Can anyone recommend some suitable music (on 11-c Baroque lute) for a brief
wedding ceremony? I'd be interested in knowing what pieces folks on the
message board might recommend.
Thanks,
Thomas Tallant
-
Be a better friend, newshound, and know-it-all
http://torban.org/audio/paslahan.mp3
http://torban.org/images/paslahan.pdf
Was written for my 2 bandmates' wedding.
RT
- Original Message -
From: Thomas Tallant [EMAIL PROTECTED]
To: Baroque Lute baroque-lute@cs.dartmouth.edu
Sent: Wednesday, April 30, 2008 8:57 PM
Subject:
And the S's Hochzeit Musik, of course, nearly forgot:
http://polyhymnion.org/swv/SONATAS/44.pdf
http://turovsky.org/music/44.mp3
RT
- Original Message -
From: Dale Young [EMAIL PROTECTED]
To: Baroque Lute baroque-lute@cs.dartmouth.edu; Thomas Tallant
[EMAIL PROTECTED]
Sent:
Conradi or Kellner.
At 05:57 PM 4/30/2008 -0700, Thomas Tallant wrote:
Can anyone recommend some suitable music (on 11-c Baroque lute) for a
brief wedding ceremony? I'd be interested in knowing what pieces folks on
the message board might recommend.
Thanks,
Thomas Tallant
This is an interesting subject. I have to own up and say it was me who asked
Martin why there were no twiddles in his performance. I didn't mention it on
the list in case it came across as criticism, which of course it isn't. I
thank Martin for bringing the subject to the list.
Please excuse me
Another way would be to create a new part. This was done in the old
days and we have contra-parts for Francesco Fantasias and many other
pieces.
On Apr 28, 2008, at 9:48 PM, Herbert Ward wrote:
The obvious method for making a duet from a solo is
to simply divide the notes between the two
There is a nice book at the French lute society, where Pascale Boquet wrote
conterparts to many well known pieces.
Look at : http://sf-luth.org/index.php?Partitions/Le_Secret_des_Muses
Vol 16 and vol 20...
Val
-Message d'origine-
De : Ed Durbrow [mailto:[EMAIL PROTECTED]
Envoyé :
Dear Rob:
I don't usually have much to say on this list, leaving lengthy discourse to the
many experts. But your thoughful response raises some general points I think
are very important to how we approach playing polyphonic music.
First and foremost, everyone in the sixteenth century who
Dear Ron,
I'd like to thank you, in turn, for your thoughtful reply. If I take issue
with one or two points, it is nothing personal - I'm just thinking out loud.
1. How can you say that you 'can state this without reservation' that
'everyone in the sixteenth century who was fortunate enough to
On Apr 29, 2008, at 8:19 PM, Roman Turovsky wrote:
A friend of mine is wring a short article on the state of affairs
in contemporary composition for lutes/citterns, and he asked me to
assist in gathering the information.
I don't know whether the planned new lute composition index by
Lynda
On Apr 30, 2008, at 7:12 AM, Ron Andrico wrote:
When singing part music, a singer only had one part to read, and
did not have the luxury of scanning the complete score to see where
he or she could add bits here or there.
Neither does the first oboe player in an orchestra playing Handel
This is an important point: if the aim is HIP, then this is it. Many
three-part works written during the early chanson period were given
new life by the addition of a fourth part. Some of these extra parts
are quite ingenious, providing a complete change in chord structure
(not that the composers
Good Afternoon Luters,
I need a case for a lute. The lute in question has a case but you can't
believe what a piece of crap it is. I have the lute almost to playable
condition so it is time to think about a case. What sources are there for
cases?
Thanx,
-plh
To get on or off this list see list
Zarlino, in _Istitutioni harmoniche_, 1558, wrote: Matters for the singer
to observe are these: First of all he must aim diligently to perform what
the composer has written. He must not be like those who, wishing to be
thought worthier and wiser than their colleagues, indulge in certain rapid
On Apr 30, 2008, at 10:56 AM, Rob MacKillop wrote:
2. The important part of your useful Zarlino quotation, for me at
least, was
'progressions absolutely intolerable in composition'. This clearly
divides
the matter into two seemingly polar camps: Performance Practice and
Compositional
On Apr 30, 2008, at 2:22 PM, Ron Fletcher wrote:
I wish the modern-day RB singers would take this to heart. They
never hold
a note and sing every possible note around it instead! My friends
say it is
merely interpretation and ornamentation. I beg to differ...The
twiddly-bits
are
Dear Gernot, dear all,
thank you - birbante to berbante is no long way to go, too.
I have not been successful in searching for berbante in literature about =
Sephardic texts and/or language - even the library of the Berlin Jewish Mus=
eum seems to have no holdings which are of help, but as
Thanks again for your help, Joseph.
What you describe seems basically what I do with gut.
However, the way I learned (from Joel van Lennep??? way back when) involved
burning one end of the gut slightly over a candle flame to make an enlarged
bulb to hold the end of the slip knot, pulling it
Dear musicians,
someone from the US PS-talked me lately:
PS You have been a good boy and refrained from posting inflammatory
political comments.
Not any more a good boy...
There are countries that use torture as normal means of interrogation
- and today the USA is included with a nice company
just testing... A
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Arto,
that was remarkably long since you posted something which is again
true but not at all appropiate for the lutenet. Please don't! The only
outcome is just another flame war.
g
On 01.05.2008, at 00:08, [EMAIL PROTECTED] wrote:
Dear musicians,
someone from the US PS-talked me
On 5/1/2008, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote:
just testing... A
And just testing, why the following did not get through, while this test
went...
Dear musicians,
someone from the US PS-talked me lately:
PS You have been a good boy and refrained from posting inflammatory
On 5/1/2008, Gernot Hilger [EMAIL PROTECTED] wrote:
that was remarkably long since you posted something which is again
true but not at all appropiate for the lutenet. Please don't! The only
outcome is just another flame war.
I can stand 1000 or more flame wars, if one act of torture is
On Mon, Apr 28, 2008, [EMAIL PROTECTED] said:
Hello Lutenists,
I need some help. Not with the fret knot itself or the like, but please bear
with me:
I did not bevel or fillet the edges of the fingerboard
This is discused in lindbergs book on historical lute construction, the
fingerboard is
Must have fallen off the wagon once more.
- Original Message -
From: Gernot Hilger [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Wednesday, April 30, 2008 7:03 PM
Subject: [LUTE] Re: OT: Torture and c-camps
Arto,
that was remarkably long since you posted something which is again
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