[VIHUELA] Re: Corbetta x ornament starting note
Thanks Monica, I put my comments in line. On Jan 22, 2013, at 1:20 AM, Monica Hall mjlh...@tiscali.co.uk wrote: By chance I have a recording of Antonio Ligios playing this piece and as far as I can tell he is doing exactly what the ornaments seem to imply… Does he have any web presence? I couldn't find his performance on YouTube. Has anyone any thoughts about the starting note of the x ornament signs in Corbetta's La Guitar Royal of 1671, particularly the Folia starting on page 79? On p.9 he gives an example of a prepared appoggiatura on the fifth line. but there are numerous places that could be confusing. The x indicates that the auxiliary note or starting note is from above. Examples: P.79, line 4, measure 1: It is kind of jarring to start the trill ( I play a couple of iterations rather than an appoggiatura when the x is on a dotted quarter) on the upper note (B) right after a Bb in the top voice. I think the point is that it is an A major chord and you can't play a B flat auxiliary note. It must be B natural. Yes, B natural is a given. It just doesn't feel very natural to me to jump to that A chord and land with my third finger on a B, whereas starting with the A chord feels very natural. The cross relations (if that is the correct terminology) are quite typical of Corbetta's style. I guess he was pretty 'out there' with no preparation and all. It sounds jarring to me, but like you say maybe that was his style. The top line second measure of p.80 he indicates a slur f e followed by x. The f e is already an appoggiatura. The only thing I can think of is to reiterate the upper neighbor f from the e note, an upper mordant. I think that is what is intended here..and what Ligios seems to playthe notes are a f f-e d We may or may not be talking about the same place. I was saying f e f e concerning the notes on the first string, with the e f e being like a mordant on beat two (2 32 notes and 1 16th note) and the initial e being pulled off from the f on the second half of beat one. Then, the same type of thing on beat three, a mordant with the initial note C# being pulled off from the D on the second half of beat 2. I'm wondering if other people do this as this case isn't illustrated on his ornaments page. Perhaps he gives an example like this in another book? I don't see anything in Varii Capricii 1643. P.80 third line from bottom, 2nd measure: What's this about? X on a 16th note but preceded by an appoggiatura from above or below? From above I think -the notes are g g-f e. Well, there is an A at the end of the previous measure so that would make a nice prepared appoggiatura. The problem though is, then you have another appoggiatura on the F which means switching out of the third position (3rd fret) and all four notes happen in half a beat. Someone with very long fingers could perhaps sustain the D with the second finger and pull off pinky-ring and then reiterate the G and pull off ring to index. I interpret the line below as an appoggiatura from below as indicated on the ornaments page and then do a quick mordant on the F which comes out as a 32 note triplet in order to land on the E on the second half of the beat. This sounds pretty nifty with no ugly cut off like I would get trying to do an upper neighbor appoggiatura. I'm just not sure if this wasn't some kind of mistake, two ornaments on two 16th notes seems pushing it. The basic problem I'm having, well two really, is 1. you can't do an appoggiatura from above if a slur from the same neighbor precedes it. 2. Many places call for reiterations to my ear, especially cadences where there is a dotted quarter note followed by an eighth (quaver). An appoggiatura sounds wimpy there IMO. Ed Durbrow Saitama, Japan http://www.youtube.com/user/edurbrow?feature=watch http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Corbetta x ornament starting note
Has anyone any thoughts about the starting note of the x ornament signs in Corbetta's La Guitar Royal of 1671, particularly the Folia starting on page 79? On p.9 he gives an example of a prepared appoggiatura on the fifth line. but there are numerous places that could be confusing. Examples: P.79, line 4, measure 1: It is kind of jarring to start the trill ( I play a couple of iterations rather than an appoggiatura when the x is on a dotted quarter) on the upper note (B) right after a Bb in the top voice. The top line second measure of p.80 he indicates a slur f e followed by x. The f e is already an appoggiatura. The only thing I can think of is to reiterate the upper neighbor f from the e note, an upper mordant. P.80 third line from bottom, 2nd measure: What's this about? X on a 16th note but preceded by an appoggiatura from above or below? TIA Ed Durbrow Saitama, Japan http://www.youtube.com/user/edurbrow?feature=watch http://www9.plala.or.jp/edurbrow/ Ed Durbrow Saitama, Japan http://www.youtube.com/user/edurbrow?feature=watch http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Murcia - Cifras selectas online
