it looks like a turkish lavta not a greek one.
Davide
----- Original Message -----
From: "Roman Turovsky" <r.turov...@verizon.net>
To: "Stuart Walsh" <s.wa...@ntlworld.com>; "David Tayler"
<vidan...@sbcglobal.net>; "lute-cs.dartmouth.edu" <lute@cs.dartmouth.edu>
Sent: Friday, February 27, 2009 6:18 PM
Subject: [LUTE] Re: Saltarello
I also have a couple of questions.
David, is that a Cretan laouta you are using?
And is that inauthentic stainless steel KleenKanteen flask under the chair
just a prop, or it has a musical purpose?
RT
----- Original Message -----
From: "Stuart Walsh" <s.wa...@ntlworld.com>
To: "David Tayler" <vidan...@sbcglobal.net>; "lute-cs.dartmouth.edu"
<lute@cs.dartmouth.edu>
Sent: Friday, February 27, 2009 12:04 PM
Subject: [LUTE] Re: Saltarello
David Tayler wrote:
Fun with lute, harp, tambourine & recorder
[1]http://tinyurl.com/Saltarello
dt --
Very effectively and persuasively played. I would never have guessed that
the percussion was just one person and a tambourine. I have a couple of
questions, if you don't mind: there seems to be nothing happening on the
medieval list.
In some modern versions of this tune, the fifth 'bar' is repeated. This
is how I first saw the tune and the way your group plays it. But McGee's
version in 'Medieval Instrumental Dances' (1989) doesn't repeat it. I'm
almost sure the repeat of bar 5 is editorial and McGee is giving the tune
'as is'. So I wonder if you think McGee's version is incorrect - or
perhaps too literal and that it makes sense to double that bar. Actually
I've got used to hearing it the McGee way. (In my opinion, it's one of
the few medieval dance tunes that fits a G-tuned lute like a glove.
Lamenta, Manfredina etc aren't that difficult - but not so (almost)
effortless as this Saltarello.)
The other thing is the drone. Assuming the final is C. Then the drone
that you and the harp perform is presumably c-g. But the 'Aperto' (the
first time close) ends in A and you have the drone temporarily move to
a-e(?). So for the complete piece the drone is almost always C but four
times it moves temporarily to A. Now the performance of your group sounds
very effective and attractive but if you were being really, really picky,
would a temporary drone - almost like a 'chord' change- like this have
been performance practice of the time?
Stuart
References
1. http://tinyurl.com/Saltarello
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