[VIHUELA] London visit

[Nelson, Jocelyn]

Hello Everyone,

I just wanted to let you know I’m visiting London next month and plan to attend 
the 11 May Lute Society meeting. I’ve been in touch with several of you for 
many years, especially Monica, and if you’ll be there too I’ll finally get a 
chance to meet you. I’m looking forward to the meeting very much and hope to 
see some of you there!

Best wishes,
Jocelyn


Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
506 School of Music
East Carolina University
252-328-1255 Office
252-328-6258 Fax
nels...@ecu.edu





To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Corbetta

[Nelson, Jocelyn]

I agree with Rob, Monica, thank you for your work. Here in North Carolina it 
was a wonderful thing to see first thing in the morning. I enjoyed exploring a 
bit of it before getting into the daily grind.
Regards,
Jocelyn

-- 
Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
ECU School of Music Writing Liaison
Chancellor’s Leadership Academy Alum 
310 Fletcher Music Center
School of Music
East Carolina University
252.328.1255 office
252.328.6258 fax
nels...@ecu.edu 
On 4/3/18, 8:38 AM, "lute-...@cs.dartmouth.edu on behalf of 
mjlh...@cs.dartmouth.edu"  wrote:

Thank you for your kind words.
Hope you are having a pleasant Easter break.
Monica

Original Message
From: robmackil...@gmail.com
Date: 03/04/2018 12:26 
To: "mjlh...@tiscali.co.uk"
Cc: "VihuelaList"
Subj: Re: [VIHUELA] Corbetta

Wow. Well done, Monica, and thanks for sharing. The amount of work you 
give
to the baroque-guitar community - and for no money - is incredible, and 
you
should be loudly thanked for it!

Rob MacKillop

On 3 April 2018 at 12:19, mjlh...@cs.dartmouth.edu  wrote:

> If anyone is interested I have now added to my web pages a rather 
basic
> tablature edition of the pieces attributed to Corbetta in the Gallot
> ms. GB-Ob Ms.Mus.Sch.C94.
>
> www.monicahall.co.uk/corbetta . It is second from the bottom of the
> list of contents.
>
> Regards
> Monica
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>

[VIHUELA] Re: Notation software recommendations

[Nelson, Jocelyn]

   PS: I was able to learn MuseScore very quickly after 15 years of not
   using a notation software, and it works well. Very happy Ralf suggested
   it, and John Griffiths has noticed the same thing for himself. I am
   really interested in some of the other programs recommended to me on
   this list, like Fandango, but the open source nature of MuseScore is a
   great plus that makes me want to mention this to my music students who
   are of course on a tight budget. My music school's labs use Sibelius.

   JN
 __

   From: Nelson, Jocelyn
   Sent: Thursday, July 27, 2017 7:49 AM
   To: Ralf Mattes; Martyn Hodgson
   Cc: Vihuelalist
   Subject: Re: [VIHUELA] Re: Notation software recommendations

   ​Hi Martyn,

   This is a great question! Short answer: I say somewhat quicker through
   software, and much quicker if you don't count the initial learning
   curve journey with software new to you, and the occasional bumps in the
   road (how do I delineate these voices? or beam this particular way?
   etc.). It's indispensable if you want to publish, and a bit easier on
   your ensemble mates. But for oneself, not necessarily worth it if you
   don't have those printing and ensemble needs, or if your score looks
   really good by hand.

   The initial setup can be an exercise in patience. Years ago, well I was
   getting my degree, I had to use Finale. It took me a while (several
   hours) to train myself using the manual, but once I did, input was
   definitely quicker than by hand. (This was more than 15 years ago, so
   don't take that as a judgment Finale now.)

   Since then, I have managed to get by without using notation software,
   because I spend most of my time here at ECU teaching music history and
   music appreciation classes. Like you, I've just been doing arrangements
   by hand for my performances. I did an album with the soprano in 2010,
   and we both read from the original tablature and vocal score (nice of
   Le Roy and Morlaye to include both) for every single number, except the
   last, which was my arrangement of "Tant que vivray," which I wrote out
   by hand; very simple.

   But I wanted notation software for this project because of some
   confusing transposition issues, and the fact that Fuenllana does
   not include a vocal score; the voice is the red font in the tab
   numbers. I'm only doing 2 songs, so I'm not investing in a midi
   keyboard the way Ralf recommends, but if I do a bigger project someday
   I would do that, because I remember with Finale how fast input can be
   with a keyboard. You're literally playing the music and it notates.

   Hope this helps,

   Jocelyn

   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   Lute Society of America Board Member
   506 School of Music
   East Carolina University
   252-328-1255 Office
   252-328-6258 Fax
   nels...@ecu.edu
 __

   From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu>
   Sent: Wednesday, July 26, 2017 2:34 AM
   To: Nelson, Jocelyn; Ralf Mattes
   Cc: Vihuelalist
   Subject: Re: [VIHUELA] Re: Notation software recommendations

   Dear Jocelyn,
   One of the difficulties I personally find with these typesetting
   softwares is the length of time it takes to actually input the music
   (either staff notation or tablature), and I generally simply write out
   (staff notation) parts for the ensemble - often full/short scores or
   individual parts where necessary.
   So, as a relative newcomer to these, I'd be grateful for your personal
   feedback on how you find the time compares between inputting (via
   PC/laptop keyboard) and writing out the part(s) by hand?
   regards
   MH
 __

   From: "Nelson, Jocelyn" <nels...@ecu.edu>
   To: Ralf Mattes <r...@mh-freiburg.de>
   Cc: Vihuelalist <vihuela@cs.dartmouth.edu>
   Sent: Wednesday, 26 July 2017, 1:57
   Subject: [VIHUELA] Re: Notation software recommendations
   Thanks again, Ralf!
   I hope you don't mind if I forwarded your tablature tuning answer to
   John Griffiths, who is also working on the same sort of project with a
   singer. He downloaded MuseScore and had the same question. I think he
   is also happy to find out about this software.
   Jocelyn
   
   From: Ralf Mattes <[1]r...@mh-freiburg.de>
   Sent: Tuesday, July 25, 2017 12:36 PM
   To: Nelson, Jocelyn
   Cc: Vihuelalist
   Subject: Re: [VIHUELA] Re: Re:?=_[VIHUELA]?=_Re:?=
   _Re=3A?=_=5BVIHUELA=5D?=?= Notation software  recommendations=3F?=?=
   Am Dienstag, 25. Juli 2017 17:04 CEST, "Nelson, Jocelyn"
   <[2]nels...@ecu.edu> schrieb:
   > Thanks so much, Ralf. I tried your advice and the tablature is just
   the way I want it now.
   &

[VIHUELA] Re: Notation software recommendations

[Nelson, Jocelyn]

   ​Hi Martyn,

   This is a great question! Short answer: I say somewhat quicker through
   software, and much quicker if you don't count the initial learning
   curve journey with software new to you, and the occasional bumps in the
   road (how do I delineate these voices? or beam this particular way?
   etc.). It's indispensable if you want to publish, and a bit easier on
   your ensemble mates. But for oneself, not necessarily worth it if you
   don't have those printing and ensemble needs, or if your score looks
   really good by hand.

   The initial setup can be an exercise in patience. Years ago, well I was
   getting my degree, I had to use Finale. It took me a while (several
   hours) to train myself using the manual, but once I did, input was
   definitely quicker than by hand. (This was more than 15 years ago, so
   don't take that as a judgment Finale now.)

   Since then, I have managed to get by without using notation software,
   because I spend most of my time here at ECU teaching music history and
   music appreciation classes. Like you, I've just been doing arrangements
   by hand for my performances. I did an album with the soprano in 2010,
   and we both read from the original tablature and vocal score (nice of
   Le Roy and Morlaye to include both) for every single number, except the
   last, which was my arrangement of "Tant que vivray," which I wrote out
   by hand; very simple.

   But I wanted notation software for this project because of some
   confusing transposition issues, and the fact that Fuenllana does
   not include a vocal score; the voice is the red font in the tab
   numbers. I'm only doing 2 songs, so I'm not investing in a midi
   keyboard the way Ralf recommends, but if I do a bigger project someday
   I would do that, because I remember with Finale how fast input can be
   with a keyboard. You're literally playing the music and it notates.

   Hope this helps,

   Jocelyn

   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   Lute Society of America Board Member
   506 School of Music
   East Carolina University
   252-328-1255 Office
   252-328-6258 Fax
   nels...@ecu.edu
 __

   From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu>
   Sent: Wednesday, July 26, 2017 2:34 AM
   To: Nelson, Jocelyn; Ralf Mattes
   Cc: Vihuelalist
   Subject: Re: [VIHUELA] Re: Notation software recommendations

   Dear Jocelyn,
   One of the difficulties I personally find with these typesetting
   softwares is the length of time it takes to actually input the music
   (either staff notation or tablature), and I generally simply write out
   (staff notation) parts for the ensemble - often full/short scores or
   individual parts where necessary.
   So, as a relative newcomer to these, I'd be grateful for your personal
   feedback on how you find the time compares between inputting (via
   PC/laptop keyboard) and writing out the part(s) by hand?
   regards
   MH
 __

   From: "Nelson, Jocelyn" <nels...@ecu.edu>
   To: Ralf Mattes <r...@mh-freiburg.de>
   Cc: Vihuelalist <vihuela@cs.dartmouth.edu>
   Sent: Wednesday, 26 July 2017, 1:57
   Subject: [VIHUELA] Re: Notation software recommendations
   Thanks again, Ralf!
   I hope you don't mind if I forwarded your tablature tuning answer to
   John Griffiths, who is also working on the same sort of project with a
   singer. He downloaded MuseScore and had the same question. I think he
   is also happy to find out about this software.
   Jocelyn
   
   From: Ralf Mattes <[1]r...@mh-freiburg.de>
   Sent: Tuesday, July 25, 2017 12:36 PM
   To: Nelson, Jocelyn
   Cc: Vihuelalist
   Subject: Re: [VIHUELA] Re: Re:?=_[VIHUELA]?=_Re:?=
   _Re=3A?=_=5BVIHUELA=5D?=?= Notation software  recommendations=3F?=?=
   Am Dienstag, 25. Juli 2017 17:04 CEST, "Nelson, Jocelyn"
   <[2]nels...@ecu.edu> schrieb:
   > Thanks so much, Ralf. I tried your advice and the tablature is just
   the way I want it now.
   > I'm sticking with this program because it's free and relatively easy;
   And it's actually Oen Source and Free Software. Even better.
   > at least I've figured it out and I'm almost done transcribing the
   first song. I just ordered a numeric
   > keypad for my laptop to make the tab entry faster.
   Depending on how your brain is wired, you might not even need the
   numeric keypad - even with italian tab
   MuseScore accepts letters to enter tab.
   Another secret speed entry trick of mine: get a cheap midi keyboard,
   preferably with a few buttons (often
   called "drum pads") and assign note value selection to those buttons.
   Together with a cheap (~ 15$) food pedal
   attached to the midi keyboard (I use this to advance to the next chord
   i

[VIHUELA] Re: Notation software recommendations

[Nelson, Jocelyn]

Thanks again, Ralf! 

I hope you don't mind if I forwarded your tablature tuning answer to John 
Griffiths, who is also working on the same sort of project with a singer. He 
downloaded MuseScore and had the same question. I think he is also happy to 
find out about this software.

Jocelyn


From: Ralf Mattes <r...@mh-freiburg.de>
Sent: Tuesday, July 25, 2017 12:36 PM
To: Nelson, Jocelyn
Cc: Vihuelalist
Subject: Re: [VIHUELA] Re: Re=3A?=_=5BVIHUELA=5D?=_Re=3A?= 
_Re=3D3A=3F=3D=5F=3D5BVIHUELA=3D5D=3F=3D?= Notation software  
recommendations=3D3F=3F=3D?=

Am Dienstag, 25. Juli 2017 17:04 CEST, "Nelson, Jocelyn" <nels...@ecu.edu> 
schrieb:

> Thanks so much, Ralf. I tried your advice and the tablature is just the way I 
> want it now.
> I'm sticking with this program because it's free and relatively easy;

And it's actually Oen Source and Free Software. Even better.

> at least I've figured it out and I'm almost done transcribing the first song. 
> I just ordered a numeric
> keypad for my laptop to make the tab entry faster.

Depending on how your brain is wired, you might not even need the numeric 
keypad - even with italian tab
MuseScore accepts letters to enter tab.
Another secret speed entry trick of mine: get a cheap midi keyboard, preferably 
with a few buttons (often
called "drum pads") and assign note value selection to those buttons. Together 
with a cheap (~ 15$) food pedal
attached to the midi keyboard (I use this to advance to the next chord in 
"manual real time input mode") this
makes for super-fast tab writing. Just one hint: the note->tab postition 
algorythm seems to work best when you
enter the notes of a chord from top to bottom (that's something I had to get 
usesd to).

It's also a good idea to read the printed manual "Mastering MuseScore", it's 
writen by one of the main
developers and that way you can support further develop,ment. Or even better: 
get your library to by
copy. Even so a lot of the Tab features are newer than the printed book (the 
curse of fast open source
development) there are a lot of great time savers to be found.

> Your many details below are greatly appreciated.

You're wellcome.

> And many thanks to everyone else on this list. Some of these recommended 
> programs are beautiful and I would like to explore them in the future.
>
> Best wishes and happy transcribing to all,
> Jocelyn

Thanks, same to you,

 Ralf Mattes




To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Re=3A?=_=5BVIHUELA=5D?=_Re=3A?= _Re=3D3A=3F=3D=5F=3D5BVIHUELA=3D5D=3F=3D?= Notation software recommendations=3D3F=3F=3D?=

[Nelson, Jocelyn]

Thanks so much, Ralf. I tried your advice and the tablature is just the way I 
want it now. I'm sticking with this program because it's free and relatively 
easy; at least I've figured it out and I'm almost done transcribing the first 
song. I just ordered a numeric keypad for my laptop to make the tab entry 
faster. Your many details below are greatly appreciated. 

And many thanks to everyone else on this list. Some of these recommended 
programs are beautiful and I would like to explore them in the future.

Best wishes and happy transcribing to all,
Jocelyn



From: Ralf Mattes <r...@mh-freiburg.de>
Sent: Monday, July 24, 2017 12:58 PM
To: Ralf Mattes
Cc: Nelson, Jocelyn; Vihuelalist
Subject: Re: [VIHUELA] Re=3A?=_=5BVIHUELA=5D?=_Re=3A?= 
_Re=3D3A=3F=3D=5F=3D5BVIHUELA=3D5D=3F=3D?= Notation software  
recommendations=3D3F=3F=3D?=

Silly me, I forgot to answer your question. To change the string tuning, go to 
the 'Staff Properties' dialog,
all the way at the bottom you'll find 'Number of strings' and next to that a 
button labled 'Edit string data'.
Once you click that you find a dialog where you can remove strings and change 
their pitch (admittedly not
the most intuitive dialog).
I pays off if you do this once and use that file as a template.

Cheers, RalfD

Am Montag, 24. Juli 2017 18:48 CEST, "Ralf Mattes" <r...@mh-freiburg.de> 
schrieb:

>
> Am Montag, 24. Juli 2017 16:49 CEST, "Nelson, Jocelyn" <nels...@ecu.edu> 
> schrieb:
>
> > Thanks so much for this, Ralf! I went ahead and downloaded it and have been 
> > trying it out. I like it so far.
> >
> > One question: Do the tablatures (I'm using the uke tab for my renaissance 
> > 4-course) have a feature to change the tuning? The uke tab is actually 
> > perfect, except it's upside down for Fuenllana's tablature.
> >
>
> This is why I'd rather use one of the lute tabs as a starting point (you need 
> to select 'Early music'  from the
> drop-down menu in the 'Instruments' dialog (Instruments >> Early music  >> 
> Plucked Strings).
> Then, after adding  a lute staff but still on that dialog, select 'Tab. 
> 6-str. Italian' from the drop down menu all the
> way on the right side (under 'Staff type).
>
> Next, in the score, right-click on the staff. From the popup menu, select 
> 'Staff Properties ...'. In that dialog you can
> change the number of staff lines (all the way at the top under Tablature 
> 'Lines'). Next, select 'Advanced Style Properties'
> (button under the staff line color box).  This will open another dialog where 
> you can customize the tab style.
> For Fuenllana you woud select: Fret marks - 'Upside down', the 'MuseScore Tab 
> Renaiss', 'On lines', 'Numbers'.
> On the 'Note Values' tab, select 'MuseScore Font Italian' . That should give 
> you a pretty good starting point.
>
> HTH, Ralf Mattes
>
>
>
>
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Re=3A?=_=5BVIHUELA=5D?= Notation software recommendations=3F?=

[Nelson, Jocelyn]

Thanks so much for this, Ralf! I went ahead and downloaded it and have been 
trying it out. I like it so far. 

One question: Do the tablatures (I'm using the uke tab for my renaissance 
4-course) have a feature to change the tuning? The uke tab is actually perfect, 
except it's upside down for Fuenllana's tablature.

Thanks again,
Jocelyn

From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on behalf of Ralf 
Mattes <r...@mh-freiburg.de>
Sent: Saturday, July 22, 2017 7:39 AM
To: Nelson, Jocelyn
Cc: Vihuelalist
Subject: [VIHUELA] Re=3A?=_=5BVIHUELA=5D?= Notation software  
recommendations=3F?=

Am Donnerstag, 20. Juli 2017 18:27 CEST, "Nelson, Jocelyn" <nels...@ecu.edu> 
schrieb:

>Hi Everyone,
>
>Does anyone on the list recommend any particular brand of notation
>software for our early guitar purposes? I'm transcribing the Fuenllana
>guitar songs for myself (on 4-course) and a singer to perform in
>September. So far I'm looking at Guitar
>Pro: [1]https://www.guitar-pro.com/en/index.php?pg=home​ because it
>converts tab into standard notation and I'm not sure whether Sibelius
>does that. I'd like my score to have both tablature and standard
>notation.
>
>What notation software brands have worked best for you?

Sorry for joining the discussion so late. I'd suggest you have a look at
MuseScore (https://musescore.org), a free and open source notation software
that recently got some pretty nice support for early plucked instruments (so
make shure to download Version 2.1). It runs native on Linux, MacOS X and 
windows,
and can import GuitarPro files, as well as MusicXML (unfortunately the de facto
standard to exchange Music between different applications). It's figured bass 
support
makes it my first choice when it comes to editing early music and it's perfect 
for
teaching environments.
If you are into 16th century music, have a look at  
https://musescore.org/en/handbook/early-music-features
as well as https://musescore.org/en/handbook/figured-bass
Musescore has a feature called 'linked staff' which lets you link a tab staff 
with an ordinary staff.
Entering music in one will add the corresponding note/number/letter to the 
linked staff (kind of
scarry that it works both ways), but don't expect too much. If your tab is 
polyphonic you really want
to be able to create seperate voices (up to four per staff). Also, afaik there 
is no way to link to
a 'Piano Style' staff.
If you need help setting up a template document, send me a note.

HTH, Ralf Mattes

>Many thanks and happy summer,
>
>Jocelyn
>
>Jocelyn Nelson, DMA
>Teaching Assistant Professor
>Early Guitar, Music History
>Lute Society of America Board Member
>506 School of Music
>East Carolina University
>252-328-1255 Office
>252-328-6258 Fax
>nels...@ecu.edu
>
>--
>
> References
>
>1. https://www.guitar-pro.com/en/index.php?pg=home
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Notation software recommendations?

[Nelson, Jocelyn]

Thanks, Rocky! Finale was my notation software, like a million years ago. I 
liked it, and it's nice to know it uses tab in case the early music ones don't 
work out with my university.
J


From: Mjos & Larson <rockype...@comcast.net>
Sent: Thursday, July 20, 2017 3:38 PM
To: Nelson, Jocelyn
Cc: DANIEL SHOSKES; Vihuelalist
Subject: Re: [VIHUELA] Notation software recommendations?

If you are already a Finale user, you might try that program’s tab options.

All my tab scores are done on a Mac using Finale (see one of my Ning pages). 
David van Ooijen also uses Finale.

It’s not particularly well set up to handle early music tablature, but I’m 
happy with the results and with the help of some customized fonts Finale 
handles most of my needs. There is a lot of control over appearance available 
if one digs in to the detailed settings.

I can select and drag a system of tablature onto a regular staff system and it 
will convert it to notation, though if there are more than one note per “event” 
they convert to chards rather than separate voices.

Finale can also convert notes on a staff to tab by selecting and dragging the 
notes from a staff system onto a tab system.

