I couldn't get through to the site - kept getting a message Gateway
timeout.
I was intrigued to learn recently though that Matanya thingks there never
was a vihuela.
What does he mean by this - that there weren't any 6-course flat backed
figure of 8 shaped instrument in the 16th century?
The tuning which Sanz (in Instruccion de musica (1674) recommends for
playing baroque guitar music featuring campanellas and elaborate
ornamentation is the re-entrant tuning. That is there are no low octave
strings on the 4th and 5th courses so it is tuned aa d'd' gg bb e'.
Anyone who plays
He doesn't specifically recommend any particular method of stringing for his
music.
However, he does include instructions for tuning the instrument which
include a tuning check in octaves. One can assume from this that he
expected at least some players to use octave stringing on both the 4th
I think everyone must have left the list in a huff.
Pity really!
Can't we think of some controversial comment to revive it?
Monica
- Original Message -
From: Garry Bryan [EMAIL PROTECTED]
To: vihuela@cs.dartmouth.edu
Sent: Wednesday, May 11, 2005 6:12 PM
Subject: RE: gee, it's cold in
As I understand it the laud and vihuela de Flandes are different names for
the same thing. He is calling the laud a vihuela de Flandes because it was
played by Flemish musicians of whom there were many at the Spanish Court.
But I may be wrong...
Monica
- Original Message -
From: Lex
Mine also has a string length of about 61cms. It is strung with Kurschner
gut as follows
1st courseD 2046
2nd course D 2056
3rd courseD 2066
4th courseD 2050
D 2100 (bourdon)
5th courseCurrently Sofracob 0
- Original Message -
From: Monica Hall [EMAIL PROTECTED]
To: Eugene C. Braig IV [EMAIL PROTECTED]
Sent: Friday, May 13, 2005 9:54 AM
Subject: S. de Murcia
At 01:12 PM 5/12/2005, Monica Hall wrote:
How about - Santiago de Murcia never went to Mexico (there is actually
no
evidence
the sequel yet.
Monica
- Original Message -
From: Lex Eisenhardt [EMAIL PROTECTED]
To: Monica Hall [EMAIL PROTECTED]; vihuela
vihuela@cs.dartmouth.edu
Sent: Friday, May 13, 2005 10:14 AM
Subject: Re: S. de Murcia
It may be a good subject for a Milos Forman movie: 'Santiago'
So
This seems like the right moment to mention that Eloy has made a brilliant
CD of music combining baroque sources with son jarocho. It's called
Laberinto en la guitarra : el espiritu barroco del son jarocho. It's on
the Urtext label (which I think is Mexican), maker's number is UMA 2018.
The
an adequate range of notes for his more
complex music.
For a more popular repertoire a re-entrant tuning may have been used.
Monica
- Original Message -
From: bill kilpatrick [EMAIL PROTECTED]
To: Monica Hall [EMAIL PROTECTED]
Cc: vihuela vihuela@cs.dartmouth.edu
Sent: Wednesday, May 18, 2005
The term requinta must refer to octave stringing on a course and not to the
intervals between the courses.
I have a photocopy of a Mexican cittern manuscript which also uses the term to
refer to the 3rd course of the instrument which is strung in octaves.
Possibly the term is derived from
the tuning looks
for the note again, or has something missing.
Monica
- Original Message -
From: Mathias Rösel [EMAIL PROTECTED]
To: vihuela vihuela@cs.dartmouth.edu
Sent: Thursday, May 19, 2005 5:37 PM
Subject: Re: requintas
Monica Hall [EMAIL PROTECTED] schrieb:
The term requinta must
Sorry - I forgot to send this message to the list as well as Bill. I'm
always doing that.
Monica
- Original Message -
From: Monica Hall [EMAIL PROTECTED]
To: bill kilpatrick [EMAIL PROTECTED]
Sent: Saturday, May 21, 2005 6:38 AM
Subject: Re: vihuelina
This came up some time ago
Not surprising really!
In my modern dictionary it is defined as a pilgrim's staff i.e. a long
pole like St. Christopher has to help him on his way, not as in office
personel. Also as a helping hand.
I managed to decipher the rest of what Corvarrubias says. The whole is as
follows:
BORDON en
On 22nd May Lex wrote the following:
That's exactly what a bourdon does. Probably that was what the temple viejo was
designed for. When there is an interval of a fifth between the lowest strings
of the guitar, the lowest one is used predominantly as an open string. It has
always been used like
was suffering from the effects of too much red wine
not Mudarra.
