OK, I'll answer (all included to keep it together).
Find me the lutenist, or the double strung harpist, who
can tune all his strings absolutely to the same frequency
I dunno about that, but, there are these people one hires to tune ones
piano, they
seem able to do a pretty good job, and
On a related note, I've had the idea (for a while now) to get the tab (Wayne's
format) for an entire period or composer and run it through a parser which
would look for patterns in the music. I'd be looking for things like the most
common phrases (length could be variable) in Dowland's music. I've
Dear all,
THANKS to everyone who responded to the above email - it has been of great
use! It was truly wonderful to get such expert advice on such a rarefied
topic with a few clicks of buttons - it never ceases to amaze.
All very best wishes for now,
Benjamin
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.has been in touch. I no longer require his email address. Thanks to the
many (!) who reminded me of it.
Rob
--
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XML would be much more efficient for that and many other purposes
because of all the parsing tools that are being developed for that format,
and because it is a structured format that is meant to do precisely that
sort of manipulation. Wayne's format is meant to produce nice prints
with his
It's certainly an interesting idea. Programs have already been
written that will write a piece of music in the style of certain
composers. I've always thought that if you took out that little 6
note ornamental figure out of Bakfark fantasias there would be
precious little left. :-)
On a
Can anyone help translate from old Spanish the paragraph on the dedillo,
on http://cbsr26.ucr.edu/~gls/images/facsimiles/Mudarra/Preface_2.jpg
Thanks,
Alain
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Ed Durbrow [EMAIL PROTECTED] said:
It's certainly an interesting idea. Programs have already been
written that will write a piece of music in the style of certain
composers.
Once on knows what 'rifs' and harmonic progressions typify a particular
composers
work, sure, it not hard to set
Jon Murphy [EMAIL PROTECTED] said:
[concert piano tuners]
And they have very good ears, and are working with a large instrument that
holds its tune so they can take a lot of time (for which they get paid). I
speak of the tuners of my day who worked without electronics.
The concert piano
Hello Thomas,
you wrote:
Dear Stephan,
the term A-Lute seems to be misleading this time because it suggests a
absolute pitch.
Right.
Actually my position is that the common lutes were smaller in the first
half of the 16th century than they were at the end of the 16th century.
This may be
Hi all,
when answering a mail please delete all the re:antwort:re: etc. in the
subject line. The snake is growing and growing...
best regards
Bernd
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There were several printed publicatinos that called for ensembles of lutes in
different sizes. The ones whose front material I have had a chance to review
generally specify an intervalic relationship rather than specific pitches.
This
is most easily understood when one considers the desire
There was an interesting article by Eric Walter Hill in Early Music a few
years (1993 I think) that addresses the issue of Florentine manuscripts
contining
intabulated continuo accompaniments to late 16th and early 17th century
monody.
If i am not mistaken (I am still in Denver playing
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