At 21:47 22-03-2004 -0500, Roman Turovsky wrote:
I was wondering if the Baroque Lute D minor tuning is/was ever used for
Bass
Continuo playing?
Tim Mills
A number of people do it, including myself, although I don't like the idea.
RT
Sounds strange. Please explain.
Also, how did Merville tune
At 21:47 22-03-2004 -0500, Roman Turovsky wrote:
I was wondering if the Baroque Lute D minor tuning is/was ever used for
Bass
Continuo playing?
Tim Mills
A number of people do it, including myself, although I don't like the idea.
RT
Sounds strange. Please explain.
Arne.
IMO: Baroque Lute
Now I'm confused. Didn't Stewart (and others) identify a theorbo as a lute
with re-entrant tunings? So if one avoids re-entrant tunings, is it still a
theorbo?
Tim Kuntz
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: David Rastall [EMAIL PROTECTED]
Cc: LUTE-LIST
Hello,
I'm a novice Renaissance lute player, a recent convert from classical guitar, so
please excuse my
ignorance. I'm trying to find the right bass strings and get a good bass sound on a
REnaissance
lute. I tried Nylegut (didn't like that at all), loaded gut from Aquila, gimped and
metal
Weiss theorbo is an exception.
RT
__
Roman M. Turovsky
http://turovsky.org
http://polyhymnion.org
Now I'm confused. Didn't Stewart (and others) identify a theorbo as a lute
with re-entrant tunings? So if one avoids re-entrant tunings, is it still a
theorbo?
Tim Kuntz
-
On Tuesday, Mar 23, 2004, at 14:40 Europe/Warsaw, Roman Turovsky wrote:
..
IMO: Baroque Lute is ill-suited to any group endeavor, excepted
accompanying
a single voice singing maximum at mezza voce. It is destined to be a
PRIVATE
instrument, like clavichord, as I said elsewhere.
What is
IMO: Baroque Lute is ill-suited to any group endeavor, excepted
accompanying
a single voice singing maximum at mezza voce. It is destined to be a
PRIVATE
instrument, like clavichord, as I said elsewhere.
What is private and what is public in terms of 18th C. and 21st C. --?
Very complicated
Tim wrote:
Now I'm confused. Didn't Stewart (and others) identify a theorbo as a lute
with re-entrant tunings? So if one avoids re-entrant tunings, is it still a
theorbo?
I've just started reading Nigel North's continuo book and in the first chapter he
lists several tunings for theorbo,
Citat Roman Turovsky [EMAIL PROTECTED]:
OK Roman, I see your point.
But what about Merville? Anyone else?
What tuning did he use?
Anxiously,
Arne.
Please note: I moved this thread to the Baroque-Lute List where this might
profit from slightly different demographics.
RT
__
Roman M. Turovsky
http://turovsky.org
http://polyhymnion.org
On Tuesday, Mar 23, 2004, at 19:40 Europe/Warsaw, Roman Turovsky wrote:
... someone else's execrable music (like Hasse's for example).
RT
... I fail to recall any of his music
RT
... Sugar as an anti-depressant??? Not for me.
RT
I perfectly understand your point. How you can like
My teacher and I are working on four-note chords, using all four
right-hand fingers (p, i, m, and a).
I had the practice piece sounding OK (at my student tempo). But then my
teacher wanted me to keep my right-hand little finger in contact with (or
very close to) the soundboard, and not pull
Roman Turovsky at [EMAIL PROTECTED] wrote:
IMO: Baroque Lute is ill-suited to any group endeavor, excepted accompanying
a single voice singing maximum at mezza voce.
You're playing continuo whether you're accompanying 1 voice or 100.
Existence of fine chamber music with Baroque Lute does not
Dear Herbert,
I'm afraid I'll disagree with your teacher, with
respect.
Having the little finger in the soundboard is fine, and very useful for
different reasons.
On the other hand, you should be able to play with the right arm as free as
possible (specially while playing
Ron,
Thanks for your helpful responce. Concerning the stroke, this is what I foind myself
through
experimentation - the type of stroke that makes a sting vibrating up and down sonds
much better
for both high and low courses, so this stroke has been is the main focus in my the
technique
On Tue, 23 Mar 2004, Roman Turovsky wrote:
IMO: Baroque Lute is ill-suited to any group endeavor, excepted accompanying
a single voice singing maximum at mezza voce.
You're playing continuo whether you're accompanying 1 voice or 100.
Unless you are playing independent obbligato, which
On Tue, 23 Mar 2004, Roman Turovsky wrote:
Dear Roman,
do you yourself REALLY PLAY the continuo?
Repeatedly during February and March, and March 19 in public.
So, a couple of months? And also once(!) in public?
Or are you just speculating
with the unknown? This just came to mind while
On Tue, 23 Mar 2004, Roman Turovsky wrote:
do you yourself REALLY PLAY the continuo?
Repeatedly during February and March, and March 19 in public.
So, a couple of months? And also once(!) in public?
And how long have you been playing Baroque Lute?
A couple of years at the end of
thank you for the input - what was sent was really useful.
my interest in early country music stems from something i once read
about how music which evolved in the cities during the renaissance
totally eclipsed the interest that was formerly paid to music from the
country - cantigas de santa
Bill,
If I may add to this, not all country music is from the same country. And
the Spanish soldiers never quite made to Ireland and Scotland.
I got that book (thank you those on the lute net that helped me with
sources) on the Irish and Highland Harp. (It is unavailble, but I got it on
a
Herbert,
You and I seem to have a different problem, and as you know I started by
just reading the music in McFarlane's Scots Lute. I am about to take my
second lesson (the first was a couple of months ago, and I was instructed to
stay away from songs and just practice (p,i) with thumb under type
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