Un abrazo a todo
Monica
- Original Message -
From: Lex Eisenhardt [EMAIL PROTECTED]
To: Monica Hall [EMAIL PROTECTED];
vihuela@cs.dartmouth.edu; lute@cs.dartmouth.edu
Sent: Tuesday, May 24, 2005 9:59 PM
Subject: Re: Mudarra's
- Original Message -
From: bill kilpatrick [EMAIL PROTECTED]
To: vihuela list vihuela@cs.dartmouth.edu
Sent: Saturday, May 28, 2005 6:36 PM
Subject: 4c. guitar structure
a friend of mine on the charango site has suggested
that structural differences (light bracing, thinner
sound
which book are you reading?
It's called Thomas More's Magician - a novel account of Utopia in Mexico
by Toby Green, published in England by Weidenfeld Nicolson. Unfortunately
it doesn't specify which instruments they made, but they were primarily for
native musicians to play.
ciao
Monica
Are the illustrations from the copy in the British Library? Not all are
included in the facsimile published by S.P.E.S. Great to have them
reproduced in this way! The music in the two copies varies too. The pieces
are arranged in a different order and the facsimile includes a piece which
P.S. The instrument you suggest is a manocordo looks like a 6-course
cittern. It is being played by Orpheus. The cittern was held in high
esteem in Italy during the Renaissance because of its supposed resemblance
to the classical Kithara.
Monica
- Original Message -
From: [EMAIL
I have just been able consulted Emilio Pujol's edition of Mudarra. Appropos
the stringing of the 4-course guitar he says:
Tengase presente para el efecto auditivo, que las notas contenidas en el
intervalo de quinta mas grave en el bajo cuando el temple de la guitarra es a
los viejos y en el
There are even pieces in F minor - with 4 flats. There is a whole suite in
this key in Murcia's Resumen de acompanar and at least a couple of pieces by
Corbetta - the Toccata at the beginning of his 1643 book and an Allemande in
a manuscript copied by Jean Baptiste de Castillion. The sequences
but baroque guitarists were way ahead of every one else in their
understanding of harmony and tonality.
but the guitar has the really interesting harmonies.
That's right - especially Corbetta
There are many extraordinary harmonies in Baroque guitar music. Sometimes
these arise from modifying
One way or another I listen to a lot of recordings of baroque guitar music
and I get the impression that most people leave out one or other string of a
course either by accident or design a lot of the time! Indeed some people
seem to
leave out whole courses when it suites them! Paul O'Dette for
- Original Message -
From: Mathias Rösel [EMAIL PROTECTED]
Cc: vihuela vihuela@cs.dartmouth.edu
Sent: Friday, July 01, 2005 12:53 PM
Subject: Re: Baroque guitar in flat keys
Monica Hall [EMAIL PROTECTED] schrieb:
Murcia, Matteis, Sanz and
other Baroque guitarists wrote instructions
I think that these are two quite separate pieces. The Spanish translates
better as Another three variations on 'Guardame las vacas' made on the
other (or another) part - the other part being a different version of the
bass line.
In his dissertation on the vihuela John Ward says that the bass
associated with the chacona.
Cheers
Monica
-Original Message-
From: Monica Hall [mailto:[EMAIL PROTECTED]
Sent: 09 July 2005 15:43
To: Rob MacKillop
Cc: vihuela
Subject: Re: Otras tres diferencias
I think that these are two quite separate pieces. The Spanish translates
Not much more one can say really. Looking back I think what Martyn said was
the most helpful. You don't need to leave out one of other string of a
course because you can play in such a way that one or the other
predominates. I certainly do this a bit. And just as Martyn says you get
used to
Sent: Tuesday, July 19, 2005 5:30 PM
Subject: *** SPAM *** strumming and basses
Monica Hall wrote:
The problem here as I see it is that all these people who make
recordings
seem to think they have a hot line to the composer - they are very
confident - to quote one of them - that the composer
We should maybe start a Bartolog?
Haven't we already?
I'm afraid this chicken and egg argument seems totally illogical to me.
Given that the 4-3 suspension is stock in trade of all 17th century
music
I
think it unlikely that Bartolotti only included it after he had decided
to
There are two treatises and lots of other references in guitar books to
the use of the guitar as a continuo instrument.
