To All:
I haven't been following this thread too closely but in case anyone is
interested, we have posted a pdf of my performing edition of Poulton 73 on our
web site for download. You can find it at
http://www.mignarda.com/editions/downloads.html. I created this performing
edition after hearing Paul O'Dette talk about it but don't think I followed his
changes slavishly.
Ron Andrico
http://www.mignarda.com
> Date: Fri, 2 Nov 2007 12:44:36 +0100> To: [email protected]> From: [EMAIL
> PROTECTED]> Subject: [LUTE] Poulton #73 [was] dedillo> > > @[EMAIL
> PROTECTED]> > >On 01.11.2007, at 23:46, G. Crona wrote:> > >>I believe the
> finish _could_ be played using dedillo though?> > Is that true,
> G=C3=83-=B6ran? My two editions (tab and music) give the finale> with
> alternating bass and treble notes, obviously made for alternating> thumb and
> index. Even on guitar I played it that way and I cannot> think of any other
> sensible approach, to be honest.> > How'd you try dedillo?> > Sincerely
> curious:> > Gernot<> > Hi Gernot> > I tried to play the tremolo passage with
> dedillo. Compleatly feasible IMO,> although a little awkward at first if
> you're used to thumb-index, and a> questionable attack and course control.
> Probably more useful on single> string instruments? As to editions, I've
> found that I mostly have to make my> own ones. Not to split hairs though, as
> said, I also use the stan!
dard> technique, and as PO'D does the same in the tremolo passage, there's no>
argument. I thought he used dedillo, as I was mistakenly taking the next to>
last meassures, where he uses thumb on bass and index on treble consequently>
as dedillo, and not having access to the YouTube clip at the time of> posting.
I'm one of those dinosaurs with only analog connection still :[> > @[EMAIL
PROTECTED]> >> PS. #73 has an identical beginning as 2 of Molinaro's
fantasias.> > Neither remarkable nor much of a coincidence.> The first three or
four notes are a formula known in Italy as, if I> recall correctly, the
"canzona francese." Pieces based on it were> common--Giovanni Gabrieli was
particularly fond of it.<<> This is not about just three or four notes, which
would indeed be> coincidental, but about the first 4 bars in Molinaro's
fantasia #1 and # 7> being identical to Poulton's # 73 in form if not in pitch.
I didn't find> such a similarity in any other lute fantasias, and con!
sidering Dowland's> sojourn in Italy in the right time-frame..!
. If its
a common theme in canzona> francese models, I bow to superior knowledge. But
as I said, I haven't found> this theme in any other "lute" fantasias (or
canzone francese in lute> tablature FTM) but in these three pieces, and there
are quite a few lute> fantasias. Coincidence? I know that some of you also
thinks so, but others> I've mailed with believe them to at least be based on
some common theme. In> any case, 4 bars is not much to base hypothesis on,
thats why I wrote> "Molinaro-dubious". This piece has always been a favourite
of mine, as I> find it to be a gem of a lute piece, extremely well constructed,
idiomatic> and incorporating many of the lutes finest features. Its also great
fun to> play, if you're up to it. I believed that Martin Shepherd had made a
fine> version some years back, with major editings in the finale on> >
[1]http://www.luteshop.co.uk/month/archive/pomarchiveindex.htm> > but couldn't
find it now. We were probably just discussing it on the list...> > Be!
st> G.> > PO'D clip at:> [2]http://youtube.com/watch?v=G23_pcCZkZg> >
References> > 1. http://www.luteshop.co.uk/month/archive/pomarchiveindex.htm>
2. http://youtube.com/watch?v=G23_pcCZkZg> > > To get on or off this list see
list information at> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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