bass rather than always having to employ an
   intermediate stage of written intabulation.
   Now you raise the matter, generally I do think that most reasonably
   competent players should be encouraged to make their own
   arrangements/transcriptions in their own style and, as I say, to be
   able to play reasonably fluently from staff notation without always
   having to rely on a modern intabulation made by a third party.
   Similarly, I think it good for lute players to be encouraged to 
become
   fluent in Italian tablature without needing to rely on 
transcriptions
   into the French system. The reliance on other peoples' arrangements 
and
   transcriptions can, in my view, be restrictive and effectively close
   much of the enormous wealth of music from all ages.  I also believe
   that the process of making ones own arrangements/transcriptions is
   thoroughly enjoyable one (and really not 'rocket science') and is a
   personally creative way for individuals to discover original music 
and
   repertoire new to them. And, I might add, to create something which
   ideally matches their individual technical capabilities, instrument
(s)
   and musical tastes.
   MH

 Original message 
   From: Anton Hoeger
   Date:2016-08-03 03:24 (GMT-05:00)
   To: List Lutelist
   Subject: [LUTE] insinuations
   >
   > Hi everyone,
   >
   > Martin Hogson wrote:
   >
   > Dear Anton Hoger,
   >
   > Have you ever considered learning to play from figured bass? 
This
   would save you much mundane work making these unnecessary
   transcriptions/arrangements.
   >
   > MH
   >
   >
   > Yes of course! But how do you bring my Renaissance 
Intabulations
 with
   Dimunitions in relation with a figured bass?
   > These one has nothing to do with the other one!
   > On the other side I have so far only very few Earlybaroque
   figured
   Bass edited pieces. Exactly this Arrangements may be interesting
   for
   the interprets. As a suggestion or such ways.
   > My 10 downloads and thousand credits show a different 
image
 than
   Your:  ...making these unnecessary transcriptions!.
   > Please stop these insinuations, if you have no idea.
   >
   >
   > Anton

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[LUTE] Re: Early 'Synthetic gut'

2016-06-04 Thread mjlh...@tiscali.co.uk

A bit of a non sequitur -but nylon stocking were available in the 
1940's so presumably nylon string could have benn
Monica

Original Message
From: voka...@verizon.net
Date: 04/06/2016 11:01 
To: "Martyn Hodgson"
Cc: "Lute List"
Subj: [LUTE] Re: Early Synthetic gut

Regarding synthetic gut from the 1950s, I doubt they would be silk
based. The time and "tennis" strongly suggest that it is actually
nylon, rectified on a rough wheel not to slip under the bow (or tennis
ball). I have encountered similar strings from the 50s for bass viol,
claiming "synthetic gut" on packaging, being old yellowing nylon.
It is quite easy to find out once and for all. Take a match (or better
yet, gas lighter) to it. A silk based string will result in a slightly
enlarged blackened "ball" on the end, with a clear burnt-wool smell,
but will never melt. If silk was treated with some synthetic glue,
there would be a chemical smell, but a blackened smallish "ball" would
still result. Nylon would melt, and on persistence, catch on fire,
which silk never does.
If my memory is not failing me, i recall reading Segovia describing
early nylon guitar strings as being called "synthetic gut", and being
rectified  (on his advice?) to a rougher surface. The "nylon string"
apparently came into use later, as the strings attained some
appreciation.
Thank you for pointing out Mark Goodwin's article, never read it 
before.

alexander r.

On Fri, 03 Jun 2016 12:50:45 + (UTC)
Martyn Hodgson  wrote:

>Recently I acquired a violin (probably Mirecourt made) imported by
>Norman Duke c 1880. In the case were various spare strings. One is
>particularly interesting: the packet has printed on it:
>-
>Violin D or 3rd
>Synthetic gut
>1 length
>No.603
>for
>SWEETER TONE
>FULLER VOLUME
>SUMMIT string
>British Music and tennis strings Ltd. London
>
--
>A few papers in the case are dated to 1962. The packet appears to
> me fairly old from the 1950/60s I suggest. The string in the packet 
is
>about 0.92mm, gut coloured, quite stiff, slightly rough surface 
but
>with no sign of twisting as in gut strings of this diameter.
>I had thought synthetic gut music strings were a more recent
> invention (Eph Segerman of NRI offered some called 'gutlon' in the
> 1980s I think and, of course, Peruffo currently with his Nylgut). Has
> anyone come across these sort of earlier synthetic string? And I
> wonder what became of them.
>From the site below it seems the company lasted to the 1950s. 
Paste
>this link into your browser
>http:/www.gracesguide.co.uk/British Music and Tennis Strings
>It also seems that a different company, but using a similar name
> was established in the 1960s. See
>http:/www.guitar-list.com/brands/british-music-strings-limited
>The material might just possible be 'acribelle' which I believe
> was a silk string impregnated with glue to stiffen it. (see Goodwin's
> article In March 2003 EMP below). But because I've never seen pure
> silk strings I don't actually know if this is the case
>[1]http://www.earlymusic.info/performer/EMP11-1.pdf
>Any information welcolmed!
>MH
> 
>--
> 
> References
> 
>1. http://www.earlymusic.info/performer/EMP11-1.pdf
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Gagliarda Sesta by M. Pesenti for 2-string colascioncino and guitar

2016-05-18 Thread mjlh...@tiscali.co.uk

It sounds a bit old fashioned to me -16th rather than 17th century.
Leaving Pesori out of it - Granata and Asiola are supposed to be 
composing in the modern way as is Foscarini at least in the pieces in 
Book 5.
Monica

Original Message
From: s.wa...@ntlworld.com
Date: 18/05/2016 13:55 
To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>, "LutList"<lute@cs.
dartmouth.edu>
Subj: [LUTE] Re: Gagliarda Sesta by M. Pesenti for 2-string 
colascioncino and guitar

> Interesting - but where did you get the piece from in the first 
place?
> What instrument(s) is the music for originally?
> Monica

"Clavicembalo e altri Stomenti" and I got it from a Diletto Musicale 
edition from the 1960s. Friedrich Cerha says it's for upper voice and 
bass.

These little Pesenti dances seem miles away from the tablatures of 
Pesori, Foscarini, Asioli, some early Granata etc where you don't seem 
to easily find any kind of coherent melody or balanced phrases at all. 
(I don't think it's just an issue
  with typesetting.)

Stuart
>
> Original Message
> From: s.wa...@ntlworld.com
> Date: 18/05/2016 10:59
> To: "lutelist Net"<Lute@cs.dartmouth.edu>
> Subj: [LUTE] Gagliarda Sesta by M. Pesenti for 2-string colascioncino
> and guitar
>
> https://www.youtube.com/watch?v=0XDZE-EXqOE
>
>
> I only know a handful of pieces, all dances, by Pesenti. They are
> tuneful and with balanced  phrases -  almost too balanced. At the
> completely  opposite end of the spectrum would be quite a lot of
> Italian
> guitar music of this same era!
>
>
>
> Stuart
>
>
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[LUTE] Re: Gagliarda Sesta by M. Pesenti for 2-string colascioncino and guitar

2016-05-18 Thread mjlh...@tiscali.co.uk

Interesting - but where did you get the piece from in the first place?  
What instrument(s) is the music for originally?
Monica

Original Message
From: s.wa...@ntlworld.com
Date: 18/05/2016 10:59 
To: "lutelist Net"
Subj: [LUTE] Gagliarda Sesta by M. Pesenti for 2-string colascioncino 
and guitar

https://www.youtube.com/watch?v=0XDZE-EXqOE

I only know a handful of pieces, all dances, by Pesenti. They are 
tuneful and with balanced  phrases -  almost too balanced. At the 
completely  opposite end of the spectrum would be quite a lot of 
Italian 
guitar music of this same era!

Stuart

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[LUTE] Re: Django and Windows 10

2016-05-14 Thread mjlh...@tiscali.co.uk

Well - I have just updated (reluctantly) to Windows 10 and I can open 
my Django files.   I haven't tried to actually change anything yet  - 
still sorting out other problems - like CDROM drive that wont work.
Monica

Original Message
From: hectorl...@mac.com
Date: 14/05/2016 7:36 
To: "lute-cs.dartmouth.edu"
Subj: [LUTE] Django and Windows 10

Dear collective wisdom,

Does the Django lute tab software work on Windows 10? I tried to find 
some documentation but gave up after a few web searches. This is the 
only one reason I run a virtual windows machine on my Mac and just 
heard that I need to upgrade before the end of July… or something like 
that.