— Rocky


On Jul 20, 2017, at 12:29 PM, Nelson, Jocelyn <nels...@ecu.edu> wrote:

> Thanks, Danny!
>
>
> 
> From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on behalf of 
> DANIEL SHOSKES <dshos...@mac.com>
> Sent: Thursday, July 20, 2017 1:25 PM
> To: Nelson, Jocelyn
> Cc: Vihuelalist
> Subject: [VIHUELA] Re: Notation software recommendations?
>
> I run Fronimo and Django on a Mac using VMware Fusion and it also is a good 
> solution.
>
>> On Jul 20, 2017, at 7:21 PM, Nelson, Jocelyn <nels...@ecu.edu> wrote:
>>
>>  Thanks; I also see that the Fuenllana solos are there, which is great,
>>  but not the songs.
>>
>>  Again, this is another designed for PC or Windows. Does anyone find
>>  success using it with supported systems as they show on the Fandango
>>  site? [1]http://fandango.musickshandmade.com/pages/fandango​
>>
>>  Since I'm using my university's computer (and my dept will pay for it),
>>  I'm checking in with my IT folks about Parallels, which Rob
>>  suggested, to make sure it's approved.
>>
>>  I really appreciate all this quick help, thanks!
>>
>>  Jocelyn
>>__
>>
>>  From: Azalais <azal...@gmail.com>
>>  Sent: Thursday, July 20, 2017 1:09 PM
>>  To: Nelson, Jocelyn
>>  Subject: Re: [VIHUELA] Re: Notation software recommendations?
>>
>>  ps.  I just checked the Fandango library and the Fuenllana pieces are
>>  not there...  yet.  sorry.
>>  On Thu, Jul 20, 2017 at 1:02 PM, Azalais <[2]azal...@gmail.com> wrote:
>>
>>  Fandango (Formerly known as Django)  Is excellent and also gives you
>>  access to an extensive library of pieces.
>>  It also allows you to import midi files,  and allows for tweaking the
>>  string tuning, staves, and instrument configuration to suit your
>>  tablature preferences. (There are also interesting fonts and glyphs for
>>  making the sheets look very much like the original facsimiles, or
>>  standard notation (or both).  The author and many members of this group
>>  use it, so help is always available too.  [In fact, I would guess that
>>  the Fuenllana pieces are already in the library for immediate download!
>>  [3]http://fandango.musickshandmade.com/
>>
>>  On Thu, Jul 20, 2017 at 12:51 PM, Nelson, Jocelyn <[4]nels...@ecu.edu>
>>  wrote:
>>
>>Does Fronimo work on mac? I used it some years ago on a PC, but I'm
>>using a mac now.
>>J
>>
>>From: Rob MacKillop <[5]robmackil...@gmail.com>
>>Sent: Thursday, July 20, 2017 12:47 PM
>>To: Nelson, Jocelyn
>>Cc: Vihuelalist
>>Subject: Re: [VIHUELA] Notation software recommendations?
>>Hi Jocelyn,
>>Sibelius can't automatically show minims (half notes) or longer. To
>>    do so requires a lot of palaver, and even then never looks good. In
>>short, it's a pain.
>>Why not try Fronimo? It's cheapish, has a support forum populated by
>>lute and baroque guitar players, and does automatic conversion to
>>standard notation. Lots of nice fonts too, and has
>>four-five-six-course tab staves to choose from.
>>Rob MacKillop
>>> On 20 Jul 2017, at 17:27, Nelson, Jocelyn <[6]nels...@ecu.edu>
>>wrote:
>>>
>>> Hi Everyone,

[VIHUELA] Re: Notation software recommendations?

[Nelson, Jocelyn]

Thanks, Danny!



From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on behalf of DANIEL 
SHOSKES <dshos...@mac.com>
Sent: Thursday, July 20, 2017 1:25 PM
To: Nelson, Jocelyn
Cc: Vihuelalist
Subject: [VIHUELA] Re: Notation software recommendations?

I run Fronimo and Django on a Mac using VMware Fusion and it also is a good 
solution.

> On Jul 20, 2017, at 7:21 PM, Nelson, Jocelyn <nels...@ecu.edu> wrote:
>
>   Thanks; I also see that the Fuenllana solos are there, which is great,
>   but not the songs.
>
>   Again, this is another designed for PC or Windows. Does anyone find
>   success using it with supported systems as they show on the Fandango
>   site? [1]http://fandango.musickshandmade.com/pages/fandango​
>
>   Since I'm using my university's computer (and my dept will pay for it),
>   I'm checking in with my IT folks about Parallels, which Rob
>   suggested, to make sure it's approved.
>
>   I really appreciate all this quick help, thanks!
>
>   Jocelyn
> __
>
>   From: Azalais <azal...@gmail.com>
>   Sent: Thursday, July 20, 2017 1:09 PM
>   To: Nelson, Jocelyn
>   Subject: Re: [VIHUELA] Re: Notation software recommendations?
>
>   ps.  I just checked the Fandango library and the Fuenllana pieces are
>   not there...  yet.  sorry.
>   On Thu, Jul 20, 2017 at 1:02 PM, Azalais <[2]azal...@gmail.com> wrote:
>
>   Fandango (Formerly known as Django)  Is excellent and also gives you
>   access to an extensive library of pieces.
>   It also allows you to import midi files,  and allows for tweaking the
>   string tuning, staves, and instrument configuration to suit your
>   tablature preferences. (There are also interesting fonts and glyphs for
>   making the sheets look very much like the original facsimiles, or
>   standard notation (or both).  The author and many members of this group
>   use it, so help is always available too.  [In fact, I would guess that
>   the Fuenllana pieces are already in the library for immediate download!
>   [3]http://fandango.musickshandmade.com/
>
>   On Thu, Jul 20, 2017 at 12:51 PM, Nelson, Jocelyn <[4]nels...@ecu.edu>
>   wrote:
>
> Does Fronimo work on mac? I used it some years ago on a PC, but I'm
> using a mac now.
>     J
> 
> From: Rob MacKillop <[5]robmackil...@gmail.com>
> Sent: Thursday, July 20, 2017 12:47 PM
> To: Nelson, Jocelyn
> Cc: Vihuelalist
> Subject: Re: [VIHUELA] Notation software recommendations?
> Hi Jocelyn,
> Sibelius can't automatically show minims (half notes) or longer. To
> do so requires a lot of palaver, and even then never looks good. In
> short, it's a pain.
> Why not try Fronimo? It's cheapish, has a support forum populated by
> lute and baroque guitar players, and does automatic conversion to
> standard notation. Lots of nice fonts too, and has
> four-five-six-course tab staves to choose from.
> Rob MacKillop
>> On 20 Jul 2017, at 17:27, Nelson, Jocelyn <[6]nels...@ecu.edu>
> wrote:
>>
>>  Hi Everyone,
>>
>>  Does anyone on the list recommend any particular brand of
> notation
>>  software for our early guitar purposes? I'm transcribing the
> Fuenllana
>>  guitar songs for myself (on 4-course) and a singer to perform in
>>  September. So far I'm looking at Guitar
>>  Pro: [1][7]https://www.guitar-pro.com/en/index.php?pg=home​
> because it
>
>>  converts tab into standard notation and I'm not sure whether
>   Sibelius
>>  does that. I'd like my score to have both tablature and standard
>>  notation.
>>
>>  What notation software brands have worked best for you?
>>
>>  Many thanks and happy summer,
>>
>>  Jocelyn
>>
>>  Jocelyn Nelson, DMA
>>  Teaching Assistant Professor
>>  Early Guitar, Music History
>>  Lute Society of America Board Member
>>  506 School of Music
>>  East Carolina University
>>  [8]252-328-1255 Office
>>  [9]252-328-6258 Fax
>>  [10]nels...@ecu.edu
>>
>>  --
>>
>> References
>>
>>  1. [11]https://www.guitar-pro.com/en/index.php?pg=home
>>
>>
>> To get on or off this list see list information at
>> [12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>   --
>
> References
>
>   1. http://fandango.musickshandmade.com/pages/fandango
>   2. mailto:azal...@gmail.com
>   3. http://fandango.musickshandmade.com/
>   4. mailto:nels...@ecu.edu
>   5. mailto:robmackil...@gmail.com
>   6. mailto:nels...@ecu.edu
>   7. https://www.guitar-pro.com/en/index.php?pg=home
>   8. tel:252-328-1255
>   9. tel:252-328-6258
>  10. mailto:nels...@ecu.edu
>  11. https://www.guitar-pro.com/en/index.php?pg=home
>  12. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>

[VIHUELA] Re: Notation software recommendations?

[Nelson, Jocelyn]

   Thanks; I also see that the Fuenllana solos are there, which is great,
   but not the songs.

   Again, this is another designed for PC or Windows. Does anyone find
   success using it with supported systems as they show on the Fandango
   site? [1]http://fandango.musickshandmade.com/pages/fandango​

   Since I'm using my university's computer (and my dept will pay for it),
   I'm checking in with my IT folks about Parallels, which Rob
   suggested, to make sure it's approved.

   I really appreciate all this quick help, thanks!

   Jocelyn
 __

   From: Azalais <azal...@gmail.com>
   Sent: Thursday, July 20, 2017 1:09 PM
   To: Nelson, Jocelyn
   Subject: Re: [VIHUELA] Re: Notation software recommendations?

   ps.  I just checked the Fandango library and the Fuenllana pieces are
   not there...  yet.  sorry.
   On Thu, Jul 20, 2017 at 1:02 PM, Azalais <[2]azal...@gmail.com> wrote:

   Fandango (Formerly known as Django)  Is excellent and also gives you
   access to an extensive library of pieces.
   It also allows you to import midi files,  and allows for tweaking the
   string tuning, staves, and instrument configuration to suit your
   tablature preferences. (There are also interesting fonts and glyphs for
   making the sheets look very much like the original facsimiles, or
   standard notation (or both).  The author and many members of this group
   use it, so help is always available too.  [In fact, I would guess that
   the Fuenllana pieces are already in the library for immediate download!
   [3]http://fandango.musickshandmade.com/

   On Thu, Jul 20, 2017 at 12:51 PM, Nelson, Jocelyn <[4]nels...@ecu.edu>
   wrote:

 Does Fronimo work on mac? I used it some years ago on a PC, but I'm
 using a mac now.
 J
 
 From: Rob MacKillop <[5]robmackil...@gmail.com>
 Sent: Thursday, July 20, 2017 12:47 PM
 To: Nelson, Jocelyn
 Cc: Vihuelalist
 Subject: Re: [VIHUELA] Notation software recommendations?
 Hi Jocelyn,
 Sibelius can't automatically show minims (half notes) or longer. To
 do so requires a lot of palaver, and even then never looks good. In
 short, it's a pain.
 Why not try Fronimo? It's cheapish, has a support forum populated by
 lute and baroque guitar players, and does automatic conversion to
 standard notation. Lots of nice fonts too, and has
 four-five-six-course tab staves to choose from.
 Rob MacKillop
 > On 20 Jul 2017, at 17:27, Nelson, Jocelyn <[6]nels...@ecu.edu>
 wrote:
 >
 >   Hi Everyone,
 >
 >   Does anyone on the list recommend any particular brand of
 notation
 >   software for our early guitar purposes? I'm transcribing the
 Fuenllana
 >   guitar songs for myself (on 4-course) and a singer to perform in
 >   September. So far I'm looking at Guitar
 >   Pro: [1][7]https://www.guitar-pro.com/en/index.php?pg=home​
 because it

   >   converts tab into standard notation and I'm not sure whether
   Sibelius
   >   does that. I'd like my score to have both tablature and standard
   >   notation.
   >
   >   What notation software brands have worked best for you?
   >
   >   Many thanks and happy summer,
   >
   >   Jocelyn
   >
   >   Jocelyn Nelson, DMA
   >   Teaching Assistant Professor
   >   Early Guitar, Music History
   >   Lute Society of America Board Member
   >   506 School of Music
   >   East Carolina University
   >   [8]252-328-1255 Office
   >   [9]252-328-6258 Fax
   >   [10]nels...@ecu.edu
   >
   >   --
   >
   > References
   >
   >   1. [11]https://www.guitar-pro.com/en/index.php?pg=home
   >
   >
   > To get on or off this list see list information at
   > [12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://fandango.musickshandmade.com/pages/fandango
   2. mailto:azal...@gmail.com
   3. http://fandango.musickshandmade.com/
   4. mailto:nels...@ecu.edu
   5. mailto:robmackil...@gmail.com
   6. mailto:nels...@ecu.edu
   7. https://www.guitar-pro.com/en/index.php?pg=home
   8. tel:252-328-1255
   9. tel:252-328-6258
  10. mailto:nels...@ecu.edu
  11. https://www.guitar-pro.com/en/index.php?pg=home
  12. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Notation software recommendations?

[Nelson, Jocelyn]

Does Fronimo work on mac? I used it some years ago on a PC, but I'm using a mac 
now.
J


From: Rob MacKillop <robmackil...@gmail.com>
Sent: Thursday, July 20, 2017 12:47 PM
To: Nelson, Jocelyn
Cc: Vihuelalist
Subject: Re: [VIHUELA] Notation software recommendations?

Hi Jocelyn,

Sibelius can't automatically show minims (half notes) or longer. To do so 
requires a lot of palaver, and even then never looks good. In short, it's a 
pain.

Why not try Fronimo? It's cheapish, has a support forum populated by lute and 
baroque guitar players, and does automatic conversion to standard notation. 
Lots of nice fonts too, and has four-five-six-course tab staves to choose from.

Rob MacKillop


> On 20 Jul 2017, at 17:27, Nelson, Jocelyn <nels...@ecu.edu> wrote:
>
>   Hi Everyone,
>
>   Does anyone on the list recommend any particular brand of notation
>   software for our early guitar purposes? I'm transcribing the Fuenllana
>   guitar songs for myself (on 4-course) and a singer to perform in
>   September. So far I'm looking at Guitar
>   Pro: [1]https://www.guitar-pro.com/en/index.php?pg=home​ because it
>   converts tab into standard notation and I'm not sure whether Sibelius
>   does that. I'd like my score to have both tablature and standard
>   notation.
>
>   What notation software brands have worked best for you?
>
>   Many thanks and happy summer,
>
>   Jocelyn
>
>   Jocelyn Nelson, DMA
>   Teaching Assistant Professor
>   Early Guitar, Music History
>   Lute Society of America Board Member
>   506 School of Music
>   East Carolina University
>   252-328-1255 Office
>   252-328-6258 Fax
>   nels...@ecu.edu
>
>   --
>
> References
>
>   1. https://www.guitar-pro.com/en/index.php?pg=home
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Notation software recommendations?

[Nelson, Jocelyn]

   Hi Everyone,

   Does anyone on the list recommend any particular brand of notation
   software for our early guitar purposes? I'm transcribing the Fuenllana
   guitar songs for myself (on 4-course) and a singer to perform in
   September. So far I'm looking at Guitar
   Pro: [1]https://www.guitar-pro.com/en/index.php?pg=home​ because it
   converts tab into standard notation and I'm not sure whether Sibelius
   does that. I'd like my score to have both tablature and standard
   notation.

   What notation software brands have worked best for you?

   Many thanks and happy summer,

   Jocelyn

   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   Lute Society of America Board Member
   506 School of Music
   East Carolina University
   252-328-1255 Office
   252-328-6258 Fax
   nels...@ecu.edu

   --

References

   1. https://www.guitar-pro.com/en/index.php?pg=home


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: short piece by A. Sychra for seven-string guitar

[Nelson, Jocelyn]

Thanks, Stuart.



From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on behalf of WALSH 
STUART <s.wa...@ntlworld.com>
Sent: Sunday, January 8, 2017 4:39 AM
To: Nelson, Jocelyn
Cc: Vihuelalist
Subject: [VIHUELA] Re: short piece by A. Sychra for seven-string guitar

On 1/7/2017 9:02 PM, Nelson, Jocelyn wrote:
> Another delightful video from youŠ a great break for me in a day filled
> with work. Thank you for posting, Stuart!
>
> Are you actually playing a 7-course guitar?
>
> Best,
> Jocelyn

Thanks Jocelyn. It's a seven-string guitar: DGBDGBD, Russian, patched up
and restored from the 1850s.


Stuart
>
>
>
>
>
>
>
> On 1/6/17, 11:51 AM, "lute-...@cs.dartmouth.edu on behalf of WALSH STUART"
> <lute-...@cs.dartmouth.edu on behalf of s.wa...@ntlworld.com> wrote:
>
>> https://www.youtube.com/watch?v=D0HlldzwW9k
>>
>> Showing the score in the video can show off  the player's limitations!
>>
>> Marusya can mean Mary or bitter...
>>
>>
>>
>>
>> Stuart
>>
>>
>> ---
>> This email has been checked for viruses by Avast antivirus software.
>> https://www.avast.com/antivirus
>>
>>
>>
>> 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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[VIHUELA] Re: short piece by A. Sychra for seven-string guitar

[Nelson, Jocelyn]

Another delightful video from youŠ a great break for me in a day filled
with work. Thank you for posting, Stuart!

Are you actually playing a 7-course guitar?

Best,
Jocelyn








On 1/6/17, 11:51 AM, "lute-...@cs.dartmouth.edu on behalf of WALSH STUART"
 wrote:

>https://www.youtube.com/watch?v=D0HlldzwW9k
>
>Showing the score in the video can show off  the player's limitations!
>
>Marusya can mean Mary or bitter...
>
>
>
>
>Stuart
>
>
>---
>This email has been checked for viruses by Avast antivirus software.
>https://www.avast.com/antivirus
>
>
>
>To get on or off this list see list information at
>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: a tiny dance for two machetes

[Nelson, Jocelyn]

How sweet. Unless she really was a tourist board plant :  D
Thanks for posting this music


From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of WALSH 
STUART [s.wa...@ntlworld.com]
Sent: Sunday, March 06, 2016 2:26 PM
To: Nelson, Jocelyn; Vihuelalist
Subject: [VIHUELA] Re: a tiny dance for two machetes

On 06/03/2016 19:03, Nelson, Jocelyn wrote:
> This was so delightful I had to replay it again right away, Stuart :  )
>
> What is the story about the pictures?
>
> Jocelyn


Thanks Jocelyn!


It's in a main street in Funchal, Madeira. I don't know if the nun is a
well-known local character - or someone employed by the Madeira tourist
board! - but she came along, listened to the guitarist playing outside a
cafe, and started dancing along to his playing. All the tourists
(including me) took photos of her.


Stuart
> 
> From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of 
> WALSH STUART [s.wa...@ntlworld.com]
> Sent: Friday, March 04, 2016 11:14 AM
> To: Vihuelalist
> Subject: [VIHUELA] a tiny dance for two machetes
>
> Dança da Levada, arranged for two machetes by M.J.M. Cabral (1840s)
>
> played on a cavaquinho with nylgut strings
>
>
> https://www.youtube.com/watch?v=DsLwQxM0Eiw
>
>
>
> Stuart
>
> ---
> This email has been checked for viruses by Avast antivirus software.
> https://www.avast.com/antivirus
>
>
>
> 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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[VIHUELA] Re: a tiny dance for two machetes

[Nelson, Jocelyn]

This was so delightful I had to replay it again right away, Stuart :  )

What is the story about the pictures?

Jocelyn

From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of WALSH 
STUART [s.wa...@ntlworld.com]
Sent: Friday, March 04, 2016 11:14 AM
To: Vihuelalist
Subject: [VIHUELA] a tiny dance for two machetes

Dança da Levada, arranged for two machetes by M.J.M. Cabral (1840s)

played on a cavaquinho with nylgut strings


https://www.youtube.com/watch?v=DsLwQxM0Eiw



Stuart

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[VIHUELA] Re: Corbetta's dissonance

[Nelson, Jocelyn]

Thank you, Monica. 

Happy New Year to you, too :  )

Jocelyn

Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
Lute Society of America Board Member, Clerk
506 School of Music
East Carolina University
252-328-1255 Office
252-328-6258 Fax
nels...@ecu.edu

From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of M Hall 
[mjlh...@tiscali.co.uk]
Sent: Thursday, January 14, 2016 6:16 AM
To: Vihuela List
Subject: [VIHUELA] Corbetta's dissonance

   If anyone is interested I have now put a revised and slightly enlarged
   version of my article "Dissonance in the guitar music of Francesco
   Corbetta" which was included in Lute vol. 47 (2007) on my web page
   [1]www.monicahall.co.uk .  It is Section IV on the page devoted to
   Corbetta.

   A happy and prosperous New Year to you all.

   Monica

   --

References

   1. http://www.monicahall.co.uk/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: a little dance for machete (1840s Madeira)

[Nelson, Jocelyn]

Lovely: very sweet, sparkling tone!

Who is Mrs. Christopher?