What a prolific person he was. Does any other guitarist have as much output specifically for B. guitar? On Jun 20, 2012, at 5:22 AM, WALSH STUART wrote: This new Murzia MS has lots of diferencias on familiar grounds and some passacalles and short pieces. I haven't looked through it that much but so far only the D minor Passacalle looks familiar. Seems like tons of new stuff. Looks like same scribe as Passacalles y Obras. As always with Murzia, it's tunesful and well written for the guitar. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Murcia - Cifras selectas online
Thanks for the instructions Monica. Eloy Cruz was kind enough to send it to me by Dropbox. I have to say, I hope this scanning at high resolution is a trend that goes viral. Looking at this thing is almost like holding it. thanks, On Jun 17, 2012, at 1:06 AM, Monica Hall wrote: Try this... Where it says Escriba una palabra type in Cifras selectas. This brings up a list. The second item is the manuscript. Click on the 2 at the beginning. This brings up the full entry. Look down the list and find Enlace externo with an icon beside it and instructions Enlace a texto original digitalizado. This is next but one to the bottom of the list. Below is the reference to something else. Click on that. That brings up another screen with a lot of Spanish on it about agreeing to their condition. Ignore all that. At the bottom in the blue strip you will see the same icon again and the instructions Presione aqui para ver which means press here to have a look. If you do that the first page of the manuscript should appear. Hope that helps. Monica I can't really explain it any more clearly. Most of it is clear whether you understand the Spanish or not. Where it says Escriba una palabra type in Cifras selectas. Campo de buscado = field to search Chose that. Palabro clave titlulo = title field. Chose that. Palabras adyacentes = adjacent words - Click on Si for yes. Then Buscar = search This brings up a list. No. 1 is Alejandro Vera's edition of it. No. 2 is the manuscript itself. Click on the No. 2 at the beginning. This brings up the full entry. At the bottom just above Biblioteca Campus Oriente you will find Enlace externo with an icon beside it and instructions Enlace a texto original digitalizado. Enlace externo means external link. Enlace a texto original digitalizado. means link to digital version of the original text. Click on the iconThat brings up another screen with a lot of Spanish on it about agreeing to their condition. Ignore all that. At the bottom in the blue strip you will see the same icon again and the instructions Presione aqui para ver which means press here to have a look. If you do that the first page of the manuscript should appear. Hope that helps. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Murcia - Cifras selectas online
Very tricky if you don't speak Spanish. Even with Google translate, I couldn't figure it out. I couldn't find any of the phrases you mentioned. On Jun 12, 2012, at 7:55 PM, Monica Hall wrote: It took me a good half hour to download it but it is a much better image that the published one - perfectly clear in fact. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: 5 course guitar - partial strums
I am curious if there is an answer to your question. Tangentally, I have a theory that so many strummed chords didn't include the 5th course, that they didn't even bother to put a dot there if it would make a dissonance, they just assumed you wouldn't include it in the strum. On May 31, 2012, at 6:57 PM, Martyn Hodgson wrote: Various 5 course guitar tablature sources ask for partial strums in which only some of the courses are to be strummed; unstrummed courses being indicated by dots (although the practice may, of course, be more widespread than suggested only by the tablatures with these dots). A typical example is a G major chord (stopped on the 2nd and 5th courses) but with a dot on the first course indicating a strum of the lower 4 courses but without the first course strummed (eg Lobkowicz Ms OLIM Prague II Ms Kk77 fol 82v - Minuet). Is there any evidence that these were ever performed by using, say, the middle finger of the right hand (or even a spare left hand finger) to damp the unplayed course or is it simply a matter of precision in execution of the strum with the index finger? MH -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: 5 course guitar - partial strums
