Is the baroque lute much harder than renaissance?
No. It is the other way around.
I really enjoy Bach and
Weiss, and I'd be prepared to tell my lute teacher that I'd like to
concentrate on baroque lute, but I don't want him laughing his head off
at
my naivety. Also, there seem to be a
Chris:
Often your local public library will have an interlibrary loan
arrangement whereby you can get access to books from other libraries,
including universities. Talk to the people at the service desk if it is
not obvious how to make that work on the library's website.
I did exactly that in
Dear Roman;
I have no opinion at all regarding the comparative merits of Arthur's
or Matanya's views except to say that Matanya's ad hominem postings
concerning Arthur were very insulting and Arthur's postings were restrained
and professional arguments ad rem. I just felt that it was not
Thank you, Stewart. Most informative and helpful. Much food for thought.
Gary
- Original Message -
From: Stewart McCoy [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Wednesday, August 31, 2005 4:12 AM
Subject: [LUTE] Fingering
Dear Gary,
The
On Thursday 01 September 2005 04:23, jim abraham wrote:
Sorry for the asinine questions, but here's another:
Is the baroque lute much harder than renaissance? I really enjoy Bach and
Weiss, and I'd be prepared to tell my lute teacher that I'd like to
concentrate on baroque lute, but I don't
For something we must translate:
How do Italians say C-sharp minor, B-flat major, F-sharp minor?
Sorry to bother the list with this, answers off-list.
David
*
David van Ooijen
Email: [EMAIL PROTECTED]
Http://home.planet.nl/~d.v.ooijen/
Dear Chris,
AIM, American Institute of Musicology, publications are now sold by A-R
Editions in Wisconsin. The MacClintock translation and edition is volume 39 in
AIM's Musicological Studies and Documents and sells for $US 64 (248 pp.), which
may have been its price when it was issued in 1985.
At 09:51 AM 9/1/2005, Roman Turovsky wrote:
Still, I believe baroque music for guitar can be made to work as well on
6-string guitar as any baroque music if loosely
approached, again, as transcription.
'Fraid not. Inasmush as you cannot play Froberger on a Steinway.
It really depends. As
Dear Roman;
I have no opinion at all regarding the comparative merits of Arthur's
or Matanya's views except to say that Matanya's ad hominem postings
concerning Arthur were very insulting and Arthur's postings were
restrained
and professional arguments ad rem. I just felt that it was not
Roman Turovsky wrote:
Is the baroque lute much harder than renaissance?
No. It is the other way around.
Unless you com from a guitar background. Still, as I am finding out, it
is not insurmountable.
I really enjoy Bach and
Weiss, and I'd be prepared to tell my lute teacher that
Chris,
I should have included Fronimo in the yesterday's list of Renaissance
instructions on intabulation procedures. You should also look at the Adrian Le
Roy instructions in the CNRS series. He wrote two books of instructions,and
you will want the Briefe and plaine instructions, the
Is the baroque lute much harder than renaissance?
No. It is the other way around.
Unless you com from a guitar background. Still, as I am finding out, it
is not insurmountable.
If there is a will: there is a way...
RT
To get on or off this list see list information
lute@cs.dartmouth.edu
On 1 Sep 2005, at 14:51, Roman Turovsky wrote:
Still, I believe baroque music for guitar can be made to work as
well on
6-string guitar as any baroque music if loosely
approached, again, as transcription.
'Fraid not. Inasmush as you cannot play Froberger on a
- Original Message -
From: Howard Posner [EMAIL PROTECTED]
Cc: lute@cs.dartmouth.edu
Sent: Wednesday, August 31, 2005 7:55 AM
Subject: [LUTE] Re: Ophee - his views
G.R. Crona wrote:
I must say, that I'm very disillusioned by this move to make what has
previously been an open forum,
Roman Turovsky wrote:
Is the baroque lute much harder than renaissance?
No. It is the other way around.
Unless you com from a guitar background. Still, as I am finding out, it
is not insurmountable.
If there is a will: there is a way...
Aye laddie...
As a
The discussion was about Beethoven influences on 19th century guitar music, in
a thread started by Eugene Braig. It had nothing to do with Matanya, but he
came charging in any way. I remembered the example of a typical Beethoven
chord progression that I saw in that Irish fantasia on his web
Dear lutenists
Howard wrote:
But the forum is no less open and no more censored than it was before.
The only difference is that one more person is now on the list of those
excluded from posting.
And Göran replied:
I don't understand, what kind of legal logic or lingo you refer to for
And while Roman's insults and bellicose language may be frequent, they
are hardly interminable. They are usually mercifully brief.
English is not my first language. Interminable, frequent, endless, call
them
what you will. He still gets to make them, while Matanya cannot anymore.