But are there any actual references outside of guitar publications to the
use of the guitar as a continuo instrument?
It depends a bit on what you mean by references. As
It is my humble opinion (for what it is
worth) that re-entrant stringing was the preferred option for the
guitar
because it worked best in practice with the kind of strings available
until
the end of the 17th century.
What was the problem? Couldn't they use the same strings as
You've sold me. How does Gordon string for this disc? (I found the
octave
g' on Hoppy's disc a little off putting.)
I'm happy to say he does exactly what Sanz says. No octave strings at all.
I haven't heard it yet but I'm sure it will be really good.
Monica
To get on or off this list
Whilst on the subject I would like to mention that Doizi de Velasco does
say
that when chords are played rasgado, the wrong inversions are
acceptable.
What he says is And although whichever method of stringing is used,
some
chords will still have a fourth in the bass, these can be made
Oh no. I just gave the example of the D major chord with an x on the 5th
course. Can be made good any way you wish. Punteado or rasgado. (You
mentioned rasgado, by the way)
Why can't they be made good punteado? What are the obvious reasons?
What Doizi says is
it seems to me better
I sincerely doubt if it is that.easy. There are situations in Foscarini's
music that I find difficult to explain and where there is a choice to be
made. He sometimes writes really crude dissonants. For those who have
Foscarini at hand: try the first line of the Passacalle passegiate sopra
l'E
E and I.
I can't give you any other reasons as to why I think this should be left out.
It just sounds horribly dissonant to me.
Monica
Monica Hall [EMAIL PROTECTED] wrote:
I forgot to send my reply to Martyn's query to the list as well as to
Martyn which gives me an opportunity
The fifth example on B is
actually a 4-3 rather than a 6th chord
and in the first two examples and the
last two the bass notes are an octave above those written in the bass
part -
in the tenor register in fact.
Tenor, yes. But still the lowest note. That was the point.
But that is
I think we touch at a crucial point here. When we speak of guitar
continuo
there are very different treatises involved from writers departing from
very
divergent views. Their publications date from over a century.
They also represent practices in different parts of Europe - in particular
I get the feeling from reading Monica that the entire corpus of evidence
from the 17th and 18th century will (almost, 'in principle'...almost in an
'a priori' sort of way) never and can never settle the issue of
tuning/stringing.
I can't speak for Lex, but you have summed up my position quite
Strizich devoted a larger portion of his article(s) exactly to the
question
of the bass not being the lowest note. He mentiones the 'incorrect'
inversions in the instructions of Fleury and Bartolotti, and he sees an
argument in these to suppose a permissive attitude towards the appearance
of
I borrowed the term chords as harmonic units without a functional
bass from Gary Boye who uses it when referring to the continuo
exercises
of
Granata and Valdambrini.
This theory certainly applies to Valdambrini. But not to many exercicses
of
other composers, like Granata, as Robert
Have a look on p. 71 of the same book, LGR, last full bar of the
second line. Do you suppose the dot above the d cipher on the 4th
course means to leave that particular note out while still
maintaining a barre? Otherwise you have the resolution note sounding
against a dominant chord. It
I don't seem to have received Lex's latest message. Perhaps I have been
black-balled. Can you send it again?
Sanz says that guitarists in Rome use only thin strings. He doesn't comment
on what guitarists elsewhere in Italy did - presumably because he didn't
know. But Foscarini, Bartolotti
I have a much clearer print out of the copy in the British Library and
this dot is not visible in it! I'd want to look at the original before
commenting!
Monica
Have a look on p. 71 of the same book, LGR, last full bar of the
second line. Do you suppose the dot above the d cipher on
Maybe Lex forgot to send it to the list?
Thank you for this summary of your views Lex.
After reading it I went to Corbetta 1648 and, indeed, the style of
writing (especially the use of chords on the three 'lowest' courses) does
seem rather different to his post 1671 stuff. I had previously
and the style of play it's difficult to be
certain but page 72 is 'normal' interval tuning and, as I mentioned earlier,
the melody here is on the fourth course.