On Jun 1, 2012, at 9:35 PM, Martyn Hodgson wrote: Your point about the 5th course is certainly well made, however, missing this course is not so tricky as avoiding playing the first course when using a downwards index strum. Indeed, I raised the matter since I'd heard quite a few players accidentally (I presume) strum a dissonance by catching the first course especially (tho', of course, the occasional unexpected dissonance might be thought to be part of the idiosyncratic charm of the instrument...). If damping the 1st string with the left hand produces the desired musical effect, it is hard to imagine the HIP police coming for you. It is not like that is so out of the ordinary. I figure every player had their idiosyncratic tricks and maybe withheld some explanations of their techniques in their publications so as not to give it all away. There are so many tables and instructions in so many sources that I haven't even seen, I often have an urge to ask questions about nearly everything. I just recently wrote up an email to send to this list asking about ornamentation in Corbetta, but in the end I just pretty much used his table and my instincts and decided I liked the way I was doing it and didn't want to hear contrary evidence. :-) -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Guitar bridges
So what do the guitars with original bridges with holes show? Are the holes even at their tops, centers, bottoms or not even at all? On Nov 29, 2011, at 11:44 PM, Monica Hall wrote: Given that the bourdon in any case will be slightly higher the the treble string as it is thicker it is not difficult to give it prominence where necessary. A plain gut bourdon on the fifth is so thick that it is hard to miss! Ed Durbrow Saitama, Japan [1]http://www.musicianspage.com/musicians/9688/ [2]http://www9.plala.or.jp/edurbrow/ -- References 1. http://www.musicianspage.com/musicians/9688/ 2. http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Bach Chaconne
Yes, he has an octave on the third course. He told me so. What a performance! Dominic is amazing. Too bad YouTube limits it to 11 minutes. On Oct 20, 2011, at 3:11 AM, Monica Hall wrote: I think he means a fully re-entrant tuning although I thought I detected a high octave string on the third course in one place. Ed Durbrow Saitama, Japan [1]http://www.musicianspage.com/musicians/9688/ [2]http://www9.plala.or.jp/edurbrow/ -- References 1. http://www.musicianspage.com/musicians/9688/ 2. http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Strumming lute
Google translates the title as 'Chatter of women'. Is that more or less correct? I would call that non-PC if there is no 'Chatter of men' piece to go along with it. Equal rights for men, we chatter too. Anyway, very attractive music and well played as usual. On Sep 27, 2011, at 2:22 AM, wikla wrote: Dear flat-back lutenists, as I told earlier, also we fat-back lutenists strum our instrument every now and then. My example of today is a nice piece - with politically not so correct name,though, see [1]http://www.youtube.com/watch?v=w8q45d1wDww Best, Arto To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Ed Durbrow Saitama, Japan [3]http://www.musicianspage.com/musicians/9688/ [4]http://www9.plala.or.jp/edurbrow/ -- References 1. http://www.youtube.com/watch?v=w8q45d1wDww 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 3. http://www.musicianspage.com/musicians/9688/ 4. http://www9.plala.or.jp/edurbrow/
[VIHUELA] Re: Roncali chords
On Jun 16, 2011, at 10:44 PM, Monica Hall wrote: I think this particular chord is meant to be E = D minor. A D major chord sounds odd to me. If you look on page 55 (if you can) you can see a similarly shaped E. I only have pages 25-32. The shapes of the letters vary a bit because of the way the music is engraved and printed. The same is true of the D at the beginning - the Ds vary a bit. Dm makes great musical sense, especially given the preceding three bars. I don't know how the engraving process works, I thought they were hand scratched on brass or something, but if that curving line line was a separate element and moved down and to the left it would make an 'e'. Lettere tagliate have nothing whatsoever to do with leaving out the 5th course when using a bourdon on that course and do not indicate the method of string the composer required. This is just a myth. Bartolotti is the one person who does use lettere tagliate and the reason for this is usually because it is necesrary to leave out the 5th course and refinger the chord to accommodate passing notes although he is not entirely consistent. Couldn't quite remember the word. So what does it mean? Thank you very much Monica. Ed Durbrow Saitama, Japan [1]http://www.musicianspage.com/musicians/9688/ [2]http://www9.plala.or.jp/edurbrow/ -- References 1. http://www.musicianspage.com/musicians/9688/ 2. http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Roncali chords
