Music, like grammar, is descriptive rather than prescriptive. That
doesn't make it less relevant.
David
On Thu, 26 Jul 2018 at 21:36, Leonard Williams <[1]arc...@verizon.net>
wrote:
I have often wondered if the rules of music, like many of
those for
Thanks Wayne,
After a quick test, this works for acute, grave and circumflex e accents
- no reason to doubt it supports the rest.
I switched from vi to Geany a (long) while ago... It is a simple and
sophisticated IDE at the same time - the antithesis of Visual Studio:
light weight,
A quick question about Wayne's tab program: how do I get the French
accents (e acute, e grave) to display correctly in the titles? I am
getting slashed Os instead of 'é' (e acute) for example, and a slashed L
for 'è'. The c cedilla however is fine, and u umlaut ...
Example: { Bourrée }
Also:
you would type
{ Bourr\'ee }
with the warning that some modern text editing programs change the characters
around. the single quote, for example, may be rewritten as a special character
which is half of a pair of balanced quotes. Mac TextEdit does this, and you
have to turn off smart
How would musicians like Dowland or Johnson have named their
chords? Were they thinking in chord progressions, modalities,
incidental chords arising in polyphonic cadences? I guess this is a
question of music theory evolution.
Leonard
-Original Message-
From:
Musicians and Music Theorists are rarely one and the same person :)
It is not necessary to name or classify anything while making music -
Music Theory is mostly after the fact.
Theory is taught, but novelties appear regardless - see Monteverdi and
Artusi.
Am 26.07.2018 um 19:11 schrieb
Am Donnerstag, 26. Juli 2018 20:44 CEST, Tristan von Neumann
schrieb:
> Musicians and Music Theorists are rarely one and the same person :)
Sorry, but that's the biggest bulls**t I've ever heard!
Tinctoris (choir master, composer and most likely a singer)?
Gafurius (composer, maestro di
Am Donnerstag, 26. Juli 2018 21:04 CEST, wayne lute
schrieb:
I use a programmers editor like vim or emacs that doesn’t make the switch.
Jay! Emacs rulez! ;-)
Cheers, RalfD
To get on or off this list see list information at
lute & kora wow - that is interesting and should sound great. Keep us posted!
Jurgen
--
“There is a voice that doesn’t use words. Listen.”
Jalāl ad-Dīn Muhammad Rumi
‐‐‐ Original Message ‐‐‐
On 26 July 2018 6:20 PM, Martin Shepherd wrote:
> Thanks to
Jurgen,
It's an old trick: make your URLs super-long so they are broken by a
line break. Hence the expression: broken links.
Case in point, the Besard Bergamasque from the Thesaurus Harmonicus,
also a very worthwhile piece:
Cullane may mean modern Koln/Cologne - centre for international trade
at the time.
If I recall aright, Mace speaks of Cullen cleft as a type of wood for
lutes.
MH
__
From:
Modern chord symbols appeared much later than you might think. I looked this up
not long ago. I believe it was the 1920s or 30s and had to do with session
playing. To do with films perhaps?
On Jul 25, 2018, at 9:54 PM, Leonard Williams wrote:
> As chordal music (as opposed to
I have made a version of the Gianoncelli for 7 course lute, if you are
interested.
On Jul 25, 2018, at 6:51 PM, spiffys84121 wrote:
> The Gianoncelli Bergamesca from 1650 for archlute is superb. I played
> it last month for O'dette's master class.
Ed Durbrow
Saitama, Japan
I have often wondered if the rules of music, like many of those for
Italian grammar, came after the fact, based on common usage that sounds
good.
Leonard
-Original Message-
From: Tristan von Neumann
To: lutelist Net
Sent: Thu, Jul 26, 2018 2:44 pm
Subject:
Very generous advice, thank you! I will go there and have a close look.
Best
Jurgen
--
“There is a voice that doesn’t use words. Listen.”
Jalāl ad-Dīn Muhammad Rumi
‐‐‐ Original Message ‐‐‐
On 26 July 2018 2:17 PM, Alain Veylit wrote:
> Jurgen,
>
>
I am afraid the table of chords didn't come out right. Hope this is
better.
1 = G major [Dedillo]
2 = C major [Puente]
7 = E major [Cruzadillo]
P = A major [Patilla]
+ = D major [Cruzado]
3 = F major [Vacas]
4 = B flat major
I am afraid what you have said about this is incorrect.
"Juan Carlos Amat's little book Guitarra Espanola y Vandola (?) was
published already in 1596 but the earliest surviving edition is from
1627."
The earliest surviving copy is dated 1626 - this copy is in the
Newberry Library
Hi Theo,
"Cullane" is probably "Cologne" (Köln), as there are other references to
lutes from there. "Venice" Venice, a famously important centre for
lutemaking.
"Catlingis" (elsewhere "catlins") are strings used in the mid range and
bass, "Manikins" (elsewhere "minikins") are treble
I am afraid the table of chords didn't come out right. Hope this is
better.
1 = G major [Dedillo]
2 = C major [Puente]
7 = E major [Cruzadillo]
P = A major [Patilla]
+ = D major [Cruzado]
3 = F major [Vacas]
4 = B flat major
Thanks to all who replied.
I've now gone off in a slightly different direction with the John
Johnson(?) setting of Conde claros from the Marsh lute book.
Just in case you're wondering, my son Hugh is hoping to include some
lute and kora duets in his final dissertation.
Martin
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