And
that
Why off-list? I would have minded knowing, even though I didn't think of
the question
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: Lute net lute@cs.dartmouth.edu
Sent: Thursday, September 01, 2005 7:21 AM
Subject: [LUTE] OT: Italian solfege
For something we must
Ciao David,
Do Diesis Minore, Si Bemolle Maggiore, Fa Diesis Minore
Best regards
Lino
-Original Message-
From: Tony Chalkley [mailto:[EMAIL PROTECTED]
Sent: Thursday, September 01, 2005 7:02 PM
To: Lute net
Subject: [LUTE] Re: OT: Italian solfege
Why off-list? I would have
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: Howard Posner [EMAIL PROTECTED]; G. Crona [EMAIL PROTECTED]
Cc: lute@cs.dartmouth.edu
Sent: Thursday, September 01, 2005 7:30 PM
Subject: [LUTE] Re: Ophee - his views
previously been an open forum, a censored one.
But
Dear friends,
Please read below about the launch of the `Toronto Continuo Collective,' a
new ensemble of Toronto-based instrumentalists dedicated to studying the art
of basso continuo or Baroque accompaniment. Please help us by forwarding
this message to anybody who might be interested in
I believe they changed ut to do and si to ti because ut is much
harder to sing and si could be confused with ti, at least that is
what I remember from school.
g
On 01.09.2005, at 20:40, Tony Chalkley wrote:
Grazie Lino e Roman.
It's very like French, so next question - why 'Ut' in French
Proof reading helps a lot. Sorry!
I believe they changed ut to do and si to ti because ut is much
harder to sing and si could be confused with sol, at least that is
what I remember from school.
g
On 01.09.2005, at 20:42, Gernot Hilger wrote:
I believe they changed ut to do and si to ti
Mmm, they _sing_ do in French, but the key name stayed ut.
- Original Message -
From: Gernot Hilger [EMAIL PROTECTED]
To: Lute net lute@cs.dartmouth.edu
Sent: Thursday, September 01, 2005 8:42 PM
Subject: [LUTE] Re: OT: Italian solfege
I believe they changed ut to do and si to ti
Hi all,
the whole thing stems from a method of teaching the position of tones
in the mediaeval system, developed by a certain Guido (from Arezzo).
This method is called solmisatio and used a standard song with the
following text:
UT quaeant laxis
REsonare fibris/
MIra gestorum
FAmuli tuorum/
Si Bemolle Maggiore - Isn't Moll minor in German? Must be awfully
confusing for a mixed consort! bg
Best Wishes
Ron UK
-Original Message-
From: Tony Chalkley [mailto:[EMAIL PROTECTED]
Sent: 01 September 2005 19:40
To: [EMAIL PROTECTED]; 'Lute net'
Subject: [LUTE] Re: OT: Italian
May I ask, what in the world justifies letting Roman rant on with
his
interminable insults and obsessive, bellicose language when we can't
stand
Matanya's equally insulting postings? Why should there be a
difference?
I don't know that anything justifies some of Roman's more
Hello,
Does somebody know the contents of the next POD'CD Lusty Gallant?
There is already a Lusty Gallant recorded in the CD Robin Hood
Best wishes,
Jose Luis
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I got the monthly mailing from Harmonia Mundi (which I think you can find
on the Harmonia Mundi web site) and it said in the small type that Lusty
Gallant comes from 2 previous of Paul's CDs, one of which was out of
print. I will send a note down to their publicity department and see if I
can
I just talked with the publicity people at Hamronia Mundi. The new Lusty
Gallant is a combination of 2 complete albums that some of you already have:
Lord Herbert of Cherbury's Lutebook
Robin Hood
Nancy Carlin
Nancy Carlin Associates
P.O. Box 6499
Concord, CA 94524 USA
phone 925/686-5800 fax
Thank you!
I almost have pre-ordered this CD, but a failure in the Browser in the
last moment it prevented to place it!
I have already the two CDs
Best wishes,
Jose Luis
Nancy Carlin escribió:
I just talked with the publicity people at Hamronia Mundi. The new Lusty
Gallant is a combination
Arto scripsit:
I agree with Göran; censorship is censorship is censorship! MO did not
spam, did not write much off topic.
I don't recall him to ever be on a lute topic.
He did use insulting words and wrote
as he thinks and sees, but he certainly is not the only one in the list
to do that.
LGS-Europe [EMAIL PROTECTED] said:
Hmm, the Strassbourg book (1572) is my next target.
The different sizes of the same sign are confusing,
indeed, as they do look a little different.
The early printers were in competition with scribes who wrote by hand.
It was felt necessary that the
In a message dated 9/1/2005 9:22:32 PM Pacific Daylight Time,
[EMAIL PROTECTED] writes:
Of course not. Where is your logic? Actually I had no time and interest
to find out what MO was fighting and why. Not very entertaining.
best regards,
Arto
Hi Arto,
All this folderol reminds me of the
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