M
Monica Hall [EMAIL PROTECTED] wrote:
I don't know whether Lex is referring to the scordatura pieces (I can't spot
any three
I wouldn't know. The pieces by Colista for guitar that I've seen are
mediocre. I happen to Like Bartolotti and Corbetta
As you haven't seen it, other than in two manuscripts copied in the 18th
century you can't evaluate it. All that you can say is that you know
nothing about it. So
They actually work just as well for the French tuning. The 5th
course
is
tuned in unison at the upper octave. When it is stopped at the 5th
fret,
the thin string of the 4th course - which is next to it - can be tuned
in
unison with it. When the 4th course is stopped at the 5th
In the third bar it goes onto the 2nd course -
But don't forget that from here to the end most of the notes on the 4th
course will also sound an octave higher - creating a completely different
treble line from what you imagine.
it doesn't matter that
there's no strict voice leading
Then Corbetta is to blame, he does that sort of thing all the time.
Not Corbetta - You! Alfabeto chords do not have a functional bass note - or
rather they are all in root position. This is simply an F minor chord.
Indeed unsatisfactory. But where is the d from the fourth course going? No
Within few years someone will prove that they
used
an octave e'' to the first course.
This is complete nonsense,
Indeed, that's what it is.
Sometimes I'm not sure whether you are serious either! I thought at first
you were joking about including all the open courses in Foscarini -
I vote for Baroque guitar. Early guitar could even be Villa-Lobos on gut
strings.
Lex
I second that - never could abide Giuliani - heresy I know.
Monica
Hi folks -
There is currently a discussion on the lute list
concerning Beethoven and Giuliani which really has nothing
If you wanted to avoid string break you wouldn't start with the 5th
course
at all. If you tune the 5th course too high, when you get to the 1st
course - ping - off it goes!
Still that is what the instructions say: 'tune the fifth course to a
convenient pitch' or 'the fifth may be tuned
Pesori - he has probably copied Foscarini in Galeria musicale.
The tuning check is not the same. The fact that tuning charts are all
similar doesn't say they are copied.
Still don't clearly mention octave stringing.
I took it from 'Recreazioni armoniche' Now I see that it is probably from
I believe that Tess Knighton is preparing a translation of this but as far
as I am aware it has not yet appeared in print.
I am hoping to read it myself when it does.
Monica
- Original Message -
From: Fossum, Arthur [EMAIL PROTECTED]
To: Vihuela Net vihuela@cs.dartmouth.edu
Sent:
Subject: Re: [VIHUELA] Re: rasgueo
I think the correct Spanish spelling is rasgueado or rasgado from the
verb rasguear - to strum. (At least in the 17th century).
rasqueado is the proper (spanish) spelling of the word
but the bolivian source spelled it rasgueo.
are there
The second question is about the guitar in a basso continuo environment. I
am looking for information, listings of instrumentation, descriptions or
otherwise, that could make clear that the guitar was used in Opera, Ballet
or instrumental (or instrumental/vocal) ensembles. I've seen Biagio
Laurence Wright argues that the medieval citole developed into the
Renaissance cittern and the medieval gittern into the Renaissance guitar.
http://homepage.ntlworld.com/s.walsh
Gitterns - lute-shaped, round-backed, plectrum-plucked instruments
somehow morph into waisted, flat or fluted
i take da mano to mean handy, i.e. portable, in
which case the ronrocco is a handy vihuela.
De mano doesn't mean handy! It means that it is played with the fingers of
the right hand rather than with a plectrum
Monica
Nowhere nearly as pretty in look and sound.
i'd love to
None of the other images of so-called vihuelas look much like the Milan
(El
Maestro) version, in fact they don't resemble each other much either. Nor
do
any of the surviving instruments which we label vihuelas or possible
vihuelas. I have pictures of the most 'important' ones on my site:
Professor John Griffiths is widely recognised as one of the top two or
three
academics specialising in the vihuela. I have just received this from him.
Rob
''The Dias copy is an excellent choice. I know it's controversial, but I
have found a heap of documentation on vihuelas that has not
Alexander,
You say we have absolutely no idea what sort of barring arrangement
violas might have had. But surely we - or makers like you - do have
some idea. Some violas look very similar to vihuelas, and were made at
roughly the same time, and not geographically distant and play the same
According to Bermudez, the string-length is 727 cm.,
quite large for a solo instrument, but taking into
account its late date, and the fact that it probably
was the instrument used by Santa Mariana de Jesus to
accompany herself singing devout songs, it seems
likely that it may have been
I would agree with you regarding the stretches in
chords such as N and L, but, while they might have
been favourites of Corbetta, they are not necessary
for simple chordal accompaniments as one would presume
Santa Mariana might have played. I would be tempted to
imagine that the Saint
Monica Hall wrote:
I
can't see either why there should be any advantage in having a longer
string
length when accompanying, unless it is to tune to a lower pitch. This
is
not necessary if you are a member of the fair sex accompanying yourself
either.