Best,
Jocelyn


From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of WALSH 
STUART [s.wa...@ntlworld.com]
Sent: Sunday, August 23, 2015 12:46 PM
To: Vihuelalist
Subject: [VIHUELA] a little dance for machete (1840s Madeira)

A 'Dança' for machete from the MS belonging to Mrs Christopher:

https://www.youtube.com/watch?v=gyKkn--uxNE


Stuart


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[VIHUELA] Re: little waltz from 1846 for machete and guitar

[Nelson, Jocelyn]

Thanks. It sounds very sweet and very danceable. Did you play both the guitar 
accompaniment and the machete part, recording on two tracks?
Jocelyn

_
From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of WALSH 
STUART [s.wa...@ntlworld.com]
Sent: Friday, May 15, 2015 8:57 AM
To: Nelson, Jocelyn; Vihuelalist
Subject: [VIHUELA] Re: little waltz from 1846 for machete and guitar

 I enjoyed this too, and the picture almost as much as the music; keep them 
 coming, Stuart! Is Cabral the composer or the player of the accompaniment, or 
 both?

Thank you  Jocelyn.

Cândido Drumond de Vasconcelos is the composer (or, just possibly, the 
arranger) of these pieces for machete from 1846 and Cabral composed the simple 
guitar accompaniments. Machete and guitar accompaniments are on opposite pages 
in the MS.


Stuart


 BTW, I neglected to thank you for your detailed answer to my question some 
 weeks ago. It was my huge busy time, end of the semester, and swamped with 
 student emails. I did read your answer and greatly appreciated it.

 Best,
 Jocelyn

 
 From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of 
 WALSH STUART [s.wa...@ntlworld.com]
 Sent: Thursday, May 14, 2015 9:14 AM
 To: Vihuelalist
 Subject: [VIHUELA] little waltz from 1846 for machete and guitar

 a little waltz by Cândido Drumond de Vasconcelos for machete (with
 guitar accompaniment by M.J.M. Cabral) from  1846

 https://www.youtube.com/watch?v=Uuf3AOOdl7s


 Stuart

 ---
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 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html





---
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[VIHUELA] Re: little waltz from 1846 for machete and guitar

[Nelson, Jocelyn]

I enjoyed this too, and the picture almost as much as the music; keep them 
coming, Stuart! Is Cabral the composer or the player of the accompaniment, or 
both?

BTW, I neglected to thank you for your detailed answer to my question some 
weeks ago. It was my huge busy time, end of the semester, and swamped with 
student emails. I did read your answer and greatly appreciated it.

Best,
Jocelyn


From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of WALSH 
STUART [s.wa...@ntlworld.com]
Sent: Thursday, May 14, 2015 9:14 AM
To: Vihuelalist
Subject: [VIHUELA] little waltz from 1846 for machete and guitar

a little waltz by Cândido Drumond de Vasconcelos for machete (with
guitar accompaniment by M.J.M. Cabral) from  1846

https://www.youtube.com/watch?v=Uuf3AOOdl7s


Stuart

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To get on or off this list see list information at
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[VIHUELA] Re: Derosier

[Nelson, Jocelyn]

Thank you, Monica! Interesting enough for me to grab my copy of the Tyler  
Sparks and a pencil and include your information :  )

Best,
Jocelyn


From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of Monica 
Hall [mjlh...@tiscali.co.uk]
Sent: Tuesday, February 24, 2015 9:23 AM
To: Vihuelalist
Subject: [VIHUELA] Re: Derosier

I will answer my own question in case any one is interested.  It is in the
Bibliotheque nationale de France.
Monica


- Original Message -
From: Monica Hall mjlh...@tiscali.co.uk
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Tuesday, February 24, 2015 2:01 PM
Subject: [VIHUELA] Derosier


 Does anyone know where there is a copy of the second edition of Nicolas
 Derosiers' little book i.e. Nouveaux principes de la guitarre printed in
 Paris in 1699?
 It's mentioned in Tyler's book but he doesn't give a location.
 Monica


 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: [VIHUELA] Dança da Floreiras, for two machetes (Madeira, 1840s)

[Nelson, Jocelyn]

I enjoyed this, too, Stuart! What a sweet tune, and the balance was on the 
mark. Did you create the animation of the plucked string players?

Best,
Jocelyn

Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
Lute Society of America Board Member, Clerk
506 School of Music
East Carolina University
252-328-1255 Office
252-328-6258 Fax
nels...@ecu.edu

From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of WALSH 
STUART [s.wa...@ntlworld.com]
Sent: Wednesday, February 11, 2015 3:12 PM
To: Vihuelalist
Subject: [VIHUELA] Dança da Floreiras, for two machetes (Madeira, 1840s)

Google translate, translates 'Dança da Floreiras' as Dance of the
Planters which doesn't sound very good. Dance of the Florists is
probably  inaccurate as well as also lacking in something or other.
Anyway, at least 35 little duos survive for  19th century Madeiran machetes.

https://www.youtube.com/watch?v=skYN4msQXjw


Stuart

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[VIHUELA] Re: a little piece for machete from 1840s

[Nelson, Jocelyn]

Thank you for posting, Stuart! I enjoyed both the music (sweet tone!) and the 
lovely drawings.
Best wishes,
Jocelyn


Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
Lute Society of America Board Member, Clerk
506 School of Music
East Carolina University
252-328-1255 Office
252-328-6258 Fax
nels...@ecu.edu

From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of WALSH 
STUART [s.wa...@ntlworld.com]
Sent: Wednesday, January 28, 2015 5:09 PM
To: vihuelalist
Subject: [VIHUELA] a little piece for machete from 1840s

https://www.youtube.com/watch?v=w_d8zBSFeBo


Stuart

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[VIHUELA] Re: another little piece for the little machete ( mdi 19th C Madeira)

[Nelson, Jocelyn]

Thanks for posting, Stuart. I love the sound of the strums.
Best,
Jocelyn
-- 

Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
310 Fletcher Music Center
School of Music
East Carolina University
252.328.1255 office
252.328.6258 fax
nels...@ecu.edu





On 9/1/14, 1:41 PM, WALSH STUART s.wa...@ntlworld.com wrote:

Danca Camponeza by M.J.M Cabral from Estudos  para Machete but played on
a a cavaquinho (slightly dodgy intonation on top note!)


https://www.youtube.com/watch?v=lHkNwnjHMUs


Stuart

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[VIHUELA] Re: Guitar Summit

[Nelson, Jocelyn]

Hi Monica,

I'm not familiar with the Guitar Summit list. Perhaps I'm on it if I got your 
message?

Best,
J


Jocelyn Nelson, DMA
Teaching Assistant Professor
506 School of Music
East Carolina University
252.328.1255 office
252.328.6258 fax
nels...@ecu.edu

From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of 
Matthew Daillie [dail...@club-internet.fr]
Sent: Monday, June 23, 2014 10:40 AM
To: Monica Hall
Cc: Vihuelalist
Subject: [VIHUELA] Re: Guitar Summit

Dear Monica,

I appear to be on the list but can't recall having received any messages either 
so I suppose it's just rather low key!

best

Matthew


On 23 juin 2014, at 16:30, Monica Hall mjlh...@tiscali.co.uk wrote:

   I just wondered whether anyone else on this list is on the Guitar
   Summit list and if so whether they ever get any messages.   I haven't
   had any for months and was wondering whether it is defunct or whether I
   have been struck off!



   Thanks to all



   Monica

   --


 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Zachary Taylor Chitarrino

[Nelson, Jocelyn]

   Hi Edward,


   I didn't know about this at all. It looks beautiful; thanks for posting
   the link.


   Best,

   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [1]nels...@ecu.edu

   From: Edward Chrysogonus Yong [2]edward.y...@gmail.com
   Date: Friday, August 9, 2013 2:25 AM
   To: Vihuelalist [3]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] Zachary Taylor Chitarrino

   Hi!
   I just realised Zachary Taylor now has a made-in-Vietnam Renaissance
   Guitar out:
   [4]http://www.mid-east.com/Strings/Guitar/Lourebach-Renaissance-Guitari
   no-Zachary-Taylor
   Granted that it's based on the 1646 Giovanni Smit, has a flat back and
   metal frets (tied frets available as special), and a scale length of
   42.5cm, but it seems quite beautifully made, and certainly far more
   elaborate than his Pakistan-made baroque guitar.
   Has anyone tried out one of these things?
   Edward Chrysogonus Yong
   [5]edward.y...@gmail.com
   To get on or off this list see list information at
   [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. file://localhost/net/people/lute-arc/nels...@ecu.edu
   2. mailto:edward.y...@gmail.com
   3. mailto:vihuela@cs.dartmouth.edu
   4. 
http://www.mid-east.com/Strings/Guitar/Lourebach-Renaissance-Guitarino-Zachary-Taylor
   5. mailto:edward.y...@gmail.com
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Three Playford tunes from Princess Anne's lute book

[Nelson, Jocelyn]

   Hi Stuart and Monica,
   Thanks to both of you for this. I enjoyed listening--and watching--this
   evening, before having to go back to work after a holiday weekend
   (Labor Day over here).
   Best,
   Jocelyn
   --

   From: Monica Hall [1]mjlh...@tiscali.co.uk
   Date: Sunday, September 2, 2012 3:07 PM
   To: WALSH STUART [2]s.wa...@ntlworld.com
   Cc: Vihuelalist [3]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Three Playford tunes from Princess Anne's lute
   book

   Well - Please note that it is not a Dutch manuscript although it is now
   in a
   Dutch Library - the Nederlands Muziekinstituut in the Hague, and the
   call
   mark is NL:DHnmi Kluis D 1.  The manuscript belonged to our  English
   Queen
   Anne and was
   copied and bound before she came to the throne in 1702.  She was the
   younger
   daughter of James II and was taught the guitar by Corbetta. The
   manuscript
   includes
   arrangements of a number of Purcell pieces which date from the 1690s so
   can
   be dated fairly precisely to between 1695-1700.
   It is not known who copied the manuscript or arranged the pieces but I
   agree - they
   aren't particularly idiomatic.
   Still - you have made a reasonably good jub of the ones you have
   recorded...
   There'll always be an England where there's a country lane.Where
   did you
   take the photos?
   Monica
   Monica
   - Original Message -
   From: WALSH STUART [4]s.wa...@ntlworld.com
   To: vl [5]vihuela@cs.dartmouth.edu
   Sent: Saturday, September 01, 2012 11:54 PM
   Subject: [VIHUELA] Three Playford tunes from Princess Anne's lute
   book

  I uploaded these three tunes, well known from Playford,  a while
   ago.

  Monica Hall edited them from a more or less contemporary Dutch MS.
   The

  tunes are:Siege of Limerick, Spanish Jig and May Hill.

  [1][6]http://www.youtube.com/watch?v=8xFdDoAYmCE

  I think they are really rather difficult. Modern plectrum players on

  guitars, mandolins etc can just play the melody line as in Playford
   but

  these contemporary guitar arrangements are very different. They have

  lots of not-so-easy strummed chords  and lots of ornaments.

  Mr. Isaacs Maggot = Maguet, p.68, which I haven't attempted here,
   seems

  especially difficult, especially around bar 15.

  Stuart

  --

   References

  1. [7]http://www.youtube.com/watch?v=8xFdDoAYmCE

   To get on or off this list see list information at

   [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:mjlh...@tiscali.co.uk
   2. mailto:s.wa...@ntlworld.com
   3. mailto:vihuela@cs.dartmouth.edu
   4. mailto:s.wa...@ntlworld.com
   5. mailto:vihuela@cs.dartmouth.edu
   6. http://www.youtube.com/watch?v=8xFdDoAYmCE
   7. http://www.youtube.com/watch?v=8xFdDoAYmCE
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: early music in the 19th century

[Nelson, Jocelyn]

   Well, this just shows how portable good music is.
   Best,
   Jocelyn
   --

   From: David van Ooijen [1]davidvanooi...@gmail.com
   Date: Thursday, May 10, 2012 3:22 PM
   To: Vihuelalist [2]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] Re: early music in the 19th century

   On 8 May 2012 21:47, Nelson, Jocelyn [3]nels...@ecu.edu wrote:

   Did you notice any rhythmic

   or harmonic differences from the original in Coste's arrangements? It
   seems

   appropriate that you are not using inegale in a 19th century
   arrangement,

   To me, it feels like 19th century music. I didn't check with De Visee,
   as Coste is enough for me here. ;-)
   David
   --
   ***
   David van Ooijen
   [4]davidvanooi...@gmail.com
   www.davidvanooijen.nl
   ***
   To get on or off this list see list information at
   [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:davidvanooi...@gmail.com
   2. mailto:vihuela@cs.dartmouth.edu
   3. mailto:nels...@ecu.edu
   4. mailto:davidvanooi...@gmail.com
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Monica's Webpage

[Nelson, Jocelyn]

   Your site is wonderful, Monica; thank you for all the valuable work
   you've made available to everyone.  I signed up to follow your site
   (the first time this old-fashioned guitarist has ever done such a
   thing).


   Shall we make an announcement in the next LSA Quarterly? I'm not sure
   we've mentioned your site since the complete Foscarini's been up.


   Best,

   Jocelyn

   PS: I looked up the exotic simnel cake. It sounds intriguing, but I
   think I'll stick with dark chocolate. Have a delicious Easter and a
   great rest!
   --

   From: Monica Hall [1]mjlh...@tiscali.co.uk
   Date: Thu, 5 Apr 2012 21:58:11 +0100
   To: Vihuelalist [2]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Monica's Webpage

   I'm overwhelmed with all your good wishes.  Thank you.
   Actually I prefer simnel cake (if non-English members know what that
   is) to
   chocolate bunnies and I have laid in a goodly supply to eat on Easter
   Sunday.Only 36 hours to go now before I can tuck in.
   Monica
   - Original Message -
   From: Rockford Mjos [3]rm...@comcast.net
   To: Monica Hall [4]mjlh...@tiscali.co.uk
   Cc: Vihuelalist [5]vihuela@cs.dartmouth.edu
   Sent: Thursday, April 05, 2012 4:08 PM
   Subject: Re: [VIHUELA] Re: Monica's Webpage

   Hello Monica.

   Thank you (again!) for your great and valued contributions!

   You deserve an extra big chocolate bunny this Easter!

   -- R

   On Apr 5, 2012, at 7:53 AM, Monica Hall wrote:

   Thank-you Rob.   I expect everyone is on their Easter Holidays.

   Monica

   - Original Message -

   From: [1]Rob MacKillop

   To: [2]Monica Hall

   Cc: [3]Vihuelalist

   Sent: Thursday, April 05, 2012 8:45 AM

   Subject: Re: [VIHUELA] Monica's Webpage

 No responses to this? I think Monica deserves all our praise  for

   the

 incredible amount of work she has put in, and for which we  have

   free

 access to. Thank You, Monica!

   Rob

   On 3 April 2012 21:26, Monica Hall
   [4][6]mjlh...@tiscali.co.uk  wrote:

 I am pleased to announce that thanks to Rob's good offices my

 webpage has been re-done and improved.   It is now at

 [5][7]http://monicahall.co.uk/  although the
   [6]www.monicahall.co.uk

 version still works.

 In particular I have completely revised and updated my paper on

 baroque guitar stringing.  Originally this was published by  the

   Lute

 Society as a booklet in their series of booklets on various lute

 related topics.  When Rob offered me some space on his own
   web  page

 I did a much abridged version of it with just the texts from the

 original sources with brief comments.

 However the booklet is something that people have to order
   and  pay

 for and I get the impression that nobody bothers to do that.
   They

 just refer to the online version.

 So the new version is much longer and more detailed.
   It  includes

   a

 lot more illustrations from the original sources and the tuning

 examples are in staff notation rather than Helmholz  notation.
   It

 also includes the tables and list of sources from the booklet

 (updated).   I have also been able to add a few more
   sources  which

   I

 have got hold of in the meantime.

 It is now I think the most detailed survey of information  about

   this

 topic.

 Comments and suggestions are always welcome.  In theory I
   can  make

 changes myself although I haven't risked doing that yet.

 Best wishes for Easter, the Spring Festival or whatever you  may
   be

 minded to celebrate at the present time.   It isn't actually

   snowing

 here but sleet is threatened.

 Monica

 To get on or off this list see list information at

 [7][8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

   References

   1. [9]mailto:robmackil...@gmail.com

   2. [10]mailto:mjlh...@tiscali.co.uk

   3. [11]mailto:vihuela@cs.dartmouth.edu

   4. [12]mailto:mjlh...@tiscali.co.uk

   5. [13]http://monicahall.co.uk/

   6. [14]http://www.monicahall.co.uk/

   7. [15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:mjlh...@tiscali.co.uk
   2. mailto:vihuela@cs.dartmouth.edu
   3. mailto:rm...@comcast.net
   4. mailto:mjlh...@tiscali.co.uk
   5. mailto:vihuela@cs.dartmouth.edu
   6. mailto:mjlh...@tiscali.co.uk
   7. http://monicahall.co.uk/
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. mailto:robmackil...@gmail.com
  10. mailto:mjlh...@tiscali.co.uk
  11. mailto:vihuela@cs.dartmouth.edu
  12. mailto:mjlh...@tiscali.co.uk
  13. http://monicahall.co.uk/
  14. http://www.monicahall.co.uk/
  15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: 3 short pieces from the Ulm MS for mandore

[Nelson, Jocelyn]

   I really enjoyed these, Stuart. I'm listening to it for the 3rd time
   now; can't help but smile with this music.
   Thanks for posting.
   Best,
   Jocelyn

   From: Stuart Walsh [1]s.wa...@ntlworld.com
   Date: Sun, 8 Jan 2012 00:06:26 +
   To: Vihuelalist [2]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] 3 short pieces from the Ulm MS for mandore

   The Scottish, Skene mandore MS is more well known but the Ulm MS of
   French mandore music (of the same time) is very good too. And the
   pieces
   are much more carefully notated.
   Here are a couple of courantes and a gavotte - played on a very small
   guitar with a string length of 37 cms. Perhaps there were at least two
   sizes of mandore: the really tiny (c. 30cm string length), four-course
   mandore (some Ulm stuff, Chancy) , played with a plectrum and a
   slightly
   larger, five course instrument ((Skene, Ulm, Gallot)
   [3]http://www.youtube.com/watch?v=mnC0b9w8QyU
   Stuart
   To get on or off this list see list information at
   [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:s.wa...@ntlworld.com
   2. mailto:vihuela@cs.dartmouth.edu
   3. http://www.youtube.com/watch?v=mnC0b9w8QyU
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Agazzari guitar [was Re: Capona?]

[Nelson, Jocelyn]

   Ralf makes a great case that we can't assume chitarrino means
   guitar (I must try that pasta sometime), but maybe there's a bit of
   evidence here in what Lex says that shows the 4-course guitar was still
   active in the 17^th century, even in printed music.

   Jocelyn

   Well, Oliver Strunk writes chitarrino. As far as I know,

   chitarrino, 4 course renaissance guitar, was not at all unknown in

   Italy in times of Agazzari...

   Hmm, as if there where a fixed terminology at that time ... Thank's to
   those silly humanists writers, from the end of the 15. century on
   writers started to use 'chitarra' for all sorts of stinged instuments
   (plucked). So we have chitarra for 'lute' (Tincoris), harp (Glarean),
   (renaissance) guitar etc. Not to forget chitarrone (literally: huge
   chitarra). It might even be that Sgn. Agazzari wants to make a
   distinction between the chitarrone and smaller (treble) lutes here. To
   limit the translation of 'citarrin[a/o]' to renaissance guitar seems
   bold.

   But I have never heard about

   chitarrina, but of course that does not exclude its existence... ;-)

   Then you missed something - yummy italian pasta!! [1]
   And not even totally off-topic here since the name probably refers to
   the production process: pressing some pasta dough through a wired frame
   (somehow like an oversized egg-cutter) that might remind one of a
   harp (-chitarra) :-)
   Cheers, Ralf Mattes

   From: Lex Eisenhardt [1]eisenha...@planet.nl
   Date: Sun, 11 Dec 2011 17:54:32 +0100
   To: Vihuelalist [2]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Agazzari guitar [was Re: Capona?]

