Hi Lex
I think it is not always easy to decide which open courses should be
included in the strum when the tablature doesn't give information (for
example when dots are missing, with Corbetta). Let me give just two
examples
that can cause headaches: p.69 2nd line, bar 2 and, more painful, 5th
Let me give just two
examples
that can cause headaches: p.69 2nd line, bar 2 and, more painful, 5th
line,
bar 3 (last beat). What to do with open courses? I can come up with
several
solutions, but essentially it is unclear.
Sorry - I'm a bit confused but I think you can't be
Monica wrote:
So do you have a MIDI file you could upload somewhere? I'd be
interested in hearing it.
I'm afraid not. It is a Django file which I could send you if if you have
the Django program but I can't convert them to PDF files.
Monica,
You can output any file to a Postscript printer
So do you have a MIDI file you could upload somewhere? I'd be
interested in hearing it.
I'm afraid not. It is a Django file which I could send you if if
you have
the Django program but I can't convert them to PDF files.
On Oct 23, 2006, at 7:53 PM, Craig Allen wrote:
You can output
Subject: *** SPAM *** [VIHUELA] Re: Why re-entrant tunings?
2nd line bar 2 works perfectly this way,
making a dom7th. 5th line bar 3, it looks like a dot eliminating the
first course which I would guess applies to the last eighth strum
too.
It's not a dominant 7th. It's a G major chord
The second bar on the 5th line seems unproblematic to me. I would play
the
open 3rd and 4th courses. The c is just an ascending appogiatura to the
d.
The chord progression is Ib IV(c) V I. The bass line goes F# G A D.
I
know it is a 6/4 chord but that wouldn't worry me.
(p.69, line 5,