Many thanks,

Hector

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[LUTE] Re: Donald Gill's arrangements for 4-course guitaRe: Corrente by Foscarini

2016-05-14 Thread mjlh...@tiscali.co.uk

Sad news indeed.  May he rest in peace.
Monica

Original Message
From: hodgsonmar...@yahoo.co.uk
Date: 14/05/2016 7:55 
To: "mjlh...@tiscali.co.uk"<mjlh...@tiscali.co.uk>, "WALSH STUART"
Subj: Re: [LUTE] Re: Donald Gills arrangements for 4-course 
guitaRe: Corrente by Foscarini

Dear Monica and Stuart,
I've just received this from Donald's daughter and sent the following 
to Chris. In view of this current thread thought you'd like to know. 
Donald would be delighted to know his transcriptions are still 
employed!
Martyn

Dear Chris,
This sad message just received from Donald's daughter. I intend to 
attend his funeral provided it isn't next Saturday when I must be 
elsewhere.
regards,
Martyn

- Forwarded Message -
From: Sarah Hurhangee <sarah.hurhan...@gmail.com>
To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk> 
Sent: Saturday, 14 May 2016, 7:58
Subject: Donald

Dear Martyn,
I'm very sorry to have to tell you that dad passed away last night at 
10pm. Both Simon and I were with him and he has had a peaceful week and 
a peaceful end, for which we are grateful. The staff at the Care home 
were wonderful and kept us supplied with a constant stream of coffee, 
food and smiles, which helped. 
I've trawled through our e-mails looking for a phone number so I could 
tell you in person, but no luck, I thought you would want to know as 
soon as possible.  Actually Chris Goodwin rang me yesterday ( I had 
cancelled the Lute Society magazine earlier) and he spoke at length 
about dad's donation, and forwarded on to me a copy of the online Lute 
magazine which I wasn't aware of.  I've attached it for you to look at 
too as it's a wonderful cover.  We told dad about it yesterday but 
don't think it registered. 
I must look again for those early copies of the LSJ in the garage, and 
it would be lovely to see you again sometime, and I will let you know 
details of his funeral, which will be at the Quaker meeting house in 
Great Ayton (nearer Middlesbrough).
 I do hope you are well,Sarah

   - 

      From: "mjlh...@tiscali.co.uk" <mjlh...@tiscali.co.uk>
 To: LutList <lute@cs.dartmouth.edu> 
Cc: WALSH STUART <s.wa...@ntlworld.com>
 Sent: Friday, 13 May 2016, 17:45
 Subject: [LUTE] Re: Donald Gill's arrangements for 4-course guitaRe: 
Corrente by Foscarini

<<<I'll send you a scan.  These Lute Society sheets are possibly from 
the 
1970s. Donald produced two sheets of 4-course guitar arrangements. One 
was devoted to Calvi pieces and the other to Granata and Foscarini.
There are four Foscarini pieces, the familiar Pavaniglia con parti 
variate and Sarabande Francese and two correntes which I don't 
remember 
seeing and I haven't searched for them.

This particular Corrente does sound very Foscarini-eeny to me, or at 
least similar to other realisations of Foscarini's contentious tab. As 
ever the actual melodic line and phrasing is blurry but it has sort of 
signature melancholy - or perhaps he just used more sevenths than 
others.>>>

Stuart

Many thanks for the scan.  It is on p.77 of Book 3 which dates from 
the (late) 1630s.  However when I first looked at Foscarini's book in 
the British Museum as it was in the 1970, their catalogue dated it 
1610!    It may not be by Foscarini himself but rather an arrangement 
of a lute piece.  Funny way of doing it with Italian tab upside down. 