   In the anonymous collection Conserto vago (published in Rome in 1645)
   there
   is a part for a chitarrino a quatro corde alla napolitana, here
   probably
   used for lute type, in plucked textures. Its tuning, with a fifth
   between
   the third and fourth courses, is essentially different from that of the
   chitarra spagnuola. On the other hand, in Pietro Millioni's Corona del
   primo, secondo e terzo libro d'intavolatura di chitarra spagnola (1631)
   a
   four-course guitar is mentioned, the chitarrino, overo chitarra
   italiana,
   tuned like the first four courses of the common chitarra spagnuola. To
   be
   able to play the chords of alfabeto (from the tablature examples at the
   alfabeto chart) on this four-course instrument, one has to leave out
   the
   figures of the fifth course.
   By its tuning, the chitarrino napolitana from Conserto vago does not
   link up
   with the alfabeto tradition, as does Millioni's chitarrino Italiana. If
   Agazzari had a chitarrino napolitana in mind--hand plucked or played
   with a
   plectrum, then there is more reason to suppose that melodic
   improvisations
   were played on it, as they were on the violin and pandora, which are
   mentioned in the same breath.
   best wishes, Lex
   - Original Message -
   From: wikla [3]wi...@cs.helsinki.fi
   To: Martyn Hodgson [4]hodgsonmar...@yahoo.co.uk
   Cc: Vihuelalist [5]vihuela@cs.dartmouth.edu; Lex Eisenhardt
   [6]eisenha...@planet.nl
   Sent: Sunday, December 11, 2011 4:03 PM
   Subject: [VIHUELA] Re: Agazzari guitar [was Re: Capona?]

   Well, Oliver Strunk writes chitarrino. As far as I know, chitarrino,
   4

   course renaissance guitar, was not at all unknown in Italy in times
   of

   Agazzari... But I have never heard about chitarrina, but of course
   that

   does not exclude its existence... ;-)

   best regards,

   Arto

   To get on or off this list see list information at
   [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:eisenha...@planet.nl
   2. mailto:vihuela@cs.dartmouth.edu
   3. mailto:wi...@cs.helsinki.fi
   4. mailto:hodgsonmar...@yahoo.co.uk
   5. mailto:vihuela@cs.dartmouth.edu
   6. mailto:eisenha...@planet.nl
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Agazzari guitar [was Re: Capona?]

[Nelson, Jocelyn]

   The only one I was able to access was number four. It sounded
   delicious.
   Jocelyn

   From: Azalais [1]azal...@gmail.com
   Date: Sun, 11 Dec 2011 12:54:37 -0500
   Cc: Vihuelalist [2]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Agazzari guitar [was Re: Capona?]

   (Apologies in advance if this is too far off topic!)
  Ah yes, one of my favorite instruments!
  The double-sided, wire strung chitarra di pasta  (tuned with a key,
   and
  played with a  primitive form of solid bow):

   [1][3]http://thefrontburner.us/main/wp-content/uploads/2011/11/Chitarra
   -64
  0x468-0040_274.jpg

   [2][4]http://forums.egullet.org/uploads/1177004089/gallery_14010_2363_5
   246
  0.jpg
  In performance:
  [3][5]https://www.youtube.com/watch?feature=endscreenv=v7FRfI0kpXo
  and for the luthiers among us:

   [4][6]http://forums.egullet.org/uploads/1177004089/gallery_14010_2363_5
   246
  0.jpg
   But I have never heard about
   chitarrina, but of course that does not exclude its existence...
  ;-)
Then you missed something - yummy italian pasta!! [1]
And not even totally off-topic here since the name probably refers
to
the production process: pressing some pasta dough through a wired
frame
(somehow like an oversized egg-cutter) that might remind one of a
harp (-chitarra) :-)
Cheers, Ralf Mattes
[1]

   [5][7]http://www.dececco.it/EN/Egg-Pasta/Specialities/chitarrina-abruzz
ese-all-uovo-399/?Prodotto=159
  To get on or off this list see list information at
[6][8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  --
   References
  1.
   [9]http://thefrontburner.us/main/wp-content/uploads/2011/11/Chitarra-64
   0x468-0040_274.jpg
  2.
   [10]http://forums.egullet.org/uploads/1177004089/gallery_14010_2363_524
   60.jpg
  3. [11]https://www.youtube.com/watch?feature=endscreenv=v7FRfI0kpXo
  4.
   [12]http://forums.egullet.org/uploads/1177004089/gallery_14010_2363_524
   60.jpg
  5.
   [13]http://www.dececco.it/EN/Egg-Pasta/Specialities/chitarrina-abruzzes
   e-all-uovo-399/?Prodotto=159
  6. [14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:azal...@gmail.com
   2. mailto:vihuela@cs.dartmouth.edu
   3. http://thefrontburner.us/main/wp-content/uploads/2011/11/Chitarra-64
   4. http://forums.egullet.org/uploads/1177004089/gallery_14010_2363_5246
   5. https://www.youtube.com/watch?feature=endscreenv=v7FRfI0kpXo
   6. http://forums.egullet.org/uploads/1177004089/gallery_14010_2363_5246
   7. http://www.dececco.it/EN/Egg-Pasta/Specialities/chitarrina-abruzz
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. 
http://thefrontburner.us/main/wp-content/uploads/2011/11/Chitarra-640x468-0040_274.jpg
  10. http://forums.egullet.org/uploads/1177004089/gallery_14010_2363_52460.jpg
  11. https://www.youtube.com/watch?feature=endscreenv=v7FRfI0kpXo
  12. http://forums.egullet.org/uploads/1177004089/gallery_14010_2363_52460.jpg
  13. 
http://www.dececco.it/EN/Egg-Pasta/Specialities/chitarrina-abruzzese-all-uovo-399/?Prodotto=159
  14. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Capona?

[Nelson, Jocelyn]

   Well, the waltz was nasty because people held each other closely while
   dancing. There's even a funny quote from 1799 in Grove about people
   waltzing in the dark corner of the room.
   I think the sarabanda and ciacona garnered comments from some shocked
   Europeans in the 17th century or earlier. Maybe some performers are
   making the most (too much?) of it now to sell CDs, but the dances
   really did seem to scandalize Europeans back in the day. Perhaps more
   than choreography bothered them (with the Spanish/New World dances):
   rhythms, instrumentation, topics, maybe even the cultural group the
   music originated from?
   Yesteryear's hip hop?
   Jocelyn

   From: Monica Hall [1]mjlh...@tiscali.co.uk
   Date: Fri, 9 Dec 2011 21:42:03 +
   To: Stuart Walsh [2]s.wa...@ntlworld.com
   Cc: Vihuelalist [3]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Capona?

   - Original Message -
   From: Stuart Walsh [4]s.wa...@ntlworld.com
   To: Monica Hall [5]mjlh...@tiscali.co.uk
   Cc: Vihuelalist [6]vihuela@cs.dartmouth.edu
   Sent: Friday, December 09, 2011 9:11 PM
   Subject: Re: [VIHUELA] Re: Capona?

   Exactly!   I think this present day obsession with the idea that the

   dances

   were obscene and that being banned gives them some sort of instrinsic

   merit

   is a bit wide of the mark.

   Monica, who is obsessed with obscenity and  early dance!?

   You should get out more and read more of the liner notes to CDs made by
   groups like Les Otros!
   When I read, a

   while ago, that the early 'sarabanda' had been banned for lewdness in
   some

   places, I thought that that was just extraordinary.  And now the capona

   too, good grief! I think it would be fascinating to know what they were
   on

   about.

   I think they waved their arms about a bit and wiggled their hips.   If
   you
   have Lute 2007 you will see the illustration on the front cover.   It's
   on
   my Facebook site too.

   (I've got a book tucked away somewhere which says the same thing about
   the

   19th century waltz)

   Sounds familiar.
   Monica

  (I just went to see ENO's production of Castor

   and Pollux in which the artists spent a lot of taking their knickers

   off -

   unthinkable in Rameau's time.   They were actually quite prudish.

   But I

  can see now why Guerau in his Poema Harmonica says something to the

  effect that studying his complicated and difficult variations on the

  dance pieces will keep you out of trouble.

   Well he actaully says Use it to banish idleness and raise your heart
   to

   God.   But that's the sort of thing that they say in these prefaces.

   They

   were very high minded.   How many players on this list raise their
   hearts

   to

   God when playing?

   Monica

-- R

On Dec 8, 2011, at 5:58 PM, Eloy Cruz wrote:

Dear Stuart, list

This is from Cotarelo y Mori's Coleccion:

p. CCXXXVII. Capona (La) (Baile). Dicc. de Autoridades: ^3Son o

baile a modo

de la Mariona; pero mas rapido y bullicioso, con el cual y a cuyo

tanido se

cantan varias coplillas^2.

A very bad English translation could be:

Music and  dance in the way of a Mariona, but faster and noisier;
   to

which

music they use to sing several small coplas.

In a 17th cent. Spanish play, one of the characters says he won't

dance to

that music, because it is of very bad circumstances, because the

word

capon is used to refer to a man who has been emasculated.

Best wishes

eloy

El [FECHA], [NOMBRE] [DIRECCION] escribio:

   Hi Stuart,

   I don't know what capona means, and I don't have the music
   handy,

but I

   enjoyed this. I like your tempo.

   Best,

   Jocelyn

   From: Stuart Walsh [1][1][7]s.wa...@ntlworld.com

   Date: Thu, 8 Dec 2011 20:14:31 +

   To: Vihuelalist [2][2][8]vihuela@cs.dartmouth.edu

   Subject: [VIHUELA] Capona?

   Timo Peedu has edited some Carbonchi pieces (to be found on his

ning

   early guitar page). Included are two short and simple but
   unusual

   pieces

   with the title 'Capona'.

   There are a couple of versions of a very fancy Capona by

Kapsberger

   (including one by Rob Mackillop).

   Any ideas what Capona means?

   Here is a go at the simple ones by Carbonchi. If I have

misunderstood

   the timing or the way it should be played, I'd like to know

(preferably

   in a polite way!)

   [3][3][9]http://www.youtube.com/watch?v=WUfrieijW5I

   Stuart

   To get on or off this list see list information at

   [4][4][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.htm
   l

   --

References

[VIHUELA] Re: Radio

[Nelson, Jocelyn]

   Hi Roman,
   I've been listening for a while now and just wanted to say how much I
   enjoy your music. Thanks for the download opportunity.
   Best,
   Jocelyn
   --

   From: Roman Turovsky [1]r.turov...@verizon.net
   Date: Fri, 9 Dec 2011 12:03:04 -0500
   To: Vihuelalist [2]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] Radio

   For those have missed my radio program aired in Amsterdam on Monday,
   the audio archive is now available -
   [3]http://www.concertzender.nl/swfplayer2.php?mode=rodprovider=czprog
   ram=roddate=20111205hour=23pid=52618
   stream,
   [4]http://streams.greenhost.nl/cz/cz/rod/20111205-2300.mp3 - download
   Enjoy,
   RT
   To get on or off this list see list information at
   [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:r.turov...@verizon.net
   2. mailto:vihuela@cs.dartmouth.edu
   3. 
http://www.concertzender.nl/swfplayer2.php?mode=rodprovider=czprogram=roddate=20111205hour=23pid=52618
   4. http://streams.greenhost.nl/cz/cz/rod/20111205-2300.mp3
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Capona?

[Nelson, Jocelyn]

   Hi Stuart,

   I don't know what capona means, and I don't have the music handy, but I
   enjoyed this. I like your tempo.

   Best,

   Jocelyn

   From: Stuart Walsh [1]s.wa...@ntlworld.com
   Date: Thu, 8 Dec 2011 20:14:31 +
   To: Vihuelalist [2]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] Capona?

   Timo Peedu has edited some Carbonchi pieces (to be found on his ning
   early guitar page). Included are two short and simple but unusual
   pieces
   with the title 'Capona'.
   There are a couple of versions of a very fancy Capona by Kapsberger
   (including one by Rob Mackillop).
   Any ideas what Capona means?
   Here is a go at the simple ones by Carbonchi. If I have misunderstood
   the timing or the way it should be played, I'd like to know (preferably
   in a polite way!)
   [3]http://www.youtube.com/watch?v=WUfrieijW5I
   Stuart
   To get on or off this list see list information at
   [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:s.wa...@ntlworld.com
   2. mailto:vihuela@cs.dartmouth.edu
   3. http://www.youtube.com/watch?v=WUfrieijW5I
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Guitar bridges

[Nelson, Jocelyn]

   Hi Monica and Rocky,


   My 5-course, made by James Bump in the 1970s and supposed to be after
   a Voboam, has holes for the strings, not slots, in the bridge. There's
   not much more I can tell you other than to pass along Dan Larson's
   email address if you'd like. I've never been able to track down Bump. I
   don't even have my guitar with me at the moment, because I have a
   student practicing on it for a December recital.


   Best,

   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [1]nels...@ecu.edu

   From: Monica Hall [2]mjlh...@tiscali.co.uk
   Date: Sun, 27 Nov 2011 22:14:40 +
   To: Vihuelalist [3]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Guitar bridges

   Thank you very much for that information - most helpful.   I think my
   slots
   are rather like  yours as far as I can tell.   They go right down to
   the
   table in front but  not at the back.
   I was given to understand with a slotted bridge  the surface area of
   the
   bridge in contact with table was much less than with a modern guitar
   and
   presumably a lute and that this favoured treble strings at expense of
   the
   bass ones.   I was wondering whether this kind of bridge is definitely
   a
   characteristic of baroque guitars or whether it is just a matter of
   personal
   preference.
   How do we tell whether the bridges of surviving guitars are the
   originals?
   It raises quite a few questions for me anyway.
   Monica

   - Original Message -

   From: Rockford Mjos [4]rm...@comcast.net

   To: Monica Hall [5]mjlh...@tiscali.co.uk

   Cc: Vihuelalist [6]vihuela@cs.dartmouth.edu

   Sent: Sunday, November 27, 2011 9:14 PM

   Subject: [VIHUELA] Re: Guitar bridges

   My Strad model guitar has triangular cut-outs for strings, with the

   points going down to the soundboard. I understand that the museum

   original has this style bridge, though it is not thought to be the

   original bridge.

   Personally, I have not been very keen on this style -- I would
   prefer  a

   solid bridge which I could re-drill to change spacing if I wanted!

   By slot I assume you mean a rectangular-shaped cutout
   running  between

   the strings of a course and continuing to the face of the  guitar.

   Batov's Voboam models have this style which can be seen here:

   [7]http://www.vihuelademano.com/guitars/Voboam/pages2/Voboam-model-

   baroque-guitar.htm

   [8]http://www.vihuelademano.com/guitars/Voboam/pages1/A.Voboam1676-

   guitar.htm

   Some (at least) of the Barber  Harris guitars may have this type of

 slot -- but the web images do not clearly show bridge details.

   The Chambure vihuelas by Dan Larson have the slot-style bridge,
   too.  But

   I do not remember how his baroque guitars are set up.

   -- R

   On Nov 27, 2011, at 1:29 PM, Monica Hall wrote:

   This is just a quick query to everyone who plays the baroque

 guitar -

   about bridges.

   Mine has slots rather than holes which the strings pass
   through  when

   they are tied to the bridge.

   Is this usual on baroque guitars.   Is there any standard

   arrangement.

   Monica

   --

   To get on or off this list see list information at

   [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. file://localhost/net/people/lute-arc/nels...@ecu.edu
   2. mailto:mjlh...@tiscali.co.uk
   3. mailto:vihuela@cs.dartmouth.edu
   4. mailto:rm...@comcast.net
   5. mailto:mjlh...@tiscali.co.uk
   6. mailto:vihuela@cs.dartmouth.edu
   7. http://www.vihuelademano.com/guitars/Voboam/pages2/Voboam-model-
   8. http://www.vihuelademano.com/guitars/Voboam/pages1/A.Voboam1676-
   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: strumming along with Gervaise

[Nelson, Jocelyn]

   Hi Stuart,
   I'm interested to see this, but the link doesn't work.
   Not seeing the music, I would think any strumming would be of chords
   made up of the notes of the original chansons, if that's what these
   are. The rules of 4-part harmony as we know them today weren't in
   practice yet in the 16th century, even though there are some
   similarities.
   If the tempo and phrasing makes a strum on every single beat awkward
   and even unmusical, it makes more sense to pluck the melody or bass
   notes of some of the beats (especially the unaccented beats) instead;
   which would make it much more enjoyable and musical, anyway.
   I hope this helps even though I didn't see the music.
   Best,
   Jocelyn

   From: Stuart Walsh [1]s.wa...@ntlworld.com
   Date: Mon, 31 Oct 2011 23:29:27 +
   To: Vihuelalist [2]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] strumming along with Gervaise

   How would a strummer strum chords to these tunes composed (arranged?)
   by
   Gervaise in the 1550s?
   [3]http://www.pluckedturkeys.co.uk/Gervaise/
   They are strong melodies (Poulenc arranged some Gervaise dances for
   piano - but not these particular tunes). Maybe you just strum a chord
   according to the bass line. It's easy enough to work out what each
   chord
   would be. But playing at speed it would be formidably difficult to
   actually play them unless you were a Freddy Green-type professional.
   These Gervaise arrangements are in four parts and, as it stands, the
   bass is very easy to play as a single note. But really not so easy at
   all when the chords are changing very quickly.
   But it's often said that strummers strummed in these, and even earlier,
   times. And, if so, surely they would have strummed to accompany tunes
   like this. Would they have strummed a chord for each note as dictated
   by
   the rules of four part harmony? Or something simpler - but potentially
   more rhythmic?
   Stuart
   To get on or off this list see list information at
   [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:s.wa...@ntlworld.com
   2. mailto:vihuela@cs.dartmouth.edu
   3. http://www.pluckedturkeys.co.uk/Gervaise/
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Murcia recording and videos

[Nelson, Jocelyn]

   I enjoyed these performances; thanks, Rocky!
   Jocelyn

   From: Rockford Mjos [1]rm...@comcast.net
   Date: Sun, 6 Nov 2011 23:53:36 -0600
   To: [2]vihuela@cs.dartmouth.edu
   Subject: [VIHUELA] Murcia recording and videos

   Magnatune now has the Figueroa and Ohlsen recording Cifras selectas
   de guitarra (with music by Murcia) in their library.
   [3]http://magnatune.com/artists/albums/figueroaohlsen-cifraselect/
   The duo also has a few nice videos on YouTube:
   Cumbees:  [4]http://www.youtube.com/watch?
   v{aAu8SZJgMfeature=player_embedded#!
   Marcha de los Carabineros: [5]http://www.youtube.com/watch?
   v=V0IA8IfFBQsfeature=related
   Giga por la C (with theorbo): [6]http://www.youtube.com/watch?
   v=PjdKojawvW4feature=related
   Enjoy!
   -- R
   --
   To get on or off this list see list information at
   [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:rm...@comcast.net
   2. mailto:vihuela@cs.dartmouth.edu
   3. http://magnatune.com/artists/albums/figueroaohlsen-cifraselect/
   4. http://www.youtube.com/watch
   5. http://www.youtube.com/watch
   6. http://www.youtube.com/watch
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Montesardo, London

[Nelson, Jocelyn]

   Hi Monica,


   I don't have this; I might like to find a copy of this myself. World
   Cat says only Friborg and Riponne in Switzerland own it, if this is the
   same book. No mention of whether pages are missing.


   Are you in London? If so I hope you're safe. That goes for any other
   Londoners on the list. The news makes it look pretty dire.


   Best,

   Jocelyn

   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   nels...@ecu.edu

   On 8/7/2011 1:03 PM, Monica Hall [1]mjlh...@tiscali.co.uk wrote:

   Dear List

   Does anyone on this list have a copy of Montesardo's I lieti giorni di

   Napoli?  I have just discovered that my copy lacks pages 24-25 which I
   think

   includes the song 'O fortunati giorni'.

   If anyone has it would they be so kind as to scan the page for me?

   Many thanks

   Monica

   To get on or off this list see list information at

   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:mjlh...@tiscali.co.uk
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: alfabeto

[Nelson, Jocelyn]

I was able to get it; thanks for passing this along, Monica.
My French is poor, but this might help inspire me.
Jocelyn





On 7/3/2011 11:07 AM, Monica Hall mjlh...@tiscali.co.uk wrote:

   Well - it took me several attempts to download as it is very big.   It
   about mostly alfabeto - and is very technical.   Not an easy read - and
   I have only skimmed through it so far.   Some interesting pictures in
   one of the appendices.



   Keep trying.



   Monica

   - Original Message -

   From: [1]Martyn Hodgson

   To: [2]Monica Hall

   Sent: Sunday, July 03, 2011 3:20 PM

   Subject: Re: [VIHUELA] Re: alfabeto

   Thanks Monica,

   I tried to open it - got to the page - clicked the link and - nothing!
   I'll try again later.