But an alto singing a song
But we are not talking about the theorbo - which consists mostly of
unstopped strings anyway and in the 17th century would more often have been
played by professional players who would have been men, rather than by nuns
or young ladies in general.
Still - Alexander has dispelled most of my
I have reviewed it for the Lute Society. Review should be in the next issue
of Lute.
Will be happy to translate anything if John is too busy.
Monica
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
To: vihuela@cs.dartmouth.edu
Sent: Tuesday, December 13, 2005 10:39 PM
Don't know how many of you receive Hispanica Lyra the journal of the Spanish
Vihuela Society, but the latest issue has a reproduction of a very nice picture
attributed to Francesco Gentileschi of a young man tuning his guitar to a
keyboard instrument. He appears to be tuning the 4th course to
I just wonder if, in addition to any didactic purpose, Daza (and as you
say, Pisador) had a particular sonority in mind. I wonder if anyone has
tried adding a vocal part as indicated?
Not that I know of. I've never heard anyone play much Pisador - not
surprisingly as it is not very good.
I think they exist in several different versions. Russell gives as his
source for the verses he quotes as Cotarelo y Mori's Coleccion de
entremeses from which indeed he seems to have taken most of his
information.
This is in 2 vols. There is a copy in the British Library. Robert
Stevenson also
I think you should join the main lute list and ask the question there
too. There have been many discussions about temperaments and (I think
they're called) tastini on lutes and theorbos.
Tastini is the word I was trying to think of. I'm reluctant to join the
lute list as you get so many
The cross symbol in Brizeno's notation (Castilian cifras in modern day
jargon) represents the D major chord. The fingering of this is sort of
cross shaped and the chord was known in Spain as cruzado. The term is
even in the Diccionaro de autoridades. Other chords have names which in
some way
Well - for sure Montesardo never invented alfabeto. I have copies of two
manuscript dated 1599 which use it.
Monica
- Original Message -
From: Stewart McCoy [EMAIL PROTECTED]
To: Vihuela List vihuela@cs.dartmouth.edu
Sent: Wednesday, April 05, 2006 2:35 PM
Subject: [VIHUELA] Christ's
Hi list
Last year when we were discussing Foscarini the question of including open
courses in strummed chords came up. Recently I came across this passage in
Pesori's Galeria musicale (p.3) which seems to cast some light on the matter.
My Italian is a bit basic so I wonder whether I have
Great news indeed!!!
what it says briefly for those who can't read Spanish is
A manuscript of 1722 containing 87 dances has been discovered in Chile by
Alejandro Vera. Bound in goat skin it is the oldest volume dedicated
entirely to guitar in Latin America and the fourth by Murcia.
I wonder
,
Antonio
- Original Message
From: Monica Hall [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Thursday, 21 September, 2006 4:00:52 PM
Subject: [vihue-lista] Santiago de Murcia
Hola Amigos
Parece que un nuevo manuscrito de Murcia ha sido descubierto en Chile.
Vea esto
http
M. Ms, but perhaps my searching skills in Spanish are just not up to
the task.
Regards,
Daniel Heiman
On Fri, 22 Sep 2006 10:00:14 +0100 Monica Hall
[EMAIL PROTECTED] writes:
I had the attached message from Antonio after posting the info on
the
Spanish vihuela list.
It seems
If anyone is interested this is the link to another article about the new
Murcia ms.
Monica
- Original Message -
From: Francisco Valdivia
To: [EMAIL PROTECTED]
Sent: Wednesday, September 27, 2006 8:35 PM
Subject: *** SPAM *** Cifras Selectas de Guitarra
Hola Monica:
No se si te
- Original Message -
From: Monica Hall [EMAIL PROTECTED]
To: Lex Eisenhardt [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]
Sent: Saturday, October 14, 2006 8:26 PM
Subject: Re: [VIHUELA] Re: Why re-entrant tuning?
I am not on the lute list so have missed the beginning of this discussion
Having now read Gordon's message I think he is making some very valid points.
Recently I was able to borrow a cittern for a few months and the advantages of
a re-entrant tuning were immediatly obvious as soon as I began to play (rather
badly) with a plectrum.
