Yes, I'm perfectly capable of doing this -- in fact that's how I've made all
my previous lutes -- my question was IS there a way to do this?
--
On 05/02/2008, alexandros tzimeros [EMAIL PROTECTED] wrote:
Just use your hand and eyes...
-Original Message-
From: Duncan Midwinter
ie a single reentrant small theorbo - but there's still 'discontinuties' but
now between the first and second
MH
Roland Hayes [EMAIL PROTECTED] wrote:
What about a lowered 1st on what we would otherwise consider a large
archlute? I seem to remember an archlute piece (Doni ms.) that does
I mention page 43 because It seems to encapsulate most of the perceived
'problems' in Pittoni and, with the link from the previous phrase, does suggest
that he well understood the implications of the low second course when he
choose to do so; especially note that here he isn't too 'lazy'
Yes, there is a way, Most luteforms are build up from circles. There is a
section in Robert Lundberg's Historical Lute construction about this. You
can get it from stewmac.com or maybe even amazon.
Ernstjan van Geest -
I had a very pleasant evening on Saturday with my harpsichord-making friend,
Grant O'Brien, and his friends, including a short recital on one of his
harpsichords by Lucy Carolan, a first-rate player. Grant and I got to
talking about lute and harpsichord making in Italy, and he revealed a couple
of
Peter
Obviously I meant tempo - four time-units in one bar of the Pavan is
similar to the three time-units in one bar of the Galliard. This gives an
impression that the pulse keeps almost unchanged in triple time. However the
steps of the Galliard are much more vigorous. It depends on the
FWIW, I play Pittoni with first two courses down, but refinger some passages
to make 'more sense' in a melodic way. I'm aware that it is my sense, not
Pittoni's, that I'm adjusting the music to. Here I am reminded of a wise
lesson of Bob Spencer: Any alteration you make in an original, you
Dear Duncan,
There are several different systems.
I believe I was the first to realise this could be done and that it
was probably the basis of historical lute design in my (very) brief
article in The Lute Society Journal number 15 in 1973. (available via
their website
In fact my first performance of Castaldi's Capricci (in the same
programma with Pittoni) was with the tiorbino part played on
harpsichord - as it now appeares not to far from historical practice.
Very interesting, thanks, Rob.
Jurek
___
On 2008-02-05, at 10:55, Rob Lute wrote:
I
Many thanks David, I've just ordered a copy of this!
---
On 05/02/2008, David Van Edwards [EMAIL PROTECTED] wrote:
Dear Duncan,
There are several different systems.
I believe I was the first to realise this could be done and that it
was probably the basis of historical lute design in my
Dear Peter,
Jaroslaw is quite right to say that galliards were played at different
speeds. I think the same could apply to many dance forms, the saraband being
perhaps the most extreme case. The rule of thumb is that dances slow down
with time, perhaps because musicians try to squeeze in more
Diego, did you read the essay?
Rob
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http://memory.loc.gov/ammem/dihtml/divideos.html
Especially Clips 29, 30 and 39. (Not quite same date, though.)
=AJN (Boston, Mass.)=
* Free Download of the Week from Classical Music Library:
*Strauss' _ Don Juan, Op. 20_
Performed by the Royal Philharmonic Orchestra;
Sir Charles
On 2008-02-05, at 15:15, Arthur Ness wrote:
http://memory.loc.gov/ammem/dihtml/divideos.html
Thank you, Arthur,
Then it is 1 galliard measure = 1/4 of a pavan measure.
In mensural notation (not modern, often changing values) it might be:
3 half notes of a galliard (one measure) = 1 half
Exactly Jerzy.
I think that's what theoreticians call tactus inequalis : 1 tactus in a
binary measure (= normally a half measure in modern transcriptions ) is
equivalent to 1 tactus in triple time ( one measure in modern transcrition). In
other words if you beat time with a regular tactus in
On 2008-02-05, at 17:33, LGS-Europe wrote:
Recorder and viol players are often shocked at the slowness of
speeds requested by lutenists for broken consort music (Morley 1599
et al), and a compromise has to be reached.
One of the top lute players once confessed to me why he is no longer
Likewise. I've played most of the Morely consort lessons (I was on cittern,
since I've got the only one in town) and we all had a great time.