   I'll be interested to see if she restricts herself to alfabeto or
   includes other systems for notating chordal song accompaniment (eg
   Moulinie's written out tablature)...

   rgds

   Martyn
   --- On Sat, 2/7/11, Monica Hall [3]mjlh...@tiscali.co.uk wrote:

 From: Monica Hall mjlh...@tiscali.co.uk
 Subject: [VIHUELA] Re: alfabeto
 To: Vihuelalist vihuela@cs.dartmouth.edu
 Date: Saturday, 2 July, 2011, 17:04

   I recieved this information from Aidan O'Donnell about his dissertation
   on alfabeto songs if anyone is interested.   Haven't read myself
   yet.   It is in French.
   Regards
   Monica
   Just a quick email to say that my alfabeto PhD is online at
   
[4]http://athirdfloorproduction.com/alfabeto/
   
It's in French, but there's a good deal on concordances and quite a
few sources in images.
   To get on or off this list see list information at
   [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:hodgsonmar...@yahoo.co.uk
   2. mailto:mjlh...@tiscali.co.uk
   3. mailto:mjlh...@tiscali.co.uk
   4. http://athirdfloorproduction.com/alfabeto/
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Pictures

[Nelson, Jocelyn]

Thank you, Monica!
JN





On 4/20/2011 1:04 PM, Monica Hall mjlh...@tiscali.co.uk wrote:

   Just as a matter of interest I have uploaded a couple of other pictures
   of guitars with other instruments.



   [1]www.earlyguitar.ning.com



   One is of the Spanish Gonzales Coques family showing guitar with
   violone and what appears to be a small chamber organ.   Of course they
   may not be playing together.   I don't know the date.



   The other is a Portuguese ceramic tile.   Could be pseudo - I don't
   have any details.   If it is genuine perhaps 18th century.



   There are pictures if you keep looking.   Whether they are significant
   or not is another matter.



   Monica

   --

References

   1. http://www.earlyguitar.ning.com/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Early guitar image

[Nelson, Jocelyn]

   Dear List

   Thank you all very much for your replies. Yes, I agree that the image
   is kind of problematic and romantic. This is just for a course-pack,
   but still I will try for the Vermeer; that's always been my favorite.


   Best wishes,

   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [1]nels...@ecu.edu

   From: Waling Tiersma [2]waling.tier...@gmail.com
   Date: Mon, 18 Apr 2011 04:17:30 -0400
   To: Vihuelalist [3]vihuela@cs.dartmouth.edu
   Cc: Joceyln Nelson [4]nels...@ecu.edu
   Subject: Re: Early guitar image

   Hi Jocelyn,



   One of the picture of paintings with a 5-course guitar that springs to
   my mind is

   [5]http://www.ibiblio.org/wm/paint/auth/vermeer/i/guitar-player.jpg fro
   m

   [6]http://www.ibiblio.org/wm/paint/auth/vermeer/



   I assume - being part of iBiblio - this image is in the public domain.



   Waling

 --- On Sun, 17/4/11, Nelson, Jocelyn [7]nels...@ecu.edu wrote:
   From: Nelson, Jocelyn [8]nels...@ecu.edu
   Subject: [VIHUELA] Early guitar image
   To: Vihuelalist [9]vihuela@cs.dartmouth.edu
   Date: Sunday, 17 April, 2011, 18:01
 Dear List,
 Does this look like a 5-course baroque guitar to you? I'm wondering
 whether to use this as an illustration of an early guitar and
   perhaps
 be even more specific (5-course?), but I wanted to see what list
 members think.
 I need to use a public domain image.
 Here's the link:
 [1][10]http://www.istockphoto.com/stock-photo-7536315-love.php
 Many thanks,
 Jocelyn

   --

References

   1. file://localhost/net/people/lute-arc/nels...@ecu.edu
   2. mailto:waling.tier...@gmail.com
   3. mailto:vihuela@cs.dartmouth.edu
   4. mailto:nels...@ecu.edu
   5. http://www.ibiblio.org/wm/paint/auth/vermeer/i/guitar-player.jpg
   6. http://www.ibiblio.org/wm/paint/auth/vermeer/
   7. mailto:nels...@ecu.edu
   8. mailto:nels...@ecu.edu
   9. mailto:vihuela@cs.dartmouth.edu
  10. http://www.istockphoto.com/stock-photo-7536315-love.php


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Early guitar image

[Nelson, Jocelyn]

Dear List,

Does this look like a 5-course baroque guitar to you? I’m wondering whether to 
use this as an illustration of an “early guitar” and perhaps be even more 
specific (5-course?), but I wanted to see what list members think. 

I need to use a public domain image.

Here’s the link:
http://www.istockphoto.com/stock-photo-7536315-love.php

Many thanks,
Jocelyn






To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: With/Without Bordones

[Nelson, Jocelyn]

   Thanks for posting, Chris! I'm tending to prefer the re-entrant tuning,
   but I like the bourdons--at least in some passages--more than I thought
   I would. Most importantly, it's fun to listen and notice the
   differences.


   Best wishes,

   Jocelyn

   On 4/16/2011 11:56 AM, Chris Despopoulos
   [1]despopoulos_chr...@yahoo.com wrote:

  I've recorded a few pieces now with a bordon on the D course --
   Suite

  by Roncalli, Paracumbe, and Folias by Sanz.  These are compared to

  similar recordings I did without the bordon.  Oddly enough, the
   earth

  did not crack open and swallow my guitar, flaming toads did not fall

  from the sky, and gravity as we know it still holds sway.

  I'm inclined to view the results along the lines of speaking a
   language

  with an accent...  Perhaps the emPHAsis is placed on differENT

  syllABles, but the import is generally the same, and the ability to

  move the listener rests entirely with the speaker regardless of his
   or

  her accent.  I've found that the bordon reveals some aspects of a
   piece

  I may not have noticed otherwise, but nothing earth-shattering.  I
   may

  try to record a few other pieces with a bordon just to be thorough.

  (And I suppose I should try this exercise with bordones on two

  courses...)  For my own pleasure I want to get back to fully
   re-entrant

  tuning, but that's just a personal and possibly temporal preference.

  If you're interested, you can hear the results at:

  [1][2]http://cudspan.net/baroque/

  Cheerscud

  --

   References

  1. [3]http://cudspan.net/baroque/

   To get on or off this list see list information at

   [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:despopoulos_chr...@yahoo.com
   2. http://cudspan.net/baroque/
   3. http://cudspan.net/baroque/
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Granata

[Nelson, Jocelyn]

   Hi Martyn and List,

   Martyn said:

   I think it would have been usual to employ a small chamber organ if
   any

  realisation was thought necessary rather than the bowed bass trying
   to

  realise the harmonies.


   Remember, though, that the early (17th and early 18th c?) cello played
   chords; it was built differently enough to make chords accessible and
   was considered a foundation instrument for a time. I don't recall
   offhand when this changed, though, and I don't know whether this
   pertains to this music in particular.

   Best,

   Jocelyn

   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   nels...@ecu.edu

   On 4/12/2011 2:54 PM, Monica Hall [1]mjlh...@tiscali.co.uk wrote:

  Belatedly I got around to listening to Stuart's Granata piece.   It

  works very nicely like this - I love the combination of guitar with

  lute.

  But I thought it might be interesting to mention that the guitar
   part

  only of this piece and several of the others with violin and bass
   parts

  were copied by Castillion into his earlier manuscript B:Lc Ms. 245
   and

  he has attributed them to F.C. i.e. Francesco Corbetta.

  According to my theory these are pieces which Corbetta says he
   included

  in the (missing) book dedicated to the Duke of Brunswick Luneberg in

  order to pay Granata back for his including some of Corbetta's
   pieces

  in one of his books - probably that of 1659.

  A bit complicated.  Perhaps the point is that they can be played in

  different ways.

  Monica

  --

   To get on or off this list see list information at

   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:mjlh...@tiscali.co.uk
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: a little Granata experiment

[Nelson, Jocelyn]

Hi Stuart,

I don't have anything enlightening to say about the publication, but I
wanted to thank you for posting this; I enjoyed the music!

Best,
Jocelyn





On 4/7/2011 3:36 PM, Stuart Walsh s.wa...@ntlworld.com wrote:

Granata's Novi Capricci Armonici Musicali in vari toni per la chitarra
spagnola, violino and viola concertati et altra sonate per chitarra sola
1674 has pieces for solo guitar and, at the beginning, 12 pieces with a
guitar part on the left hand side and then in staff notation (treble and
lightly figured bass) on the right.

This publication has been discussed before but , as usual, I can't
remember the details and don't want to plumb the archives. Gary Boyes

http://www.library.appstate.edu/music/guitar/1674granata.html

says that these pieces are for violin, guitar and continuo. I think last
time the work was discussed somebody said that it might be like some
lute trios where there is a lot of doubling (e.g. Hinterleithner and
later in the 18th century, Martino and others).

But I think it was Monica who thought that these pieces are(or might be)
for violin and continuo, and alternatively playable as guitar solos.
Anyway, I always thought it would be interesting to hear the guitar part
with the bass line. So I've had a shot at one of the pieces, the
Alemanda in E minor on page 20 which is quite attractive as a solo. I'm
not sure how fast this piece is to go and I'm taking it fairly slowly.
That leaves bar 8, the concluding bar of the first section, with one
chord for the duration of the whole bar (or almost). That's a lot of
space/time with nothing happening. Often in Allemandas, there are some
arpeggio twiddles for the first two beats and then a strummed chord.
(Most, but not all, of the later solo alemandas in this publication are
treated in this way.)

http://www.pluckedturkeys.co.uk/Granata.mp3

So this is for guitar and a lute playing the bass line. I didn't try and
do continuo because I don't know enough about it and, anyway, the guitar
is covering the main harmony. The bass does double the guitar quite a
bit (but there is often a lot of doubling in the Baroque guitar duets
I've seen). I think it's quite a strange sound. The second bar of the
second section sounds weird. The clash in the repeat of the second
section, towards the end is just my mistake.

Stuart




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[VIHUELA] Re: a bit OT: George Rush Sonata for 'Guittar with an accompanyment'

[Nelson, Jocelyn]

   Hi Stuart,


   I see. Thanks for posting the title pages; that's very informative and
   fascinating, too.


   Best,

   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   nels...@ecu.edu

   On 3/7/2011 5:27 PM, Stuart Walsh [1]s.wa...@ntlworld.com wrote:

   On 06/03/2011 23:21, Nelson, Jocelyn wrote:

   Hi Stuart,

   I enjoyed this (what I could; my internet's a little slow tonight);
   thanks

   for posting.

   Grove online has Rush as a guitarist and listed in the works section
   are

   several works for gui which I take to mean as an abbreviation for

   guitar. Also Elegant Extracts for Guitar. Ronald R. Kidd wrote the

   article.

   Did they mistake the guittar for the guitar? (Pretty understandable, I

   would say). Perhaps Rush himself spelled it as guitar?

   Ages ago I put up some title pages of 'English guitar' publications:

   [2]http://www.tuningsinthirds.com/EG/

 Rush used the spelling 'guittar' but others used 'guitar'.  'Cetra',

   'citra', 'chitarra' (and others too , were also used).

   Today, people often use the spelling 'guittar' to refer to the

   pear-shaped, wire-strung, chordally-tuned 18th century cittern. It's

   useful today , but doesn't in any way represent general practice in the

   18th century.

   Stuart

   I hadn't known of Rush before this. And thanks also for acquainting me

   with this meaning of folly. :  )

   It's a beautiful scene.

   Best,

   Jocelyn

   --

References

   1. mailto:s.wa...@ntlworld.com
   2. http://www.tuningsinthirds.com/EG/


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[VIHUELA] Re: Renaissance Guitar Podcast

[Nelson, Jocelyn]

Thanks so much, Monica!
Best,
Jocelyn





On 3/3/2011 10:56 AM, Monica Hall mjlh...@tiscali.co.uk wrote:

Finally managed to listen.  Very interesting and enjoyable.   Hope there
will be some more.

Monica


- Original Message -
From: Nelson, Jocelyn nels...@ecu.edu
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, March 02, 2011 7:06 PM
Subject: [VIHUELA] Renaissance Guitar Podcast


 Dear Early Guitar List,

 If you click the link below, you¹re on your way to my 16 minute podcast,
 which includes commentary and music from my recent CD, Ma Guiterre je te
 chante. A transcript of my commentary is available on the site, as well.
 This was produced by ECU¹s School of Music. If you have time to listen,
I
 hope you enjoy it.

 
http://www.ecu.edu/cs-admin/mktg/treasured_tunes_jocelyn_nelson_podcast.c
fm

 Best wishes,
 Jocelyn


 -- 
 Jocelyn Nelson, DMA
 Teaching Assistant Professor
 Early Guitar, Music History
 336 Fletcher Music Center
 School of Music
 East Carolina University
 252.328.1255 office
 252.328.6258 fax
 nels...@ecu.edu




 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Renaissance Guitar Podcast

[Nelson, Jocelyn]

   Dear Stuart,


   Thanks for your kind words about my podcast.


   And thanks also for your thought-provoking comments. I do think that
   before the mid-16^th century publishing spree the guitar was--and has
   been continuously ever since--a popular instrument that was mostly
   played as an accompaniment to song and dance, rather than as a vehicle
   for the more composed, notated, art music genres that were common on
   lute.


   Strumming is, generally speaking, universally idiomatic in guitar
   playing, and it's especially effective in accompaniment; in fact,
   that's the only way it can be heard in many accompaniment situations.
   And it does more than let the guitar be heard: it emphasizes the metric
   accents for singers and dancers, whereas exclusively plucking doesn't
   usually have the sonic power to do this. I think this is good evidence
   for strumming as a performance practice in past centuries. Plucking is
   also idiomatic; I hope you don't take this to mean that I think
   plucking didn't happen, or that popular guitar styles have all
   strumming and no plucking. Ijust think strumming was strong in popular
   styles because it's so successful for popular functions.


   As for what they strummed in the 16^th century or before, be careful
   not to read major and minor chords into my suggestion that they
   strummed; I agree that would be anachronistic. They must have played
   whatever worked best for the songs anddances. Sequences such as early
   versions of the chaconne or saraband are probably not that far off the
   mark, though, since those sequences came from the New World via the
   guitar, according to Esses, Hudson, and others, and they showed up as
   popular guitar sequences at the very beginning of the
   5-courseliterature.


   But I see that you bring up major and minor chords in relation to
   these sequences in your following posts. This is really tricky because
   on the one hand common practice tonality wasn't conventional until the
   18^th century. On the other hand, guitarists--and some of these
   sequences--were pushing those boundaries much earlier (they were on the
   cutting edge!). In other words, when you say major and minor chords,
   well, yes, there were many triads and with just those intervals, but
   the modal framework was different from common practice, yet in some
   cases similar enough to modern theoretical paradigms to really confuse
   us.


   You wondered what dispositions of notes earlier guitarists would have
   strummed, if not sequences. Secular songs such as chansons and
   madrigals would give guidance for that issue, because those textures
   were often played by some combination of instruments and voice: often
   by one solo instrument or by one instrument with voice (such as the
   last song on my CD and also on the podcast, Tant que vivray, which I
   based on the notes from the original chanson; the added notes are
   ornamental. And I strum sometimes!).


   I don't know anything about guitars before the 16^th century, by the
   way. I'm not saying there weren't any; I just haven't seen anything
   about them. Maybe others on this list have good ideas about that.


   Although I see Martyn has come up with some good evidence for strumming
   in the published guitar literature, I'm glad we have a skeptic on the
   list to remind us that explicit evidence is rather slim.


   Best wishes,

   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   nels...@ecu.edu

   On 3/3/2011 1:50 PM, Stuart Walsh [1]s.wa...@ntlworld.com wrote:

   On 02/03/2011 19:06, Nelson, Jocelyn wrote:

   Dear Early Guitar List,

   If you click the link below, you^1re on your way to my 16 minute
   podcast,

   which includes commentary and music from my recent CD, Ma Guiterre je
   te

   chante. A transcript of my commentary is available on the site, as
   well.

   This was produced by ECU^1s School of Music. If you have time to
   listen, I

   hope you enjoy it.

   [2]http://www.ecu.edu/cs-admin/mktg/treasured_tunes_jocelyn_nelson_podc
   ast.cfm

   Best wishes,

   Jocelyn

   I enjoyed listening to your podcast (and I do have your CD) and I hope

   you will do more podcasts.

   There is something I'd be very interested to follow up in your role of

   four-course guitar player _and_  teacher of music history! You say that

   the four-course guitar was a popular strumming instrument and I think

   you imply it was a popular strumming instrument before the guitar fad
   of

   the 16th century. This is something that intrigues me and I have raised

   it in the past.

   Monica and Rob and others have suggested that strumming is very old -

   older than the four-course repertoire as it appears in the mid 16th

   century. But there is no explicit strumming at all

[VIHUELA] Re: a bit OT: George Rush Sonata for 'Guittar with an accompanyment'

[Nelson, Jocelyn]

Hi Stuart,

I enjoyed this (what I could; my internet's a little slow tonight); thanks
for posting.

Grove online has Rush as a guitarist and listed in the works section are
several works for gui which I take to mean as an abbreviation for
guitar. Also Elegant Extracts for Guitar. Ronald R. Kidd wrote the
article. 

Did they mistake the guittar for the guitar? (Pretty understandable, I
would say). Perhaps Rush himself spelled it as guitar?

I hadn't known of Rush before this. And thanks also for acquainting me
with this meaning of folly. :  )
It's a beautiful scene.

Best,
Jocelyn
-- 
Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
336 Fletcher Music Center
School of Music
East Carolina University
252.328.1255 office
252.328.6258 fax
nels...@ecu.edu




On 3/6/2011 2:25 PM, Stuart Walsh s.wa...@ntlworld.com wrote:

The cittern list seems to have withered... Here's a little sonata for
the  wire-strung  guitar/guittar from c.1765. It's for the guittar but
to be accompanied by another guittar or violin. Guittars and violins
don't have a lot in common but guittar pieces (usually sonatas) with an
accompaniment for either guittar or violin were quite common in Britain
(and France).

George Rush wrote some operas and other music as well as music for the
guittar. His Three Sonatas is c.1765. This is the second:


Largo
http://www.youtube.com/watch?v=aVUrD8ojxf4
Allegro
http://www.youtube.com/watch?v=ENss39j-TW8
Presto
http://www.youtube.com/watch?v=PL19jxZCE0g


The building is known as Cowper's Alcove, an 18th century folly where
the poet William Cowper and his wife would visit. A wind farm was
probably not part of the scenic view in those days.



Stuart



To get on or off this list see list information at
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[VIHUELA] Renaissance Guitar Podcast

[Nelson, Jocelyn]

Dear Early Guitar List,
 
If you click the link below, you¹re on your way to my 16 minute podcast,
which includes commentary and music from my recent CD, Ma Guiterre je te
chante. A transcript of my commentary is available on the site, as well.
This was produced by ECU¹s School of Music. If you have time to listen, I
hope you enjoy it.
 
http://www.ecu.edu/cs-admin/mktg/treasured_tunes_jocelyn_nelson_podcast.cfm
 
Best wishes,
Jocelyn


-- 
Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
336 Fletcher Music Center
School of Music
East Carolina University
252.328.1255 office
252.328.6258 fax
nels...@ecu.edu




To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Polyphony and counterpoint

[Nelson, Jocelyn]

   Dear Roman, Stewart, Ralf, and List,

   After slaving away at teaching music history students and working in
   tandem with my theory/composition colleagues for around a decade, I'd
   like to say that all the texts and articles I've used in English (I'm
   currently using the Burkholder/Grout/Palisca text published by Norton)
   convey:


   Polyphony is the more general term referring to musical texture with
   more than one independent musical line occurring simultaneously.


   Counterpoint is one type of polyphony, as Stewart says. Counterpoint is
   puncta contra puncta, or note against note, and it describes
   compositional technique in polyphonic texture. What those techniques
   are like do change across time and culture, but this general
   definition, which is based on the origins of the word, holds very well.
   Composition studies would discuss the technique, and not necessarily
   the general term for the texture.


   Etymology is indeed very important; even though meanings evolve, an
   understanding of these terms' origins is indispensible when we're
   discussing historical music.


   There are certainly some different ways to use each of these words
   according to context, but until today on this list I've never seen
   controversy about these general meanings.


   Bestwishes,

   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   nels...@ecu.edu

   On 2/9/2011 3:20 PM, R. Mattes [1]r...@mh-freiburg.de wrote:

   On Wed, 9 Feb 2011 19:33:21 -, Stewart McCoy wrote

   Dear Lex,

   It is true that some people may use the words polyphony and

   counterpoint interchangeably, but if there has to be a distinction

   between the two words, one should consider their etymology.

   Why?  How can the etymology of a term help to distinguish two words?
   Words

   constantly change their meaning. Or would you accept it if your local
   bar tender

   served you a bowl of fine pouder the next time you ask for something
   'alcoholic'?

   Polyphony means many sounds or many voices, and is generally used for

   music where singers (or instruments playing a single line) have their

   own independent part. It is usually used in connection with early music

   from before 1600 (pre-baroque) - the Age of Polyphony.

   But that's only one use of this term - and it manifests an approach to
   music

   history (epochs and 'greatest composer of ...') that most of us try to
   leave

   behind.