I've been practicing a suite by Roncalli but I only have a zerox of the one suite and no info about it. There seem to be a few altered chords (do you call them taglia?) and I wonder what they are supposed to be, as they sound fine when played as the regular type. On p. 28 in the Corrente, fourth line, last full measure, there is a C with a curved line that is clearly different than the C five measures earlier. A regular D major chord seems to work fine. If the alteration means leaving off the 5th course, that may indicate that the fifth course had a bourdon, otherwise what would be the point? I would have to rethink things then. With the French tuning it would still sound in root position. A sus chord sounds wrong to me. The D in the pickup measure to this piece also looks different from other Ds. I don't know if this is a special chord or the copyist just did it differently there. TIA Ed Durbrow Saitama, Japan [1]http://www.musicianspage.com/musicians/9688/ [2]http://www9.plala.or.jp/edurbrow/ -- References 1. http://www.musicianspage.com/musicians/9688/ 2. http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Strumming techniques - was With/Without Bordones
On Apr 29, 2011, at 9:19 PM, Monica Hall wrote: You should play 4 down/up/down/up strokes on the 1st, 2nd and 3rd courses and 2 - down/up on the 4th/5th. Thanks for semi-clearing this up. Well, at least the down/up part makes sense and that was the way I was doing it. It is often confusing in these old sources as to what is top and high and up and down, for example up the neck Going from top (in pitch) down might take some getting used to, for me, as I've been playing it the other way. Sorry - I think you may have misunderstood what I am trying to say. First you play the top three strings - down/up/down/up then you play the bottom two srings down/up/down/up not in the reverse order. No, that is how I understood you, if by top three strings you mean the E, B and G strings/courses. If you look at the example on p.177 of James Tyler's book - the first two bars are incorrect because he misunderstood the Italian. It's the top courses first then the bottom ones. The next long bar is correct. Which book is that? My copy of _The Early Guitar A History and Handbook_ has only 176 pages. Ed Durbrow Saitama, Japan [1]http://www.musicianspage.com/musicians/9688/ [2]http://www9.plala.or.jp/edurbrow/ -- References 1. http://www.musicianspage.com/musicians/9688/ 2. http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Strumming techniques - was With/Without Bordones
On Apr 25, 2011, at 10:47 PM, Monica Hall wrote: You should play 4 down/up/down/up strokes on the 1st, 2nd and 3rd courses and 2 - down/up on the 4th/5th. That's assuming that Corbetta himself has not got in a muddle. Hope that helps. Thanks for semi-clearing this up. Well, at least the down/up part makes sense and that was the way I was doing it. It is often confusing in these old sources as to what is top and high and up and down, for example up the neck Going from top (in pitch) down might take some getting used to, for me, as I've been playing it the other way. It doesn't make musical sense to me either. Since the fingering change happens on what we call the 4th and 5th courses, what would be the point of putting those changes on the first beat of the bar if you were not playing them until the 5th strum? Ed Durbrow Saitama, Japan [1]http://www.musicianspage.com/musicians/9688/ [2]http://www9.plala.or.jp/edurbrow/ -- References 1. http://www.musicianspage.com/musicians/9688/ 2. http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: guitar publications with harmonics
On Nov 21, 2010, at 8:25 AM, Roman Turovsky wrote: By not much, as you cannot do them on double strings. Why not? Ed Durbrow Saitama, Japan [1]http://www9.plala.or.jp/edurbrow/ [2]http://www.musicianspage.com/musicians/9688/ -- References 1. http://www9.plala.or.jp/edurbrow/ 2. http://www.musicianspage.com/musicians/9688/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Rondo-Andante for guitar
This video has been removed by the user. Ah shucks. On Sep 18, 2010, at 8:57 AM, Stuart Walsh wrote: A short piece by the illustrious Joachim Peter Sautscheck (fl 18th century) lovingly transcribed for five-course guitar by the equally illustrious Antonio da Costa (very probably a relative of Pereyra da Costa, Mestre Da Capella da se do Funchal) [1]http://www.youtube.com/watch?v=xtC9xDSYGf4 Ed Durbrow Saitama, Japan [2]http://www9.plala.or.jp/edurbrow/ [3]http://www.musicianspage.com/musicians/9688/ -- References 1. http://www.youtube.com/watch?v=xtC9xDSYGf4 2. http://www9.plala.or.jp/edurbrow/ 3. http://www.musicianspage.com/musicians/9688/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: comments
I quite agree. I find the octave/bourdon combination a way to transit octaves in some passages. For example, playing a descending (or ascending) diatonic C scale campanela, one can kind of go in circles, especially if you progressively change the stress of the bourdon on the three notes on the D string. On Aug 26, 2010, at 5:01 AM, Lex Eisenhardt wrote: Playing campanelas including little sound from the bourdons is merely a matter of how you imagine these melodic lines. The technique follows the Ed Durbrow Saitama, Japan [1]http://www9.plala.or.jp/edurbrow/ [2]http://www.musicianspage.com/musicians/9688/ -- References 1. http://www9.plala.or.jp/edurbrow/ 2. http://www.musicianspage.com/musicians/9688/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Four c. guitar - strumming