Unfortunately, the consort drifted apart after about a year due to too many
conflicting schedules and priorities. I'm hoping to get into another one
some
It is correct, Jurek, as far as I know...
Jean-Marie
PS : sorry I used a wrong name in my first post; I had not paid enough
attention to your signature :-(
=== 05-02-2008 18:30:48 ===
Thank you Jean-Marie,
After reading you and looking again to the Arthur's exemples, I
should have
I don't quite agree on that one ! I've been playing a lot of the English broken
consort repertoire and my colleagues always had fun too, believe me. This music
usually leaves a lot of space for divisions of other instruments than the lute
and it depends on how much the other musicians like to
Thank you Jean-Marie,
After reading you and looking again to the Arthur's exemples, I
should have written:
1 galliard measure (one beat) = 1/2 of a pavan measure (one beat)
and in an original mensural notation would be:
3 half notes of a galliard (one beat to a measure) = 1 whole note of
a
Merci Bernd !!!
Everything's OK then, Jerzy !
Best ,
Jean-MArie
=== 05-02-2008 18:51:39 ===
PS : sorry I used a wrong name in my first post; I had not paid enough
attention to your
signature :-(
Jurek, c'est le terme d'affection de Jerzy.
:-)
bonne soirée!
B.
On 2008-02-05, at 14:21, tiorba wrote:
In fact my first performance of Castaldi's Capricci (in the same
programma with Pittoni) was with the tiorbino part played on
harpsichord - as it now appeares not to far from historical
practice. Very interesting, thanks, Rob.
Jurek
It's indeed
Jurek,
It got complicated a little bit, but in fact is very simple. If you start
taping your foot (I don't advice taping foot at all, but one can do it
virtually) when playing Pavan, don't stop it when the Galliard comes, and
everything will be fine :)
I played with the dancers several times and
Yes, Diego, what is the introduction by Castaldi left out of the Minkoff
print?
Rob
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Jarek,
On 2008-02-05, at 20:33, Jarosław Lipski wrote:
Jurek,
It got complicated a little bit, but in fact is very simple. If you
start
taping your foot (I don't advice taping foot at all, but one can do it
virtually) when playing Pavan, don't stop it when the Galliard
comes, and
There is no such obvious equivalence really, but keep in mind the equivalence
of one breve with two beats (Pavan) and one breve with three beats (Galliard).
The augmentation of the number of notes to a beat - three for two - gives the
feeling of an acceleration sufficient to differentiate the
I couldn't quickly find a fitting example of a XVIth c. pair pavan-
galliard, but I have at hand Terzi's 1st book of tab. and their on p.
115-117: Ballo Tedesco… / Il Saltarello del prescrito ballo. They are
closly related thematically and it immadiately appeares that one bar/
measure of
Jurek,
I absolutely agree! The problem arises when people want to play Dowland as
regular ren. dances.
Pozdrowienia
Jarek
-Original Message-
From: Jerzy Zak [mailto:[EMAIL PROTECTED]
Sent: Tuesday, February 05, 2008 9:03 PM
To: Lute
Subject: [LUTE] Re: Playing in time
Jarek,
On
Tremendous thanks for this, Diego. Transcibing such in an old and
foreign language text from an original would be a nightmare for me.
Jurek
_
On 2008-02-05, at 21:56, Diego Cantalupi wrote:
That's the (difficult) text.
I'll try to upload he page later
ALLA NOBILE, SPLENDIDA E
On 2/5/2008, Herbert Ward [EMAIL PROTECTED] wrote:
Is there a continuous range of technique from thumb-in to thumb-out?
Or is there a no-man's land between the two where it is difficult to
play?
Been there. Fun. ;-)
I think there is not so huge difference between t-out and t-in as many
Is there a continuous range of technique from thumb-in to thumb-out?
Or is there a no-man's land between the two where it is difficult to
play?
To get on or off this list see list information at
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Dear Diego,
On 2008-02-05, at 21:51, Diego Cantalupi wrote:
Changing instrumentation in music of the time is as natural as
breathing.
Almost all title pages of printed music testify to it.
Not so easy... it's very difficult, if not impossible, to find any
music for
theorbo
in mensural
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