   Even in the small domain of musicology this term has several uses, i.e.

   * Number of voices: monophonic song repertoir vs. polyphonic

   * Individuality of voices: homphonic vs. polyphonic

   * Capability of instruments: polyphonic instruments (would you call

 a lute a 'contrapunctual instrument'?)



   Counterpoint means points going against each other.

   No, this is a way too literal translation. In the context of music

   theory 'contrapunctus' needs to be translated as 'note against note' -

   and 'punctus contra punctum' and 'nota contra notam' are both used in

   early sources.

   A point is a

   short, distinctive piece of melody, which passes from one voice to

   another, like the opening theme of a fugue.

   Sorry, but where did you get this from? I've read and studied quite

   some counterpoint treaties (from the 14th centry to Fux) but I never

   encountered such a definition.

   The key word here is

   imitation. If you have two or more voices taking turns to share the
   same

   melodic material, you have counterpoint.

   According to this (your?) definition

   all 'species counterpoint' treaties wouldn't teach counterpoint.

   Polyphony could involve

   counterpoint, but it doesn't have to.

   Yes, but wouldn't that mean that Lex used the appropriate term? ;-)

   Cheers, Ralf Mattes

   Best wishes,

   Stewart.

   --

   R. Mattes -- Systemeinheitsstreichler

   Hochschule fuer Musik Freiburg

   [2]r...@inm.mh-freiburg.de

   To get on or off this list see list information at

   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:r...@mh-freiburg.de
   2. mailto:r...@inm.mh-freiburg.de
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: some Ulm mandore pieces

[Nelson, Jocelyn]

   Hi Chris,

   I think you're too modest about the clarity of texture you achieve, but
   I agree that
   tablature can be an excellent type of notation; much more useful than
   we
   moderns expect.

   Best,
   Jocelyn

   On 1/16/2011 4:09 AM, Chris Despopoulos
   [1]despopoulos_chr...@yahoo.com wrote:

  Thanks for the encouragement.  I'll say that if you can hear
   distinct

  voices in the mandore, blame the composer.  The logic of his

  compositions, and the way he implies continuity in the voices when
   the

  plectrum can't carry it explicitly is pure genius.  The tablature

  indicates everything -- up and down strokes are particularly

  important.  You could almost imagine an elaborate wind-up machine

  controlled by the instructions and successfully playing this stuff,

  it's that logical.

  Cheers cud

__

  From: Nelson, Jocelyn [2]nels...@ecu.edu

  To: Chris Despopoulos [3]despopoulos_chr...@yahoo.com; Stuart
   Walsh

  [4]s.wa...@ntlworld.com

  Cc: Vihuelalist [5]vihuela@cs.dartmouth.edu

  Sent: Fri, January 14, 2011 7:26:28 PM

  Subject: [VIHUELA] Re: some Ulm mandore pieces

  I enjoyed this, Chris. The voices in the Chancy pieces are clear and

  distinct from each other, and it's kind of amazing you were able to

  this with a plectrum. So I think you do show the depth in these
   little

  pieces. Chancy's an interesting composer.

  And I like your strums in the Sanz! Thanks for posting and sending
   the

  link.

  Best,

  Jocelyn

  

  From: Chris Despopoulos [[1][6]despopoulos_chr...@yahoo.com]

  Sent: Wednesday, January 12, 2011 12:39 PM

  To: Stuart Walsh; Nelson, Jocelyn

  Cc: Vihuelalist

  Subject: Re: [VIHUELA] Re: some Ulm mandore pieces

  Always one to toot my own horn (or pluck my own strings, as it
   were), I

  have posted some recordings on my personal site at:

  [2][7]http://cudspan.net/baroque/

  Two tracks are some old recordings I did on the mandore, and three

  others are on the baroque guitar...  I keep meaning to do better,
   but

  where's the time?

  Anyway, the mandore recordings are of Chancy's Suite #5, and 3 of
   his

  series of 6 branles.  The tablatures are for a 4-string instrument,
   and

  as I understand it, to be played with a plectrum.  At least that's
   what

  I was taught by Didier Le Roux and other members of l'Ensemble
   Gabriel

  Leone (I was *very* fortunate to attend a class that reviewed the

  mandolin.  I never made it past the mandore.)

  In spite of being played with a plectrum, the Chancy music is full
   of

  hidden polyphony.  For the miniature qualities it has on the
   surface, I

  believe the music is vast in scope...  if only I could reveal a

  fraction of its depth and breadth I'd be happy.

  Anyway, for your enjoyment...  Vive le mandore!

  cheers  cud

  

  From: Stuart Walsh [3][8]s.wa...@ntlworld.com

  To: Nelson, Jocelyn [4][9]nels...@ecu.edu

  Cc: Vihuelalist [5][10]vihuela@cs.dartmouth.edu; Chris Despopoulos

  [6][11]despopoulos_chr...@yahoo.com

  Sent: Wed, January 12, 2011 11:52:10 AM

  Subject: [VIHUELA] Re: some Ulm mandore pieces

  On 12/01/2011 16:35, Nelson, Jocelyn wrote:

   Certainly nothing wrong with dances and ballad tunes, as you

  demonstrate.

  

   Is the tuning similar to the 4-course?

  

   I'm not familiar with mandore literature, and now I'm looking
   forward

  to

   learning more about it.

  

   JN

  

  

  

  Jean-Marie Poirier has a site devoted to the instrument.

  [7][12]http://le.luth.free.fr/mandore/index.html

  It's French, of course but  there is a pdf of an article by the late

  James Tyler from Early Music. Donald Gill and James Tyler have both

  tried to promote the mandore (and the mandolino) and have both
   written

  about them.

  Supposing a tuning with top d (it might be g - or something else)
   then

  a

  four-course tuning would be g-d-g-d (or g-d-g'-d' or maybe I mean
   d'',

  but you get the point!). And a five course instrument would be

  d-g-d-g-d. But on both four and five-course instruments the top
   course

  could be lowered to c, b flat etc. Also the Skene MS has a section
   of

  pieces in lute tuning.

  Stuart

  

   On 1/11/2011 2:34 PM, Stuart


   Walsh[8][13]s.wa...@ntlworld.com[14]mailto:[9]s.wa...@ntlworld.com
 wrote:

  

   On 11/01/2011 01:48, Nelson, Jocelyn wrote:

   I really enjoyed this, Stuart. Thanks for posting!

   Best,

   Jocelyn

[VIHUELA] Re: some Ulm mandore pieces

[Nelson, Jocelyn]

Certainly nothing wrong with dances and ballad tunes, as you demonstrate.

Is the tuning similar to the 4-course?

I'm not familiar with mandore literature, and now I'm looking forward to
learning more about it.

JN






On 1/11/2011 2:34 PM, Stuart Walsh s.wa...@ntlworld.com wrote:

On 11/01/2011 01:48, Nelson, Jocelyn wrote:
 I really enjoyed this, Stuart. Thanks for posting!
 Best,
 Jocelyn



Thanks!

I have only one section of the Ulm collection and in that there are 123
pieces for five-course mandore (fingerstyle or mixed plectrum and
fingers) and a small number for four-course mandore (probably plectrum).
So the Skene and the Ulm collections make up several hundred pieces -
approaching the size of the repertoire for the four-course guitar. And
then there are the Chancy pieces and some other things.

Of course the four-course guitar's repertoire is more varied: songs,
abstract pieces, chanson settings as well as dances etc and the mandore
repertoire seems to be mainly  dances and ballad tunes. Very nice though.


Stuart




 On 1/10/2011 7:04 AM, Chris Despopoulosdespopoulos_chr...@yahoo.com
 wrote:

Thanks...  My instrument is 30 cm, and actually 5-course, single
strung.  I presume it's made according to historical
understanding...
I believe Carlos Gonzales is a historian as well as builder -- he's
planning a workshop on building ancient Egyptian/Coptic lutes this
April, for example.  I prefer to use the thin quill of a feather as
a
plectrum, as I saw done on the R. lute once.  For as thin and short
as
the strings are, it helps to have something equally tiny to set the
string in motion.  And of course, the Chancy MS is to be done with a
plectrum as far as I know.
But I have to say, your playing had me fooled...  It sounds like a
mandore to me!  And they are lovely tunes.
cud
  __

From: Stuart Walshs.wa...@ntlworld.com
To: Vihuelalistvihuela@cs.dartmouth.edu
Sent: Mon, January 10, 2011 6:19:40 AM
Subject: [VIHUELA] Re: some Ulm mandore pieces
Thanks Chris
I should have said I'm not playing these pieces on a mandore, but
on a
small, single-strung instrument, tuned like a mandore. My instrument
has a string length of 37cms and so is larger (and, no doubt,
easier to
play) than a typical four-course, four-string mandore. On the other
hand, maybe there was a difference in size between the four-course
(four-string) plectrum-played mandore and the five-course,
fingerstyle
(or plectrum+fingers style) instrument.
I knew about the Ulm tablatures from Donald Gill and James Tyler
but it
was Jean-Marie Poirier who pointed me in the direction of the
Cornetto
catalogue.
[1]http://www.faksimiles.org/verlag.htm
I think there are three separate tabaltures in the Ulm collection
and
the Cornetto facsimiles are quite expensive. At Jean-Marie's
suggestion
I got Cornetto catalogue, 0073 which turned out to be two
nicely-produced facsimiles.  The main 'book' (there's probably a
technical name for a publication roughly 8 inches by 6 inches) has
music for a five course instrument and uses a couple of tunings but
mainly one (in fourths and fifths, without lowering the first
course).
Like the Skene MS, it has to be fingerstyle or plectrum plus
fingers.
The supplementary 'book' has only a few pieces, all or mainly from
the
larger collection, but now set for a four-course instrument,
presumably
to be played with a plectrum.
Stuart
To get on or off this list see list information at
[2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

--

 References

1. http://www.faksimiles.org/verlag.htm
2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[VIHUELA] Re: some Ulm mandore pieces

[Nelson, Jocelyn]

I really enjoyed this, Stuart. Thanks for posting!
Best,
Jocelyn





On 1/10/2011 7:04 AM, Chris Despopoulos despopoulos_chr...@yahoo.com
wrote:

   Thanks...  My instrument is 30 cm, and actually 5-course, single
   strung.  I presume it's made according to historical understanding...
   I believe Carlos Gonzales is a historian as well as builder -- he's
   planning a workshop on building ancient Egyptian/Coptic lutes this
   April, for example.  I prefer to use the thin quill of a feather as a
   plectrum, as I saw done on the R. lute once.  For as thin and short as
   the strings are, it helps to have something equally tiny to set the
   string in motion.  And of course, the Chancy MS is to be done with a
   plectrum as far as I know.
   But I have to say, your playing had me fooled...  It sounds like a
   mandore to me!  And they are lovely tunes.
   cud
 __

   From: Stuart Walsh s.wa...@ntlworld.com
   To: Vihuelalist vihuela@cs.dartmouth.edu
   Sent: Mon, January 10, 2011 6:19:40 AM
   Subject: [VIHUELA] Re: some Ulm mandore pieces
   Thanks Chris
   I should have said I'm not playing these pieces on a mandore, but on a
   small, single-strung instrument, tuned like a mandore. My instrument
   has a string length of 37cms and so is larger (and, no doubt, easier to
   play) than a typical four-course, four-string mandore. On the other
   hand, maybe there was a difference in size between the four-course
   (four-string) plectrum-played mandore and the five-course, fingerstyle
   (or plectrum+fingers style) instrument.
   I knew about the Ulm tablatures from Donald Gill and James Tyler but it
   was Jean-Marie Poirier who pointed me in the direction of the Cornetto
   catalogue.
   [1]http://www.faksimiles.org/verlag.htm
   I think there are three separate tabaltures in the Ulm collection and
   the Cornetto facsimiles are quite expensive. At Jean-Marie's suggestion
   I got Cornetto catalogue, 0073 which turned out to be two
   nicely-produced facsimiles.  The main 'book' (there's probably a
   technical name for a publication roughly 8 inches by 6 inches) has
   music for a five course instrument and uses a couple of tunings but
   mainly one (in fourths and fifths, without lowering the first course).
   Like the Skene MS, it has to be fingerstyle or plectrum plus fingers.
   The supplementary 'book' has only a few pieces, all or mainly from the
   larger collection, but now set for a four-course instrument, presumably
   to be played with a plectrum.
   Stuart
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.faksimiles.org/verlag.htm
   2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[VIHUELA] Re: Wolzien early guitar anthology

[Nelson, Jocelyn]

Dear Early Guitar List,
 
I would like to announce the following online
early guitar anthology compiled by Chuck Wolzien, who was my professor
when I studied at
CU Boulder:
 
Early Guitar Anthology I:  The Renaissance c. 1540-1580
by Charles Wolzien and Frank Bliven
Early Guitar Anthology I:  The Renaissance c.1540-1580  is the first in a
series of five online volumes dedicated to guitar music from the
Renaissance,
Baroque, and Classical periods.  A free sample of this 193-page volume, as
well as a download of the entire book (for 10 US$ via PayPal), is
available at www.EarlyGuitarAnthology.com:  it
will be joined soon at this site by subsequent volumes as they are
finished.
 
Written by Charles Wolzien and edited by Frank Bliven, these books
are being compiled and revised from the class handouts, lecture notes,
analytical studies, and tablature transcriptions that were created by the
author in over three decades of college teaching.  Designed for both
college level history classes and private studio teachers, each volume is
prefaced by a short ŒGeneral Background¹ section that:  outlines the
instrument(s) that were played; cites the sources that were used for the
transcriptions or editions; discusses the notational conventions of the
time;
and offers a quick look at the various approaches that might have been
used in performing
this music.  The musical examples in these volumes include compositions
written by the best guitar composers of each period, encompassing all of
the
important genres of the time.
 
Best
wishes,
Jocelyn


-- 
Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
336 Fletcher Music Center
School of Music
East Carolina University
252.328.1255 office
252.328.6258 fax
nels...@ecu.edu







To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Sad news

[Nelson, Jocelyn]

Dear Early Guitar List,

I’m very sad to report that James Tyler has passed away. I don’t know any 
details; I have recently corresponded with him, and yesterday morning I 
received this heartbreaking email from Joyce Tyler, sent from his own email 
address: “It is with deepest regret that I inform you of the passing of my 
beloved Jim.” I replied with condolences and an offer to help, and haven’t 
heard back from her yet so I don’t know any more than this. 

He wrote the standard reference for early guitar studies, The Guitar and its 
Music from the Renaissance to the Classical Era with co-author Paul Sparks, 
and Tyler also wrote the entries on four-course and five-course guitar in The 
New Grove Dictionary of Music and Musicians and Grove Online. His distinguished 
career as both an international performer and a musicologist, in fact, merits 
its own entry in Grove and other encyclopedias. This is a tragic loss for the 
early guitar and lute community, and the early music world.

I know that you will want to join me in extending our deepest sympathies to 
Jim’s family, and that you will keep them in your thoughts during this 
difficult time.

Jocelyn


Jocelyn Nelson, DMA
Teaching Assistant Professor
506 School of Music
East Carolina University
252.328.1255 office
252.328.6258 fax
nels...@ecu.edu



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

[Nelson, Jocelyn]

Hello early guitarists,

I just received a query: “Do you know the earliest publications for lute and/or 
guitar in which harmonics were used?”

Any thoughts?

Thanks,
Jocelyn




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

[Nelson, Jocelyn]

Thanks very much, Stuart and Roman.
Jocelyn



From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of Roman 
Turovsky [r.turov...@verizon.net]
Sent: Saturday, November 20, 2010 6:25 PM
To: Nelson, Jocelyn; Stuart Walsh
Cc: Monica Hall; Martyn Hodgson; Vihuelalist
Subject: [VIHUELA] Re: guitar publications with harmonics

By not much, as you cannot do them on double strings.
RT

From: Stuart Walsh s.wa...@ntlworld.com
On 20/11/2010 22:07, Nelson, Jocelyn wrote:
 Hello early guitarists,

 I just received a query: “Do you know the earliest publications for lute
 and/or guitar in which harmonics were used?”

 Any thoughts?

 Thanks,
 Jocelyn




According to Oleg Timofeyev:

[Semion Aksionov] apparently invented the special effect in guitar
playing known today as artificial harmonics which is explained in a
guitar method in 1819.

But natural harmonics must have predated this.



Stuart




 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: 50 Standards

[Nelson, Jocelyn]

Dear List,

I’d like to follow up on this to say that this is a wonderful book; my students 
and I are thrilled with it. Monica is one of the translators, so of course the 
extensive commentary is a great asset.

Jocelyn



Jocelyn Nelson, DMA
Teaching Assistant Professor
506 School of Music
East Carolina University
252.328.1255 office
252.328.6258 fax
nels...@ecu.edu

From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of Monica 
Hall [mjlh...@tiscali.co.uk]
Sent: Tuesday, October 12, 2010 11:18 AM
To: Vihuelalist
Subject: [VIHUELA] 50 Standards

   Dear List



   Gerard Rebours produced this useful book - 50 standards which is a
   resource book for improvising on various popular 16th and 17th century
   grounds.   There is an English as well as a French version.   But some
   people have had a problem ordering the English version.



   This is the link if anyone wants to try.

   [1]http://www.editions-classique.com/ProduitClassique.php?o=2r=3c=4;
   id=1284

   or

   [2]To contact us

   Monica

   --

References

   Visible links
   1. 
http://www.editions-classique.com/ProduitClassique.php?o=2r=3c=4id=1284
   2. 
http://www.editions-classique.com/ProduitClassique.php?o=2r=3c=4id=1284

   Hidden links:
   3. 
http://www.editions-classique.com/ProduitClassique.php?o=2r=3c=4id=1284


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[VIHUELA] Re: Domingo Prat's Diccionario de Guitarristas

[Nelson, Jocelyn]

   Thank you, Stuart. I think this is the edition my librarian saw, since
   he quoted the same price.

   That link you provided includes He covered the ground from the
   earliest times, through the Renaissance and Baroque to the classical
   era up to and including the present. which made me curious, but I
   would imagine its value lies in what it says about 19th century as you
   say, and what it shows about perceptions in the 1930s Spain  Latin
   America of guitar history.

   Best,
   Jocelyn
 ___

   From: Stuart Walsh [1]s.wa...@ntlworld.com
   Date: Thu, 16 Sep 2010 17:03:57 -0400
   To: Nelson, Jocelyn [2]nels...@ecu.edu
   Cc: Vihuelalist [3]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Domingo Prat's Diccionario de Guitarristas
 On 16/09/2010 21:54, Nelson, Jocelyn wrote:
Hi Everyone,
My music librarian is pondering whether to buy this, after
   receiving a
gift copy of the index. I haven't worked with this, but it looks
   like
it would be a good resource.
Do others on this list have an opinion?
Many thanks,
Jocelyn
--
   Ophee does a reprint of it for a mere $300!
   [4]http://www.editionsorphee.com/books/diccionario.html
   As I remember, it's a really important source for the history of the
   guitar, but it's from 1934 and I think it's more useful for 19th
   century
   guitar, than  earlier.
   Stuart
Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
336 Fletcher Music Center
School of Music
East Carolina University
252.328.1255 office
252.328.6258 fax
[1][5]nels...@ecu.edu
   
   ___
   
--
   
References
   
1. [6]file://localhost/net/people/lute-arc/nels...@ecu.edu
   
   
To get on or off this list see list information at
[7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   --

References

   1. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
   2. file://localhost/net/people/lute-arc/nels...@ecu.edu
   3. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
   4. http://www.editionsorphee.com/books/diccionario.html
   5. file://localhost/net/people/lute-arc/nels...@ecu.edu
   6. file://localhost/net/people/lute-arc/nels...@ecu.edu
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Domingo Prat's Diccionario de Guitarristas

[Nelson, Jocelyn]

   Hi Everyone,
   My music librarian is pondering whether to buy this, after receiving a
   gift copy of the index. I haven't worked with this, but it looks like
   it would be a good resource.
   Do others on this list have an opinion?
   Many thanks,
   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [1]nels...@ecu.edu
 ___

   --

References

   1. file://localhost/net/people/lute-arc/nels...@ecu.edu


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

[Nelson, Jocelyn]

   Dear List,

   Thank you for the kind words and encouragement for my CD and videos!

   Yes, I agree improvised embellishment has to do with the genre and
   function of the music, and only makes sense in historically
   well-informed contexts.

   For instance, I wouldn't feel comfortable embellishing most fantasies,
   other than an occasional cadential emphasis or strummed flourish.

   But in regard to those scalar diminutions in many of Le Roy's dances
   that we discussed on this list some months back: I hear those as
   suggested embellishments; the player has many options in those
   passages.