Dear Stuart, I hope that isn't all I said - if so parts got lost in the ether! You'd have seen from my eml that in fact I think it's a matter of horses for courses so that, for example, to return to Les Bouffons: yes - I would strum the block chords (including those where one is requiired to leave out the top course); and no - I wouldn't strum most of the chords in the diminuee section. Similarly in your 'sober' pieces I might not strum even if it were possible - however to automatically link strumming with jocund play and plain plucking for sombre/sober music is selling the guitar short (there are strums in 17thC tombeaux) - so I might. The point about inversions is not that they don't sometimes appear when one is obliged to pluck (such as a chord using the 1st, 2nd and 4th courses only), but that in sequences of block chords they are disguised by strumming (as, of course, common in 17thC tablatures as well as this 4 course example). This is why I choose Les Bouffons as a good example of such block chords rather than a fantasia which may not have such and would suggest plucking. In short, I don't think it's one or the other: both can be employed in the same piece. The relevance of the cittern isn't to suggest that the guitar was played with a plectrum but that strumming was a well known technique in the 16th century. Indeed, purchasers of Morlaye's fourth book (1552) would have bought not only four course guitar music (including fine fantasias by da Rippe and lovely Italian dances such as La Seraphine) but also music for the cittern printed in the same book! Incidentally, if you look at La Seraphine you'll see that the second two note chord in bar one (and elsewhere) is played with a upstroke strum of the index finger. Finally, I've just been playing through Bartolotti's second book and am again struck not only by the originality and beauty of this music but by the way he uses many different types of play in the same piece: strummed chords - full, partial and inner: plucked chords - ditto; arpeggios, single notes etc in a very fluent manner. I see no reason to suppose earlier guitarists were incapable of playing in a similar manner - allbeit with less virtuosity. regards Martyn --- On Tue, 3/8/10, Stuart Walsh s.wa...@ntlworld.com wrote: From: Stuart Walsh s.wa...@ntlworld.com Subject: [VIHUELA] Re: Four c. guitar - strumming To: Monica Hall mjlh...@tiscali.co.uk Cc: Vihuelalist vihuela@cs.dartmouth.edu Date: Tuesday, 3 August, 2010, 10:41 (I prefer to reply after the message, so you read the the message and then the reply (bottom posting as it is called, which sounds faintly ridiculous). But Monica has asked me to reply at the top.) I rather incautiously claimed that strumming on the guitar emerged only at the end of the 16th century. Obviously that's a daft thing to say: how could anyone know? But evidence for strumming on the guitar? With the development of alfabeto and the 5-course guitar in the 17th century, strumming is talked about a very great deal and it is notated - it's what the guitar is all about at this time. The existing repertoire for the four-course guitar is quite small (Gerard Rebours has the actual number on his website! ...about 400?). Most of the Spanish stuff is really very sober - just like the vihuela repertoire.Not obviously strum material. The Leroy books in France have fantasies, settings of chansons, dances with elaborate divisions, and there is no textual evidence for strumming nor little place for it. The fourth book of Brayssing is particularly sober with fantasies, psalms and lengthy chanson settings. Joceyln says she can't imagine the setting of La Guerre without strums (presumably the setting here, rather than the Pavane and Galliarde de la guerre set by Leroy) and it would certainly be a striking effect in this one piece - but is there anywhere else in that Book (Book 4) where strumming strongly suggest itself? Obviously, if you have some sort of prior commitment to the intrinsic strumminess of the guitar you can invent where it might be. I only have some pieces from the Gorlier books - but again there are sober duos and some religious things as well as dances and the dances written out for fingerstyle play, not chords. I think you could play much (most?) of the existing repertoire without even having to consider possibility/appropriateness of strumming. (The Braye/ Osborne MS is one small exception, of course) Jocelyn says that strumming is important in the songs. (books 2 and5?). Jonathan LeCoq wrote an article (The Lute 1995) looking at the possibility that these songs were never meant to be actually sung and are solos (as they appear in Phalese 1570) so there would be no need to add strumming - which isn't there. Or, if
[VIHUELA] Re: Corbetta