Monica

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[LUTE] Re: Donald Gill's arrangements for 4-course guitaRe: Corrente by Foscarini

2016-05-13 Thread mjlh...@tiscali.co.uk

<<>>

Stuart

Many thanks for the scan.   It is on p.77 of Book 3 which dates from 
the (late) 1630s.  However when I first looked at Foscarini's book in 
the British Museum as it was in the 1970, their catalogue dated it 
1610!It may not be by Foscarini himself but rather an arrangement 
of a lute piece.   Funny way of doing it with Italian tab upside down. 
 
Monica


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[LUTE] Re: Not really a lute question but...

2016-05-09 Thread mjlh...@tiscali.co.uk

Many thanks for this.  It will take some time to digest and check 
everything you suggest.  
it was upgraded from Windows 7.  
Inadvertently - it just happened.   The CDROM is of the vihuela books 
and the music CD was newish.
I don't want to take up too much of 
anyone's time so I'll  try what you suggest and see what happens.

Thanks to others who also replied.
Best
Monica
Original Message

From: tiorbin...@gmail.com
Date: 09/05/2016 18:45 
To: "mjlhall@tiscali.
co.uk"<mjlh...@tiscali.co.uk>
Subj: Re: [LUTE] Not really a lute 
question but...

Hi Monica,

First thing: is this a problem with one CD 
or all of them? (Had to ask.) If
it is just one, inspect the surface 
(not the label side) with reflected
light and look for oil, finger-
grease, scratches, etc. Inspect the label
side for damage to the inner 
circumference of the metal layer: that's where
the 'table of contents' 
resides, and if it is damaged, the CD might not be
recognized.

A 
couple of needed questions:
Did you buy this computer with windows 10 
on it, or is this an upgrade?
Did the computer come with a CD drive?

(Hey, at least I'm not asking if you turned it off and back on again!)

If it's not a problem with 'legacy hardware' and drivers that aren't

available for Windows 10', you should be able to play CDs using (I kid 
you
not) "Groove Music and Movies and TV". This is Microsoft's new 
jukebox. It
should be in the "All Programs" list accessible from the 
start button.

If you prefer something familiar, you can find the 
Windows Media Player
(which is included in Win10) by using the 
WindowsKey +R combination, then
typing
wmplayer.exe 
When it 
appears in the search list, right click it and select "Pin to
taskbar", 
then it's easier to find when you need it.

That's what you have to do 
to play a CD if the computer recognizes the CD
player.

If it doesn't, 
it gets harder. The default CD/DVD reader/writer drivers in
Windows10 
_should_ work with anything that isn't physically defective. You
should 
be able to buy a USB DVD/CD player (writer, etc) and plug it in and
use 
it without problems.

If your problem is that the CD player is not 
recognized by the computer, it
may be that it isn't getting a good 
connection. On a notebook computer,
some CD/DVD drivers can be removed, 
and if they are not put all the way
back in properly, they might not. 
In that case, taking them out and putting
them back in works.

If you 
have a desktop, and it was worked on recently or went to a shop to
have 
the Win10 update, it is possible that the CD was disconnected, and not

hooked back up. Fixing that requires getting into the box and hooking 
it
back up, and usually, if it was because someone serviced it and 
forgot to
hook it back up, they should be happy to correct it. (And 
test it!)

Beyond that, you really shouldn't have to go searching for 
CD/DVD drivers,
unless the drive is very weird and came with its own 
driver disk. If it
did, the likelihood of finding drivers for win10 
that support it is very
small. If it was very expensive, the 
manufacturer's web site might have
updated drivers. It'd make more 
sense just to replace it (especially
because the drives have been 
improved a lot since the days of specialized
drivers.)

If you get 
through all this without success, or have questions, feel free
to write 
back, I'll do what I can.

Best regards,
Ray

On Mon, May 9, 2016 at 
12:00 PM, mjlh...@tiscali.co.uk <
mjlh...@tiscali.co.uk> wrote:

> Does 
anyone know how to play CDs or CDROMS on Windows 10. Does seem to
> 
have any drives for this...
> Best wishes to all.
> Monica
>
>
>
> To 
get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html>

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[LUTE] Not really a lute question but...

2016-05-09 Thread mjlh...@tiscali.co.uk

Does anyone know how to play CDs or CDROMS on Windows 10. Does seem to 
have any drives for this...
Best wishes to all.
Monica



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