   As for accompaniment: I arranged much of my accompaniment to the songs
   on my CD. I did most of them both as written and also arranged, in
   different verses. In fact, I was still arranging when we recorded, in
   short 10-minute breaks for instance with my pencil and tab, and
   sometimes I even tried new things as we recorded. (Very exciting when
   your singer only has a few hours to record with you before her flight
   home.)

   The written 4-course guitar parts in the songbooks published in
   mid-16th century France have been the subject of some discussion: were
   they meant to be played as written with the singer even though the
   guitar parts have the entire melody? Or was the guitar part only for
   guitar solo and if the singer takes the melody, should the guitarist
   let the singer have it and do something else? I discuss this in my CD
   notes.

   Best,
   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [1]nels...@ecu.edu
 ___

   From: Monica Hall [2]mjlh...@tiscali.co.uk
   Date: Fri, 30 Jul 2010 12:50:48 -0400
   To: Eugene C. Braig IV [3]brai...@osu.edu
   Cc: Vihuelalist [4]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Four c. guitar
   I think you have hit the nail on the head.   The problem with the
   baroque
   guitar is that everyone seems to treat it as fair game for anything
   ethnic/new agey.
   I am inclined to think this is a mistake!
   Monica
- Original Message -
   From: Eugene C. Braig IV [5]brai...@osu.edu
   To: 'List LUTELIST' [6]l...@cs.dartmouth.edu; 'Vihuelalist'
   [7]vihu...@cs.dartmouth.edu
   Sent: Friday, July 30, 2010 5:26 PM
   Subject: [VIHUELA] Re: Four c. guitar
Yes, I agree with all, especially regarding elaborating on brief
   dance
melodies or chord progressions.  It's hard to guess what
   improvisation on
guitar might have sounded like in the renaissance or baroque era.
   It's
when
there is an abrupt change of style leaning heavily on
   new-agey-sounding
suspensions, etc. that such improvisations can be distracting.
   
Best,
Eugene
   
   
-Original Message-
From: [8]lute-...@cs.dartmouth.edu
   [[9]mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Chris Despopoulos
Sent: Friday, July 30, 2010 12:23 PM
To: Eugene C. Braig IV; List LUTELIST; Vihuelalist
Subject: [VIHUELA] Re: Four c. guitar
   
   Having just attended classes on the Baroque Guitar at La Semana
   de
   Musica Antigua in Gijon, Spain...
   Eduardo Eguez pointed out that the Sanz manuscript is a book of
   ensenyanza...  that is, you're learning the pieces.  Most
   certainly,
   any player above the beginner level would have taken these as
   suggestions, and would have improvised on these themes.  That was
   how
I
   took Eduardo's message on that front, anyway.  Yes, there's music
   that
   is composed to the fullest extent, but Sanz (at least) seems to
   have
   made illustrations more so than compositions, per se.  It may be
   that
   most of the existing guitar works are intended to be taken with a
   similar grain of salt?  (Still thinking about that...)
   I have noticed a relatively recent movement in terms of Baroque
   guitar
   performance that tends toward improvisation.  Xavier Diaz Latorre
   does
   this wonderfully, I think.
   In the same festival I attended a series of classes on
   disminuacion
and
   ornamentacion.  Again, the idea was that melodic lines were meant
   to
   include the addition of passing phrases from one note to another,
   and/or ornamentation -- all at the discretion of the performer.
   In a
   word, improvisation.  And again, I notice that players are
   achieving
   this today.  Interestingly, we had another set of classes that
   covered
   a flame war between Monteverdi and Artusi, where Artusi
   complained
that
   Monteverti's dissonances would be fine in the context of
improvisation,
   but a serious composition should not have such things.  Then back
   to
   the improvisation class where we saw an 

[VIHUELA] 4-course guitar videos

[Nelson, Jocelyn]

   Dear list,

   My university recently posted a series of videos on You Tube. If you
   follow this link, you'll see that I have three up there with 4-course
   renaissance guitar, including La seraphine.

   [1]http://www.youtube.com/user/ECU#g/c/69CB3D225AB4DC20
   I'm glad to finally post something list members might enjoy, because
   I've enjoyed so many videos others on this list have posted.

   Best,
   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [2]nels...@ecu.edu
   --

References

   1. http://www.youtube.com/user/ECU#g/c/69CB3D225AB4DC20
   2. file://localhost/net/people/lute-arc/nels...@ecu.edu


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: 4-course guitar videos

[Nelson, Jocelyn]

   Thanks very much, Bill.
   My ECU administrators are the culprits for disabling the comments.
   Looks kind of non-sportsmanlike, doesn't it?

   Best,
   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [1]nels...@ecu.edu
 ___

   From: bill kilpatrick [2]kilpatrickb...@yahoo.co.uk
   Date: Tue, 20 Jul 2010 13:55:30 -0400
   To: Vihuelalist [3]vihu...@cs.dartmouth.edu, Nelson, Jocelyn
   [4]nels...@ecu.edu
   Subject: Re: [VIHUELA] Re: 4-course guitar videos
   been a favorite for about two weeks now - brava!  wish you hadn't
   disabled the comments, however - all set to gush on your behalf. -
   bill
   [5]http://www.youtube.com/profile?user=billkilpatrick
   --- On Tue, 20/7/10, wikla [6]wi...@cs.helsinki.fi wrote:

 From: wikla [7]wi...@cs.helsinki.fi
 Subject: [VIHUELA] Re: 4-course guitar videos
 To: Nelson, Jocelyn [8]nels...@ecu.edu
 Cc: Vihuelalist [9]vihu...@cs.dartmouth.edu
 Date: Tuesday, 20 July, 2010, 18:41
 Thanks Jocelyn!
 Very beautiful and so relaxed: La Seraphine by Guillaume Morlaye
 is a
 gem!
 All the best,
 Arto
 On Tue, 20 Jul 2010 12:23:19 -0400, Nelson, Jocelyn
 [10]nels...@ecu.edu [11]/mc/compose?to=nels...@ecu.edu 
 wrote:
  Dear list,
 
 My university recently posted a series of videos on You Tube.
 If you
 follow this link, you'll see that I have three up there with
 4-course
 renaissance guitar, including La seraphine.
 
 [1][12]http://www.youtube.com/user/ECU#g/c/69CB3D225AB4DC20
 I'm glad to finally post something list members might enjoy,
 because
 I've enjoyed so many videos others on this list have posted.
 
 Best,
 Jocelyn
 --
 Jocelyn Nelson, DMA
 Teaching Assistant Professor
 Early Guitar, Music History
 336 Fletcher Music Center
 School of Music
 East Carolina University
 252.328.1255 office
 252.328.6258 fax
 [2][13]nels...@ecu.edu [14]/mc/compose?to=nels...@ecu.edu
 --
 
  References
 
 1. [15]http://www.youtube.com/user/ECU#g/c/69CB3D225AB4DC20
 2. [16]file://localhost/net/people/lute-arc/nels...@ecu.edu
 [17]/mc/compose?to=nels...@ecu.edu
 
 
  To get on or off this list see list information at
  [18]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 [19]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

   --

References

   1. file://localhost/net/people/lute-arc/nels...@ecu.edu
   2. file://localhost/net/people/lute-arc/kilpatrickb...@yahoo.co.uk
   3. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
   4. file://localhost/net/people/lute-arc/nels...@ecu.edu
   5. http://www.youtube.com/profile?user=billkilpatrick
   6. file://localhost/net/people/lute-arc/wi...@cs.helsinki.fi
   7. file://localhost/net/people/lute-arc/wi...@cs.helsinki.fi
   8. file://localhost/net/people/lute-arc/nels...@ecu.edu
   9. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
  10. file://localhost/net/people/lute-arc/nels...@ecu.edu
  11. file://localhost/mc/compose?to=nels...@ecu.edu
  12. http://www.youtube.com/user/ECU#g/c/69CB3D225AB4DC20
  13. file://localhost/net/people/lute-arc/nels...@ecu.edu
  14. file://localhost/mc/compose?to=nels...@ecu.edu
  15. http://www.youtube.com/user/ECU#g/c/69CB3D225AB4DC20
  16. file://localhost/net/people/lute-arc/nels...@ecu.edu
  17. file://localhost/mc/compose?to=nels...@ecu.edu
  18. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  19. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[VIHUELA] Re: de Visee with basses

[Nelson, Jocelyn]

   Hi Arto,
   I don't know offhand, but I think Rebours has done a concordance of de
   Visee's works, and perhaps Dunn has written something as well.
   These are beautiful pieces. Thanks for posting!
   Best,
   Jocelyn
 ___

   From: wikla [1]wi...@cs.helsinki.fi
   Date: Fri, 28 May 2010 16:40:00 -0400
   To: [2]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] de Visee with basses
   Dear flat back lutenists, especially baroque guitarists,
   I've done some de Visee tubings by Theorbe de pieces that perhaps
   might
   interest also baroque guitarists?
   In any case de Visee made (or had made?) his guitar pieces to theorbo
   and
   his theorbo pieces to guitar.
   So the following theorbo pieces perhaps have also guitar versions
   (without
   the basses, of course ;-) (and probably also exluding the prelude?):
   Prelude: [3]http://www.youtube.com/watch?v=65CI-xbiCSs
   ([4]http://vimeo.com/11928077)
   Allemande: [5]http://www.youtube.com/watch?v=jpU1ooPd5Pc
   ([6]http://vimeo.com/11989271)
   Courante: [7]http://www.youtube.com/watch?v=8FTRLX5vBSE
   ([8]http://vimeo.com/12080243)
   Menuet en rondeau: [9]http://www.youtube.com/watch?v=UsY-W43XzsA
   ([10]http://vimeo.com/12115778)
   So are there baroque guitar versions of these? Perhaps someone has
   played
   those also to the tubes? Let me know!
   All the best,
   Arto
   To get on or off this list see list information at
   [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --

References

   1. file://localhost/net/people/lute-arc/wi...@cs.helsinki.fi
   2. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
   3. http://www.youtube.com/watch?v=65CI-xbiCSs
   4. http://vimeo.com/11928077
   5. http://www.youtube.com/watch?v=jpU1ooPd5Pc
   6. http://vimeo.com/11989271
   7. http://www.youtube.com/watch?v=8FTRLX5vBSE
   8. http://vimeo.com/12080243
   9. http://www.youtube.com/watch?v=UsY-W43XzsA
  10. http://vimeo.com/12115778
  11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Corbetta

[Nelson, Jocelyn]

   : )  That is a scary looking picture, but I enjoyed the little bit of
   samples that I heard.
   Jocelyn
 ___

   From: Stuart Walsh [1]s.wa...@ntlworld.com
   Date: Sun, 30 May 2010 12:15:44 -0400
   To: Monica Hall [2]mjlh...@tiscali.co.uk
   Cc: Vihuelalist [3]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Corbetta
   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.
   
   
   
   Monica
   
   --
   
   
   I just looked on Amazon UK. Is it called Une larme with a rather
   fierce-looking chap on the CD cover who looks like he's going to bash
   you over the head with his Baroque guitar?
   Stuart
To get on or off this list see list information at
[4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   
   --

References

   1. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
   2. file://localhost/net/people/lute-arc/mjlh...@tiscali.co.uk
   3. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Monica's website

[Nelson, Jocelyn]

   Hi Monica and List,

   Here's a belated public kudos, Monica, to your Baroque Guitar Made
   Simple! on your website. Your commentaries as well as your
   translations of the earlier alfabeto literature are so valuable.

   The point you make in Montesardo (p.3) about the first alfabeto chords
   (A, B, and C corresponds to a I IV V progression) is especially
   interesting to me because of how forward-looking that tonal paradigm
   was in 1606. Do you feel, as I, that the guitarists were way ahead of
   most other musicians in this?

   My two Baroque guitar students and I especially loved the detailed
   passages on technique during our class. They had my 5-course and their
   modern classical guitars while I had my 4-course, so we were able to
   try these out with the whole family and see how perfect these
   techniques are for the 5-course.

   For those that don't know, I had two Baroque guitar as an instrumental
   minor students the past two semesters once we managed to get it
   approved. Since I've been focusing on my 4-course over the past couple
   of years, I was very happy to hear both my baroque guitar students play
   Corbetta on my baroque guitar as part of their senior recitals. The
   last two semesters teaching them has been fun, and I'm proud of how
   well these busy classical guitar students learned to play the 5-course
   and use such different notations over the past year.

   Thanks to Monica's help and to the whole list for your infectious
   enthusiasm, I never found myself at a loss for exciting issues to bring
   up during class.

   Best,
   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [1]nels...@ecu.edu
 ___

   From: Monica Hall [2]mjlh...@tiscali.co.uk
   Date: Mon, 15 Mar 2010 18:27:09 -0400
   To: Nelson, Jocelyn [3]nels...@ecu.edu
   Cc: Vihuelalist [4]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Web pages
   Hi Jocelyn
   Any feedback will be welcome.
   Monica
   - Original Message -
   From: Nelson, Jocelyn [5]nels...@ecu.edu
   To: Monica Hall [6]mjlh...@tiscali.co.uk; Vihuelalist
   [7]vihu...@cs.dartmouth.edu
   Sent: Monday, March 15, 2010 9:40 PM
   Subject: [VIHUELA] Re: Web pages
  Monica,
  This is so very valuable, thank you for all your great work. I've
  already forwarded it to my little Baroque guitar class and the
   three of
  us will explore it tomorrow morning together.
  Best,
  Jocelyn
  --
  Jocelyn Nelson, DMA
  Teaching Assistant Professor
  Early Guitar, Music History
  336 Fletcher Music Center
  School of Music
  East Carolina University
  252.328.1255 office
  252.328.6258 fax
  [1][8]nels...@ecu.edu
   
   ___
   
  From: Monica Hall [2][9]mjlh...@tiscali.co.uk
  Date: Mon, 15 Mar 2010 17:03:32 -0400
  To: Vihuelalist [3][10]vihu...@cs.dartmouth.edu
  Subject: [VIHUELA] Web pages
 I have now added a big chunk of new stuff on my web page -
 [1]www.monicahall.co.uk
 It all forms part of my project with the title The baroque
   guitar
  made
 simple and it consists of translations of the instructions to
   the
 player from the  guitar books of Montesardo, Colonna,
   Sanseverino
  and
 Millioni with comments and musical examples and a separate
   section
  on
 alfabeto songs.
 There is a general introduction and then the pages about
   Foscarini
  and
 Bartolotti follow on.
 Any comments and corrections will be gratefully received.
 I hope someone will find it as interesting as I do.  The books
   do
  throw
 up quite a lot of interesting background details.  For example
  Colonna
 and Sanseverino both dedicated books to the Milanese nobleman
   Conde
 Iulio Borromeo  who was related to Saint Charles Borromeo and
  Colonna
 says he was living in Iulio Cesare's household when he composed
   his
 pieces.
 There is more to these books than meets the eye.
 cheers
 Monica
 --
  References
 1. [4][11]http://www.monicahall.co.uk/
  To get on or off this list see list information at
  [5][12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  --
   
References
   
  1. [13]file://localhost/net/people/lute-arc/nels...@ecu.edu
  2. [14]file://localhost/net/people/lute-arc/mjlh...@tiscali.co.uk
  3.
   [15]file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
  4. [16]http://www.monicahall.co.uk/
  5. [17]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   --

References

   1. file://localhost/net

[VIHUELA] Nelson 4c guitar CD

[Nelson, Jocelyn]

   Dear Friends,
   I'd like to announce my new CD of renaissance guitar music, featuring
   soprano Amy Bartram. It's now available through me as well as at CD
   Baby: [1]http://www.cdbaby.com/cd/nelsonbartram, and will be available
   soon at Amazon, iTunes, and the Lute Society of America. See an excerpt
   from the press release, below.

   Best,
   Jocelyn
   Ma Guiterre je te chante
   16th Century Guitar Solos and Chansons
   Jocelyn Nelson, Renaissance Guitar
   Amy Bartram, Soprano
   Renaissance guitarist Jocelyn Nelson presents a CD of guitar solos from
   16th-century France. Also featured on 9 French songs is soprano Amy
   Bartram, singled out by the New York Times for her vivid, and
   irresistible, expression.

   Ma Guiterre je te chante: 16th century guitar solos and chansons is a
   recording entirely devoted to sixteenth-century published French guitar
   repertoire including guitar solos as well as rarely heard Renaissance
   arrangements of chansons for soprano with guitar accompaniment,
   performed on the type of guitar that sixteenth-century musicians would
   have used, now known as the four-course Renaissance guitar.
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [2]nels...@ecu.edu
   --

References

   1. http://www.cdbaby.com/cd/nelsonbartram
   2. file://localhost/net/people/lute-arc/nels...@ecu.edu


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: lyrics to Guardama las Vacas and Conde Claros

[Nelson, Jocelyn]

   Hi David,
   I recommend Study of an oral romance tradition, the Conde claros de
   montalvan by Judith Leland Seeger (1982 thesis  1990 Garland). I
   enjoyed dipping into this book about the conde claros story and its
   variations among different cultures around the Mediterranean and even
   in Latin America, if I'm not mistaken.
   Best,
   Jocelyn
 ___

   From: David van Ooijen [1]davidvanooi...@gmail.com
   Date: Tue, 30 Mar 2010 03:31:15 -0400
   To: [2]michael.f...@notesinc.com [3]michael.f...@notesinc.com
   Cc: lutelist Net [4]l...@cs.dartmouth.edu, Vihuelalist
   [5]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] Re: lyrics to Guardama las Vacas and Conde Claros
   Thank you so much!
   David
   On Tue, Mar 30, 2010 at 1:49 AM, [6]michael.f...@notesinc.com
   [7]michael.f...@notesinc.com wrote:
Ah, at last I can make a contribution! Here is a bit of my
   introduction to
Vacas for Vihuela, a collection of vihuela variations:
   
Among Spanish villancico texts of the 15th-16th centuries, probably
   the best
known is Guardame las vacas. To a poem attributed to Crtistobal de
Castillejo (1494-1550), this boy-girl song began:
   
Guardame las vacas,
carillo, y besarte he;
si no, besame tu a mi,
que yo te las guardare.1
   
Since pastoral love poetry was tremendously popular in the
   Renaissance and
beyond, it is no wonder that the text found its way into an English
collection of 1600, translated:
   
I prithee keep my kine for me,
Carillo, wilt thou? Tell.
First let me have a kiss of thee,
And I will keep them well.2

1. Antologia poetica Crtistobal de Castillejo, ed. de Rogelio Reyes
   Cano
(Madrid: Catedra, 2004), p. 157.
2. England's Helicon (1600), ascribed to John Bodenham. Modern
   edition:
England's Helicon: A Collection of Lyrical and Pastoral Poems:
   published in
1600, ed. by Arthur H. Bullen (Freeport, NY: Books for Libraries
   Press,
1970(?).
   
The translation is, of course, not exact, but you get the idea: a
   classic
boy-girl song. There are more verses, but I don't have them handy.
   You can
probably find them in the references mentioned above.
   
The romance Conde Claros is considerably longer. I can't give you
   anything
truly authoritative, but I did find the Spanish in Wikipedia:
   
   
   [8]http://es.wikisource.org/wiki/Romance_del_conde_Claros_de_Montalv%C3
   %A1n
   
If you have the Google toolbar (free download), you could get a rough
translation.
   
Hope this helps,
   
Mike

   
Michael Fink, PhD
[9]michael.f...@notesinc.com

   
-Original Message-
From: [10]lute-...@cs.dartmouth.edu
   [[11]mailto:lute-...@cs.dartmouth.edu] On Behalf
Of David van Ooijen
Sent: Monday, March 29, 2010 2:44 PM
To: lutelist Net; Vihuelalist
Subject: [VIHUELA] lyrics to Guardama las Vacas and Conde Claros
   
I know it's a recurring question, with recurring answers, but please
forgive my inability to work with the archives. And, actually, posing
the question anew usually brings forth a plethora of additional
information. So, can some kind soul send me the lyrics (in Spanish,
and preferably with English translation) of the two songs above found
as instrumental pieces with de Narvaez?
   