Where are you folks hearing these samples? Available on the net? You all bought the CD? On Jun 6, 2010, at 4:14 AM, Stuart Walsh wrote: Monica Hall wrote: Don't know whether the rest of you have already noticed this but Carpe Diem have recently released a beautiful recording of music from Corbetta's 1671 Guitarre royale played by Rosario Conte - the best recording available now Antonio Ligios recording is no longer available. For some reason the first suite reminds me of a very old recording of Schaffer's on Baroque lute of a suite in G minor by Bittner. Someone said the recording is 'close' and you can hear fingers on strings - other than playing the notes! - and indeed the man himself breathing. (My wife thinks he looks like the actor, Patrick Stewart). He surely gets a very nice sound from the guitar and his brushing of chords is very delicate (some players are rather raspy) and lots of ornaments. The Prelude of this first suite is quite slow with familiar little phrases but Rosario gives his all. The Allemande has a little percussive sound at the beginning which happens at the repeat? Seems very well played to me. The Courante sounds fine to me too but I agree with others that the Sarabande is too slow. The Baroque lute can be played super slow (as it were) but I'm not sure this very slow tempo suits the guitar, or even this particular sarabande. A fine gigue (which is reminiscent of something else) and a swingless Passacaille to end. Stuart Monica -- To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Ed Durbrow Saitama, Japan [2]edurb...@sea.plala.or.jp [3]http://www9.plala.or.jp/edurbrow/ -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 2. mailto:edurb...@sea.plala.or.jp 3. http://www9.plala.or.jp/edurbrow/
[VIHUELA] Re: New Year gift
A wonderful and generous New Year gift indeed! On Jan 6, 2010, at 3:29 AM, John Griffiths wrote: Dear list members, For those of you who are interested in the vihuela, I have just published a new bilingual internet version of my 2003 book Taner vihuela segun Juan Bermudo. It is a method of learning to play the vihuela based on the pedagogical principles elaborated by Bermudo in his 1555 Declaracion de instrumentos musicales. You can find it at: [1]http://www.vihuelagriffiths.com/JohnGriffiths/Vihuela_playing.html It comprises a selection of twenty pieces following the order suggested by Bermudo. For each piece, I have included the original tablature, plus analytical transcriptions for instruments in G (lutes and vihuelas) and for instruments in E (especially for modern guitarists). The material can be used for individual study or for group learning. All the music, tablature and transcriptions, is in downloadable pdf format. I hope you will find it useful. Good wishes, John Griffiths To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Ed Durbrow Saitama, Japan [3]edurb...@sea.plala.or.jp [4]http://www9.plala.or.jp/edurbrow/ -- References 1. http://www.vihuelagriffiths.com/JohnGriffiths/Vihuela_playing.html 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 3. mailto:edurb...@sea.plala.or.jp 4. http://www9.plala.or.jp/edurbrow/
[VIHUELA] Re: Re-entrant tuning
Such lovely music. Sounds pretty polished to me. The video was what was intriguing. That one bird was such a bully. Can't we all just get along? On Nov 3, 2009, at 8:04 AM, Stuart Walsh wrote: I was playing my guitar again today, with a bourdon on the fourth (a very corny, half-baked concept): [1]http://www.youtube.com/watch?v=BTAOV49TSKM Ed Durbrow Saitama, Japan [2]edurb...@sea.plala.or.jp [3]http://www9.plala.or.jp/edurbrow/ -- References 1. http://www.youtube.com/watch?v=BTAOV49TSKM 2. mailto:edurb...@sea.plala.or.jp 3. http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Quills, 15the century dance and plucked duos
On Sep 3, 2009, at 6:31 AM, Stuart Walsh wrote: The topic of plectrums comes up every so often and I was really surprised that for medieval (or early renaissance) music, some people use the other end of the quill - not the bit you might use as a pen. So I've having a go. I'm left-handed playing right-handedly so any kind of plectrum is a bit of a problem. But the wobbly quill thing is no better nor worse than a modern plastic one, once you get used to it. Crawford Young said he has tried nearly every kind of plectrum and has settled on the narrow end of an eagle feather stripped down. In fact, he was using a nylon guitar string as a plectrum when I saw his concert and all during the seminar I attended. One cool thing I've found about using a tube shaped plectrum is that you can change the angle of your hand relative to the string without radically altering the sound, - which would not be the case with a flat pick. Here's an mp3 version of one of the dances, Giloxia, by Domenico: Very nice. When was this written? Ed Durbrow Saitama, Japan [1]edurb...@sea.plala.or.jp [2]http://www9.plala.or.jp/edurbrow/ -- References 1. mailto:edurb...@sea.plala.or.jp 2. http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: [VIHUELA] Re: [VIHUELA] Re: [VIHUELA] Händ el - Cantata Spagnuola
