I have the Minkoff of 1976 (Swiss francs ... ;-)
David
On 6 August 2012 16:06, Monica Hall mjlh...@tiscali.co.uk wrote:
Dear Collective Wisdom
A couple of queries about Sanz.
I have the facsimile published by the Instituto Fernando el Catolico
in 1966. However there has
You are after the Editorial Alpuerto edition, facsimile + transcription
by De Zayas. ISBN 8438100937 apparently. I do not have it myself,
publisher's website is unhelpful.
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Monica Hall
De Zayas also published a transcription of Sanz (I can't remember how
complete) over several issues of Guitar Review. Handwritten tablature
and parallel transcription on single staff with noteheads both
regular and square (indicating notes from the 4th and 5th courses and
notated an octave
On 6 August 2012 19:43, Rockford Mjos rm...@comcast.net wrote:
De Zayas also published a transcription of Sanz (I can't remember how
with Libro Primero [Part One] -- from Passacalle to Passacalle sobre la
D..Noviembre 1674.
Guitar Review GR-42, continued with Part II -- with Jacaras and the D
beaten the Netherlands in some horse jumping
competition!
Regards
Monica
- Original Message -
From: David van Ooijen davidvanooi...@gmail.com
To: Vihuelalist vihuela@cs.dartmouth.edu
Cc: Monica Hall mjlh...@tiscali.co.uk
Sent: Monday, August 06, 2012 7:11 PM
Subject: [VIHUELA] Re
On 6 August 2012 21:23, Monica Hall mjlh...@tiscali.co.uk wrote:
Incidentally - we have just beaten the Netherlands in some horse jumping
competition!
I never jumped over a horse, fell off one once, though.
David
--
***
David van Ooijen
davidvanooi...@gmail.com
/oclc/18165067
AJN
- Original Message -
From: Rockford Mjos rm...@comcast.net
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Monday, August 06, 2012 1:43 PM
Subject: [VIHUELA] Re: Sanz
De Zayas also published a transcription of Sanz (I can't
Howard,
I'm the guilty party re the statement that 'some say 460' for Roman pitch. I
was quoting a harpsichord maker. But I agree that it is generally thought to
be 392-ish, but string lengths on guitars seem to vary considerably, and I
imagine all manner of stringing, tuning and pitch was in
Dear Rob,
How exactly is your guitar strung?. Presumably you are obliged to lower
= the general pitch of the instrument (say a minor third or so) to
avoi= d frequent string breakages of a high third course. A gene= ral
lowering of pitch will have a deliterious effect in the
Hi Martyn,
A 'deliterious effect in the bass', maybe, but there is no bass below the g,
at least in Sanz's specified tuning. So, no, Martyn, I did not use modern
bass strings. Another important factor is that Sanz does not mention pitch
- we have no idea what pitch he used. Some argue that Roman
Sorry, two corrections:
1. The guitar is from mid-18th not 17th century - at least according to the
catalogue
2. I do know how to spell anonymous!
Rob
2008/4/25 Rob MacKillop [EMAIL PROTECTED]:
Hi Martyn,
A 'deliterious effect in the bass', maybe, but there is no bass below the
g, at least
Well I disagree with Monica. As she says quite openly, she is
philosophising, and so it's not a question of her knowledge of just about
everything there is to know about the Baroque guitar and its music.
Just so - I wouldn't claim to know everything there is to know about the
baroque guitar
At 07:33 AM 4/25/2008, Monica Hall wrote:
The reason why I get into scraps with people is because they think that
they can prove categorically that the way they want to play the music
themselves must be the way which the composer himself intended it to be
played - and that everyone who plays it
2008/4/25 Eugene C. Braig IV [EMAIL PROTECTED]:
I am fond of this position.
So am I...
BTW, I've just uploaded Espanoletas: www.songoftherose.co.uk and included an
Updates page for quick reference.
I'd also like to publicly thank Alexander Batov for making such a great
guitar!
Rob
--
To
Rob, I wasn't attacking Monica!. I was disagreeing with her.
It's called debate.
No offence taken I can assure you! Long may debate continue!
Monica
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On Apr 25, 2008, at 7:16 AM, Martyn Hodgson wrote:
cannot we assume that, like with lutes, the first course of guitars
were pitched as high (or at least not too far off) as they co=
uld reasonably bear.
You can only assume this if you also assume the lack of a high octave
on the
Phew! I got off lightly there, Monica. ;-)
I'd better back out now...
Rob
PS I still agree with you
2008/4/24 Monica Hall [EMAIL PROTECTED]:
Well
There is some doubt as to whether it would have been practical to put a
high octave string on the 3rd course - tuned a minor 3rd above the
On Apr 24, 2008, at 3:36 PM, Stuart Walsh wrote:
Monica's position is rather like mysterianism in the philosophy
of mind. It's all just one big mystery: the stringing , the
tuning, the performance practice of the seventeenth century
guitarists- the existing evidence points anywhere
2008/4/24 howard posner [EMAIL PROTECTED]:
To be fair, I think Monica was trying to avoid one here by not
reiterating her position on the high G octave string.
I agree, Howard. I'm sorry Stuart used my light-hearted bantering as a
platform for raising an attack on Monica. I actually agree
That was an experiment with a high g octave on the 3rd course and no
bourdons anywhere. I would not use a high g again, despite having fun with
it. I've never had a baroque guitar. I had to practice the piece on a
classical guitar, and only got to play that instrument on the day of the
recording.
Eugene,
Your comment about the bray harp (see below) is an interesting one. For
those who are unaware, the 'bray' refers to a bit of wood on the soundboard
of a Renaissance harp which touched the string gently. As the string was
struck it would buzz as it hit against the block. This was the
Dear Rob,
you wrote among other matters:
Your comment about the bray harp (see below) is an interesting one. For
those who are unaware, the 'bray' refers to a bit of wood on the soundboard
of a Renaissance harp which touched the string gently. As the string was
struck it would buzz as it
I would like to hear that, Arto.
Rob
-Original Message-
From: Arto Wikla [mailto:[EMAIL PROTECTED]
Sent: 04 November 2005 21:57
To: Rob MacKillop
Cc: vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Re: Sanz uploads
Dear Rob,
you wrote among other matters:
Your comment about the bray
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