If you are strumming chords it
really believe that guitarists would have
lost any sleep over them.
Monica
Regards,
Michael
[EMAIL PROTECTED]
[EMAIL PROTECTED]
-Original Message-
From: Monica Hall [mailto:[EMAIL PROTECTED]
Sent: Saturday, October 14, 2006 2:29 PM
To: vihuela
Subject: [VIHUELA] Re: Why re
If you are strumming chords it doesn't matter if the lowest sounding
course is in the middle but having treble strings outermost makes the
playing of a single melodic line with up and down strokes of the plectum
much easier and cleaner.
That is an interesting thought.
If we compare to the
According to Ian Harwood's book on the Rose bandora gut was often used for
the highest course on wire strung instruments because suitable wire was not
available. Apparently the instrument is strung like that now.
Monica
Subject: [VIHUELA] Re: Why re-entrant tuning?
Martyn,
The stringlength
] Re: Why re-entrant tuning?
Dear Monica
As I understand this CS2 is from the late 17th c. It is hard to tell
if -and
how- the mutual influence from cittern and guitar has worked out. It
certainly could be a subject where we guitarists could learn some.
It would be difficult to date. The
There is another interesting paper on wire strung guitars in the most recent
Galpin Society Journal.
Darryl Martin
The early wire-strung guitar - G.S.J. no. 59, May 2006, p.123-137.
M
- Original Message -
From: Martyn Hodgson [EMAIL PROTECTED]
To: Lex Eisenhardt [EMAIL PROTECTED];
On the frontpage of Corbetta's book from 1639 there are two guitars
depicted. The one at the right is clearly a guitar with the strings fixed
at
the end of the corpus. The strings go over the bridge. Maybe strings of
wire.
The only problem here is that it would be possible to set up an
Having got as far as the chapter on the theorbo in Linda's dissertation it
seems worth quoting some of the things which she says - on p.51-2 - i.e.
It is very difficult to string a single peg box lute in gut so that all the
strings sound well over its wide range. The larger the lute, the
I think especially for open air performance the plain gut basses of the
five
course guitar are not very useful. The 'musica ruidosa' that Sanz speaks
of
could refer to another (indoor?) situation. 'el que quiere taner guitarra
para hazer musica ruidosa, o accompagnarse el baxo con alguno
Players who think that somehow guitar music can and must conform to a
very
narrow interpretation of the rules of music theory are following the wrong
star altogether!
As do scholars who think that the rules of music would not apply to the
guitar
The emphasis is on narrow
Subject: [VIHUELA] Re: Why re-entrant tunings
Apart from this specific case: who is to decide whether arguments are
pseudo-academic. To take everything on the paper for granted is not
necessarily 'more scientific'. The very unusual (maybe even unique)
harmonic
language of Corbetta is in
Corbetta's harmony is by no means unique.
It is a feature of the
strummed repertoire. Nearly all of Corbetta's dissonance can be
explained
in
this way.
I simply do not agree with your view on Corbetta's style. Your
explanations
do not make much sense to me. When I say his harmony is
I'm sorry to hear that you understand it like this. I was able to convince
quite some well-informed colleagues.
Well - unless I know who they are I can't of course comment.
I have considered all that. In a way all dissonant chords are 'altered
alfabeto chords'. (Except indeed L) Standard
from which they may have copied. They even could have written from memory,
though that would have been difficult)
On the contrary - this is thought to be the way in which much baroque guitar
music circulated - which is why it varies. In the 17th century people
probably had better memories and
It has struck me in the past few years that certain leading scholars have
changed their minds on the subject of the stringing of the five course
guitar in their writings. I just found some of our e-mail exchanges on my
harddisk. I would suggest that we both play this fair, Dr. Hall.
Unless I
Lex
The last message I sent to your address came back to me undelivered.
Monica
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Subject: [VIHUELA] Re: Why re-entrant tunings
Dear Lex/List
This is really a personal message to Lex which I hope the rest of the list
will excuse.
Lex - all my messages to you come back Delivery temporarily suspended.
You are getting my messages from the list. As I have a similar problem
Subject: [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
Monica,
This is an off list message. I hope you can fix the Internet problems. It
seems I can be reached by others and over the Vihuela net.
I have to reply to this on the list but as one person has expressed an
interest I hope that is ok and there is nothing in it which is really
private.
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
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