On May 15, 2009, at 1:54 AM, Monica Hall wrote: I am more persuaded by the idea that the chitarra might be a theorbo. Especially since it sounds so close to chitarrone. Ed Durbrow Saitama, Japan edurb...@sea.plala.or.jp http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Alfabeto songs and editions
So the numbers tell you how many beats to hold the chord for? That is kind of cool. They don't have to worry about aligning with the notes so much, - which they never seem to be able to do properly anyway. On Jul 21, 2008, at 12:53 AM, Monica Hall wrote: However I have one very interesting example where as well as putting in the letters there are figures to tell you how long you should hold the notes for. Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Portuguese Baroque Guitar - mp3 files
Maybe this is of interest??? Are you going to Jack's later? Dear all, I've recorded five pieces from the Coimbra manuscript - they can be found on my www.songoftherose.co.uk site, or just click on the following links for each one. I think these are WONDERFUL pieces and should be more popular. Rogerio Budasz did the main work transcribing these pieces from the original manuscript as part of his doctoral dissertation: *The Five-Course Guitar (Viola) In Portugal and Brazil in the Late Seventeenth and Early Eighteenth Centuries,* 2001. The pieces are notated without time signals and are often a little odd in places, clearly stemming from a tradition of improvisation. I've arranged them as best I could. Canario - http://www.songoftherose.co.uk/mp3/bg/portugal/Canario.mp3 - good enough to rival Sanz's? Almost! Chacara de Abreau - http://www.songoftherose.co.uk/mp3/bg/portugal/Chacara%20de% 20Abreau.mp3 - a jacaras Tricotte de Alemanda - http://www.songoftherose.co.uk/mp3/bg/portugal/Tricotte.mp3 - NOT an allemande Meya Danca - http://www.songoftherose.co.uk/mp3/bg/portugal/Meya% 20Danca.mp3 Terantela - http://www.songoftherose.co.uk/mp3/bg/portugal/ Terantela.mp3 * Terantela* has only four bars of chords and one variation, to which I have added four more. I've enjoyed playing them, and hope you enjoy hearing them. Please don't ask me for scores as I am not sure of the legal implications. They are my arrangements, but Rogerio Budasz did the transcribing. Rob MacKillop PS I will put them on the vihuela/guitar network site soon. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: A strange 'Baleto' in de Gallot
I think you left out a dash after 1. The URL as written doesn't come up, but this does: http://www.tuningsinthirds.com/Baleto/Baleto-1-copy.jpg On Oct 28, 2007, at 4:38 PM, Monica Hall wrote: Stuart has now put my transcription of the second half of this piece on his web site. It can be seen at http://www.tuningsinthirds.com/Baleto/Baleto-1copy.jpg Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: BG stringing
I have in my possession a quasi-Baroque guitar. It was actually Bob Strizich's first Baroque guitar. It is just a Mexican classical guitar where he squeezed ten tuners on to the headstock and re- drilled the saddle. Works like a charm. On Oct 23, 2007, at 9:38 PM, bill kilpatrick wrote: frankenstein was always a favorite - might have left me with this monstrous yen to ... modify. the worst - least esthetic - example i've seen so far is this: http://www.geocities.com/donaldsauter/qbarq.htm .. which has 3 paired courses. i don't know ... maybe i'll do it, maybe not - right now i've got olives to pick. - bill --- Eugene C. Braig IV [EMAIL PROTECTED] wrote: Personally, I tend to prefer to not alter the configuration of my instruments. I like them to function as there builders made them. I prefer to buy the instruments that already function as I'd like. That said, I take absolutely no issue at all with anybody else who would like to tinker ad nauseam with there own stuff. However, I'm not entirely clear on what you're trying to do. Are you setting this up as a 5-course instrument with two doubled courses, or a 6-course with one? If the former, I'd double the two bass-most courses (or leave it as is and retune one of your charangos); most 5-course music has the upper three courses in unison; bourdons come into play on the lower two. If the latter, I'm not sure how I'd want to approach it. I suppose I'd ask yourself why? What do you want of an xtra octave? What music are you trying to emulate? Eugene At 04:31 PM 10/20/2007, bill kilpatrick wrote: i might add that the suggested tuning for the guitalele is (bass to treble) a-d-g-b-e-a. this works quite well as a 5c. guitar with an extra a for - more or less - familiar guitar chord patterns. i thought the hole for the 7th tuner would be placed in the center, at the top of tuning platform - removing the ma from the golden yamaha logo (making it thus a ya-ha baroque-ish guitar.) --- bill kilpatrick [EMAIL PROTECTED] wrote: a timely posting ... for months now i've wanted to put an additional string on my yamaha gl-1 guitalele: http://www.musik-schaller.com/shop/product_info.php? products_id=737osCsid=11 .. to make an octave bourdon. this idea stems from the following article: http://www.classicalguitar.ws/baroque.shtml i bought a banjo tuner back from the states for the purpose and would be grateful to know which course you might recommend for it? - bill --- Rob [EMAIL PROTECTED] wrote: Monica Hall has made slight changes to her commentaries on the Italian manuscript F:Pn.Res.Vmc ms. 59, fol. 108v, and this might be a good time to remind us all of this excellent resource, now in its updated form on my website: http://www.rmguitar.info/Monica/Frontpage.htm - Monica has made a compilation of original commentaries on baroque guitar stringing, to which she has added her translations (some of which can be considered improvements on previous translations) and her insightful personal commentaries. Rob www.rmguitar.info -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html http://billkilpatrickhaiku.blogspot.com/ ___ Yahoo! Answers - Got a question? Someone out there knows the answer. Try it now. http://uk.answers.yahoo.com/ http://billkilpatrickhaiku.blogspot.com/ ___ Yahoo! Answers - Got a question? Someone out there knows the answer. Try it now. http://uk.answers.yahoo.com/ http://billkilpatrickhaiku.blogspot.com/ ___ Yahoo! Answers - Got a question? Someone out there knows the answer. Try it now. http://uk.answers.yahoo.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/
[VIHUELA] Re: Why re-entrant tunings?
Dom7th was attached to the sentence before, where it said 2nd line bar 2. (p.69) On Oct 24, 2006, at 2:30 AM, Monica Hall wrote: 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 (without a 3rd). I tried it both ways on my guitar. Yes, the first course is to be left out of the previous chord. You do have to get used to notation and try different options. He does this quite often. a ---d c d-- ---c c a-- ---e e a- - Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Why re-entrant tunings
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 any file to a Postscript printer file and then convert it using Ghostview. You'll need to install a Postscript print driver that can be either found in Windows or gotten of the Adobe web site for your version of Window (I assume you're using Windows and not a Mac). You print as That is not going to change it into a MIDI file. Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Why re-entrant tunings
On Oct 22, 2006, at 4:35 AM, Monica Hall wrote: I keyed it into my computer so that I could listen to it because when you are playing there are other things to think about.The underlying harmonic structure is quite simple. So do you have a MIDI file you could upload somewhere? I'd be interested in hearing it Anyway I doubt whether the rest of the list are interested in this. If we wanted to continue it would have to be off list I am finding your discussion quite interesting and hope you continue ON list. cheers, -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Roncalli question
On Sep 16, 2005, at 4:25 AM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: I think it is an ordinary D major chord. The alfabeto 'C' chord is rather ornate (and more so than other 'C' chords in other pieces) but the N (fifth pos) and H (third pos) chords on the very same page also have ornate serifs. Interesting point. I looked for other Cs to compare, but those are the only two. There is a bit of a variation in the Ns in the allemande, but not such a radical difference in my opinion. That stroke seems absent on the other C in the Corrente. I dunno. I had been playing it as a normal Dmaj chord. I've just checked Bartolotti again because that is where I remembered seeing these stroked chords. I see that the alteration in all three cases is simply leaving off the 5th course. If that were the case here, it would make perfect sense. Here is another question for the experts: What do you think about inegale in Roncali? cheers, Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Modern Notation of Five-Course Lit.
Am Donnerstag, 3. M§rz 2005 17:58 schrieb David Cameron: I probably don't fully understand the problem, but it seems to me that smaller note symbols to indicate the pitch of the octave strings would do much of what is required. .. which would help but the problem of voice leadings which are only understandable if you consider the double function of the octave-strung strings (???) will remain the same. Surely the little notes help. For example, if you have e(1) Dd(4) c(2) , the little d is right there between the other two melodic notes and can hardly be missed. Whereas it might be missed with bourdons-only notation or even in tablature. -- Ed Durbrow Saitama, Japan http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