David - grateful as ever
   
--
***
David van Ooijen
[12]davidvanooi...@gmail.com
www.davidvanooijen.nl
***
   
   
   
To get on or off this list see list information at
[13]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   
   
   --
   ***
   David van Ooijen
   [14]davidvanooi...@gmail.com
   www.davidvanooijen.nl
   ***
   --

References

   1. file://localhost/net/people/lute-arc/davidvanooi...@gmail.com
   2. file://localhost/net/people/lute-arc/michael.f...@notesinc.com
   3. file://localhost/net/people/lute-arc/michael.f...@notesinc.com
   4. file://localhost/net/people/lute-arc/l...@cs.dartmouth.edu
   5. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
   6. file://localhost/net/people/lute-arc/michael.f...@notesinc.com
   7. file://localhost/net/people/lute-arc/michael.f...@notesinc.com
   8. http://es.wikisource.org/wiki/Romance_del_conde_Claros_de_Montalv%C3%A1n
   9. file://localhost/net/people/lute-arc/michael.f...@notesinc.com
  10. file://localhost/net/people/lute-arc/lute-...@cs.dartmouth.edu
  11. mailto:lute-...@cs.dartmouth.edu
  12. file://localhost/net/people/lute-arc/davidvanooi...@gmail.com
  13. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  14. file://localhost/net/people/lute-arc/davidvanooi...@gmail.com

[VIHUELA] Re: Foscarini Passacaglio

[Nelson, Jocelyn]

   Monica,
   You have the seed here of a good paper! (unless it's already been
   done?)
   Best,
   Jocelyn
 ___

   From: Monica Hall [1]mjlh...@tiscali.co.uk
   Date: Tue, 5 Jan 2010 07:39:05 -0500
   To: Stuart Walsh [2]s.wa...@ntlworld.com
   Cc: Vihuelalist [3]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Foscarini Passacaglio
   A few more thoughts on the passacaglia.
   I spent a bit more time looking at Foscos passacaglie and of course he
   does
   make a distinction between the passacaglia which is in a minor key and
   ciaccona which is in a major key.   The same distinction is made by
   Corbetta
   in his 1643 book although it is not so clear as the pieces aren't
   individually titled.   Gallot - who copied most of them does rather
   inconsistently label them either passacaglie or ciaccona.  Bartolotti
   just
   refers to all his as Passacaglie on p.1 apart from the Ciaccona on p.
   49.
   Not sure what that proves but it seemed interesting.
   Cheers
   Monica
   - Original Message -
   From: Stuart Walsh [4]s.wa...@ntlworld.com
   To: Vihuelalist [5]vihu...@cs.dartmouth.edu
   Sent: Sunday, January 03, 2010 11:02 AM
   Subject: [VIHUELA] Foscarini Passacaglio
On the ning site Monica wrote: 'Passacalles literally means pass
   through
the streets.' Interesting. And so you could be passing through the
streets purposefully or perhaps just meandering about.At the
   beginning of
his book (his collected works, as it were) Foscarini gives the
   'Passacalli
sopra tutti le lettere' which seem to be just four bars with four
   chords
(not starting on first beat of bar). And, more or less, that's how
   most
passacalles I've ever seen are structured: a four bar scheme
   endlessly
repeated. (Some in the Gallot MS don't always fit, though)
   
But Foscarini's own examples of the passacalles don't fit this at
   all.
They really do seem to just meander about, always hinting at a
   typical
passaccalles but never quite being it. Monica has had a go at an
   edited
reconstruction of one in E minor. *[6]http://tinyurl.com/y8mvxfd
   (page
17) -Passacaglio Variato sopra l'+*
//
There is no (easily discernible) repeated four bar structure and no
(easily discernible) direction to the music. And it's in two parts!
   After
57 bars the first part ends and second part sort of carries on in
   more or
less the same way for another 64 bars. And it's as if Foscarini
   really
liked the sound and feel of certain chord changes - especially E
   minor at
second position to B minor with a g in the melody on top.
   
I've had a go at the first part. Technically it is not difficult
   piece but
I always manage to make a pig's ear of one bit or another and my
   guitar
runs out of tone in bars 16-19; it's like squeezing an orange with no
juice left. But I suspect a good player could make something of the
   piece
and the Part 2 would go yet deeper into the strange little world.
   Maybe
the use of repicco and trillo would spice it up a bit?
   
[7]http://www.youtube.com/watch?v=8XiJS0GVT5A
   
   
Stuart
   
   
   
To get on or off this list see list information at
[8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --

References

   1. file://localhost/net/people/lute-arc/mjlh...@tiscali.co.uk
   2. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
   3. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
   4. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
   5. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
   6. http://tinyurl.com/y8mvxfd
   7. http://www.youtube.com/watch?v=8XiJS0GVT5A
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: guitar arrangement

[Nelson, Jocelyn]

   This was good music to wake up to; thanks for posting, Stuart. I think
   strumming is perfect for music like this.
   Does anyone know what the folk song is about?
   Best,
   Jocelyn
 ___

   From: Stuart Walsh [1]s.wa...@ntlworld.com
   Date: Thu, 24 Dec 2009 04:03:49 -0500
   To: Vihuelalist [2]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] guitar arrangement
   RT has been railing against the guitar on the lute list, yet one of his
   latest lute arrangements seems to need a bit of chord brushing. So
   yesterday I re-arranged his lute  arrangement for re-entrant guitar
   with
   a bit of battute and  camapanella. The wise thing to do now would be to
   put it to one side, then review it, then practice it fully. And the
   rash
   thing to do is just bung it on the Internet (rhythmic goofs and all).
   So
   here it is:
   [3]http://www.youtube.com/watch?v=4fad6h1cMak
   And here's Roman's original arrangement:
   [4]http://www.torban.org/sarmaticae/images/sarmatica112.pdf
   Stuart
   To get on or off this list see list information at
   [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --

References

   1. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
   2. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
   3. http://www.youtube.com/watch?v=4fad6h1cMak
   4. http://www.torban.org/sarmaticae/images/sarmatica112.pdf
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Foscarini (Taste Grata, Alemanda and Cicona)

[Nelson, Jocelyn]

   I really enjoyed this. Thanks, Stuart for playing posting this, and
   thanks to Monica, too, for working with this beautiful music.
   Best,
   Jocelyn
 ___

   From: Stuart Walsh [1]s.wa...@ntlworld.com
   Date: Fri, 4 Dec 2009 20:12:01 -0500
   To: Vihuelalist [2]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] Foscarini (Taste Grata, Alemanda and Cicona)
   Here's an attempt at some of Monica's editions/reconstructions of the
   great man!
   [3]http://www.youtube.com/watch?v=rGlsqq9FVCc
   Stuart
   To get on or off this list see list information at
   [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --

References

   1. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
   2. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
   3. http://www.youtube.com/watch?v=rGlsqq9FVCc
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Chord I

[Nelson, Jocelyn]

   Oops; I just saw this message from Ralph, after I sent my last one.
   Perhaps Murcia is the one who mentions pedilla, even though my possibly
   faulty memory is that pedilla referred to a partial barre of the first
   finger.
   Jocelyn
 ___

   From: RALPH MAIER [1]rkcma...@shaw.ca
   Date: Mon, 12 Oct 2009 00:43:49 -0400
   To: Monica Hall [2]mjlh...@tiscali.co.uk
   Cc: Stewart McCoy [3]lu...@tiscali.co.uk, Vihuelalist
   [4]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] Re: Chord I
  It's interesting that Murcia would suggest a partial barre with the
   2nd
  finger in his table. There are however plenty of instances where the
   I
  chord is written out using a partial barre with the first finger
   (for
  example, the Gallarda fol.5, line 2, m.3).
  If you find the barre difficult you might want to check your left
   hand
  position. The large knuckle at the base of the finger needs to be
  slightly ahead of the fingerboard and the tip segment has to be kept
  loose. Be persistent - eventually it will make your life much
   easier.
  Happy playing.
  Ralph
  - Original Message -
  From: Monica Hall [5]mjlh...@tiscali.co.uk
  Date: Sunday, October 11, 2009 3:22 pm
  Subject: [VIHUELA] Re: Chord I
  To: Stewart McCoy [6]lu...@tiscali.co.uk
  Cc: Vihuelalist [7]vihu...@cs.dartmouth.edu
   Dear Stewart
  
   This is fascinating!!
  
Thank you for confirming what I had thought was the case, that
   this is
the standard fingering for the A major chord in 17th-century
   guitar
books:
   
a___
_2__c___
_1__c___
_1__c___
a___
   
That is the fingering I try to use now. The great advantage is
   that you
can trill on the 2nd course using your 4th finger at the 3rd
   fret. You
get plenty of leverage trilling between the 2nd and 4th
   fingers, more
than you would trilling with the 3rd and 4th fingers.
  
   I'll have to try that tomorrow morning.  I normally trill
   with the 3rd and
   4th fingers.  This particular chord often has the d on the
   2nd course as 4-3
   suspension which I play with the 4th finger.
   
There are many ways of fingering that A major chord. The
   commonest seen
in modern guitar tutors is
   
a___
_3__c___
_2__c___
_1__c___
a___

   
That's OK if you have thin fingers, but there is always the
   danger that
the 1st finger won't get close enough to the 2nd fret, and
   you'll get a
buzz.
  
   Yes - that's the fingering I use - and I guess I have much
   thinner fingures
   than all you gentleman - so thin in fact that I don't find
   stopping double
   courses easy.   I keep thinking maybe I should get the
   spacing reduced
   between the strings of each course.
  
   One way of avoiding that, is to use this fingering:
   
a___
_3__c___
_1__c___
_2__c___
a___
   
which I sometimes use, particularly if hopping back and forth
   between chords of A and D major, because the 1st and 3rd
   fingers stay on the
same string. Otherwise I go for the first fingering above.
   
   There are so many ways of doing things.   So far no
   one seems to opt for the
   2nd finger barre!
  
   I must try them all in the morning.
  
   Regards
  
   Monica
  
-Original Message-
From: [8]lute-...@cs.dartmouth.edu [[9]mailto:lute-
   [10]...@cs.dartmouth.edu] On
Behalf Of Monica Hall
Sent: 11 October 2009 15:22
To: Rob MacKillop
Cc: Vihuelalist
Subject: [VIHUELA] Re: Chord I
   
  That's very helpful and interesting what you say
   about the technique
  being standard for blues and jazz.  There's
   obviously a long
tradition
  there.
   
   
   
  Monica
   
  - Original Message -
   
  From: [1]Rob MacKillop
   
  To: [2]Monica Hall
   
  Cc: [3]Vihuelalist
   
  Sent: Sunday, October 11, 2009 1:42 PM
   
  Subject: Re: [VIHUELA] Chord I
   
  I use the 2nd finger on the 2nd course, and the
   first finger on the
  other two courses. I have no problem with the open
   first string
  sounding. I show beginner-ish students this
   technique and invariable
  they can't bend their first finger inwards at the
   first joint, but
some
  who have played blues and or jazz guitar before
   have no problem - it
is
  

[VIHUELA] Re: study vihuela page

[Nelson, Jocelyn]

   Dear early guitar and lute lists,

   For anyone near Boston next week, I'd like to announce my 6/10 fringe
   concert with soprano Amy Bartram in the Boston Early Music Festival.
   Here's the press release, below.

   (And speaking of literary references, the title of our concert, which
   is the same as the title of our upcoming CD, is from a Ronsard poem.)

   Boston Early Music Festival Fringe Concert
   www.bemf.org [1]http://www.bemf.org
   Wednesday, June 10, 2009, at 12:30 PM
   Amy Bartram, soprano, and Jocelyn Nelson, renaissance guitar.
   Ma Guiterre je te chante: 16th-century French chansons from Adrian Le
   Roy's books for guitar and voice, c.1554/5.

   Songs by Arcadelt, Bonard, and Le Roy; guitar solos by Morlaye and Le
   Roy.

   Hale Chapel at First Church in Boston, 66 Marlborough St., Boston.
   Contact: [2]amyn...@mac.com;

   $10; $8 st, sr, BEMF, EMA, LSA.

   Best,
   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   506 School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [3]nels...@ecu.edu
   --

References

   1. http://www.bemf.org/
   2. file://localhost/net/people/lute-arc/amyn...@mac.com
   3. file://localhost/net/people/lute-arc/nels...@ecu.edu


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] RE: [VIHUELA] Péñola, early references

[Nelson, Jocelyn]

I'm working up to Don Quixote.
Jocelyn


___
From: Monica Hall [mjlh...@tiscali.co.uk]
Sent: Saturday, May 23, 2009 5:34 AM
To: Nelson, Jocelyn
Cc: Vihuelalist
Subject: Re: [VIHUELA] Péñola, early references

That's very brave of you.   I started to read it a few years ago and gave up.  
It's sitting looking reproachfully at me on the shelf!

Monica
- Original Message -
From: Nelson, Jocelynmailto:nels...@ecu.edu
To: Eloy Cruzmailto:eloyc...@avantel.net ; Vihuela 
listmailto:vihuela@cs.dartmouth.edu ; John 
Griffithsmailto:jag...@unimelb.edu.au ; Monica 
Hallmailto:mjlh...@tiscali.co.uk
Sent: Saturday, May 23, 2009 1:45 AM
Subject: Re: [VIHUELA] Péñola, early references

Thanks so much for the translations.

I happen to be reading David H. Rosenthal’s English translation of the 15th c. 
Catalan novel, “Tirant Lo Blanc.” In chapter 154, the hero is praised for his 
abilities to entertain, among other things:

“He gaily entertains his friends with music and dancing, being both courteous 
to ladies and fearless among knights. In his tents, some wrestle and turn 
somersaults; others play checkers or chess; others act foolish or solemn; 
others speak of war or love; OTHERS PLAY LUTES, GUITARS, OR FLUTES OR SING 
5-PART HARMONIES, and so anyone who seeks merriment will find it with our 
captain.”

This was published in 1490 in Valencia, but much of it was supposed to have 
been written several decades earlier. And of course this is just a translation; 
I don’t have the Catalan, so I don’t know what words were used that Rosenthal 
translated as “lute” and “guitar.”

This is quite a bit later than the poetry that opened this conversation, but, 
for me, still early enough to be interesting. Isn’t it neat that one of the 
typical party amusements was to sing in a5 harmony?

Jocelyn





From: Eloy Cruz eloyc...@avantel.net
Date: Fri, 22 May 2009 19:48:04 -0400
To: Vihuela list vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Péñola

Sorry, once again the DRAE:

péñola.
(Del lat. pennŭla, pluma).
1. f. pluma (‖ de ave para escribir).

Yes, a quill


Best


Eloy




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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: [VIHUELA] vihuela de péndola

[Nelson, Jocelyn]

   Hi Rob,
   Thank you for this fascinating reference. Can you, or someone on the
   list, translate the rest of the phrase for me? Babel Fish isn't helping
   . . .
   Many thanks,
   Jocelyn
 ___

   From: Rob MacKillop [1]luteplay...@googlemail.com
   Date: Fri, 22 May 2009 03:56:58 -0400
   To: Vihuela [2]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] vihuela de pendola
  OK, we know quite a bit about the vihuelas de arco and de mano, but
  what about the vihuela de pendola - plectrum? There is not much in
  English online, but I did find one reference to a poem by
   lArchipretre
  de Hita (1330):
  la vyuela de pendola con aquestos y sota
  Now, 1330 seems early, but possible. The technique seems to have
   faded
  out by the late 1400's, and, of course, there is no surviving
   dedicated
  repertoire. I am assuming no structural difference over the vihuela
   de
  mano or viola da mano, just a different technique - but I might be
  completely wrong. Maybe it had fewer courses? Maybe not? I imagine
   it
  was used in ensemble with harps, lutes, other vihuelas (mano and
   arco),
  etc, etc, and with voices. Was it confined to Spain, certain parts
   of
  Spain, or was it also used in Spanish dominions in Italy, or
   elsewhere?
  Any relation to the medieval citole?
  Are there any images which clearly show the pendola  in use?
  Rob MacKillop
  --
   To get on or off this list see list information at
   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --

References

   1. file://localhost/net/people/lute-arc/luteplay...@googlemail.com
   2. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] RE: [VIHUELA] Péñola

[Nelson, Jocelyn]

Did anyone get my last message in a readable format?

Jocelyn




From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of Eloy 
Cruz [eloyc...@avantel.net]
Sent: Friday, May 22, 2009 7:48 PM
To: Vihuela list
Subject: [VIHUELA] Péñola

Sorry, once again the DRAE:

péñola.
(Del lat. pennŭla, pluma).
1. f. pluma (‖ de ave para escribir).

Yes, a quill


Best


Eloy




To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: four-course guitar music 'plus diminuees'

[Nelson, Jocelyn]

   Hi Stuart and List,

   I think these plus diminuees need to be played up to tempo, even though
   it's such a challenge.

   When I think about tempo with these plus diminuee movements, I take the
   dance aspect seriously. Here are a couple of my favorite quotes from
   the author of the 16th c dance tutor, Orchesography:

   I learned [a galliard] on the lute which I enjoyed seeing danced by my
   companions as I knew how to play and sing it.  And it also seemed to me
   that the steps were well accented by those who danced it.

   And

   Only you should be told now that some dancers divide up the double
   that follows the two simples, and instead of the double comprising only
   four bars with four semi-breves, they introduce eight minims or sixteen
   crotchets, resulting in a great number of steps, passages and
   embellishments, all of which fit into the time and cadence of the
   music.

   Thoinot Arbeau, Orchesography (Langres: 1589; reprint, New York: Dover,
   1967, translated by Mary Stewart Evans, introduced and annotated by
   Julia Sutton), pp 66 and 91 (page references are to reprint edition).

   Le Roy himself seems to imply a tempo with the diminutions:

   . . . decke other songes or daunses, with like flowers and ornamentes:
   in whiche he shall bee forced sometyme, for the better grace and
   pleasying of the eare, to leave out someone note of the accorde, of
   some one of the partes: not so much for all that for necessitie, as for
   the pleasauntness of the sounde: yea, and that with full recompence of
   the lacke of the note, whiche shalbee omitted, by the puttyng to of
   runnyng poinct or passage, wherein  lieth all the cunnyng.
   Adrian Le Roy, A Briefe and Plaine Instruction.  London: Rowbotham,
   1574, quoted in Adrian Le Roy, Adrian Le Roy; French Renaissance Guitar
   Songs, Charles Wolzien, ed. (Quebec: Doberman-Yppan, 2002), 10.
   Yes, the speed is very challenging, and I think musicality is even
   harder with some of these more extreme versions. One of my favorite
   tracks on Michael Craddock's recording is the Le Roy prelude, which has
   that dichotomy between the long notes and the swift scalar runs.
   Craddock, with his very impressive technique, executes the fast
   passages well and all feels musical to me. But the reason why the
   Prelude works so well is that it's less metric, with lots of room for
   the musician to build, wind down, and so on, unlike the plus diminuee
   movements we're talking about.
   Morlaye's La Seraphine might make a better model if we're wondering
   about this style, because it also goes quite abruptly from long notes
   to fast diminutions, in this instance with a style which asks for a
   more strict tempo, more like the dances. I personally think the pulse
   falls apart if we slow down for the divisions, so to me this piece
   provides some evidence of a style in which a burst of short notes in
   tempo was not unusual or freakish to them.

   Stuart, which O'Dette recordings are you referring to? I have one
   example: Tablatures de Leut Astree E7776 1990. He plays a Le Roy
   bransle with a plus diminuee movement; his diminutions are very crisp,
   light and graceful. To my ears he pulls this off not only technically
   but musically, too, in spite of the disparity between the long and
   short notes. I'd love to hear about other recordings if you know of
   some.

   Sorry for such a long email. I'll end with my idea that these
   diminutions themselves are optional - whether we do them at all, and
   which notes we use is up to the performer. If we want to be completely
   authentic, we should be making up our own (according to certain
   conventions regarding which phrases and beats were most ornamented in
   particular dances). Even dance tempos have at least a bit of a range
   with dancers, which is where we should find our dance tempos. But
   whether or not plus diminuee movements should be performed up to
   tempo right after a plainer version of a dance movement? I don't think
   that's optional; any other tempo would make the dancers look very
   funny!

   Best,
   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   506 School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [1]nels...@ecu.edu
 ___

   From: Stuart Walsh [2]s.wa...@ntlworld.com
   Date: Fri, 27 Mar 2009 18:09:05 -0400
   To: Daniel F Heiman [3]heiman.dan...@juno.com
   Cc: [4]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] Re: four-course guitar music 'plus diminuees'
   Daniel F Heiman wrote:
Stuart:
   
In his instrumental version Michael is taking a tempo to match the
current fashion for rendering the original Passereau chanson.  An
   only
slightly extreme example is the one by the King's Singers:
[5]http://www.youtube.com/watch?v=Nmpl4mZQgAc
   
If you listen 

[VIHUELA] Re: four-course guitar music 'plus diminuees'

[Nelson, Jocelyn]

   Hi Martyn,

   Are the French 4-course guitar books specifically aimed at the amateur
   market? For that matter, does amateur have the same connotations of
   skill for us as it did for them?

   I like to be cautious with commonly accepted modern generalities such
   as the amateur market idea for early published music. I don't remember
   any primary evidence that these French books from the 1550s were
   strictly pedagogical or for players with less ability than others. But
   my French isn't so hot, so I'd really appreciate anyone's correction on
   this point about these French books in particular. (For that matter, I
   could have missed something in English, or any other language, too.)

   I do see plenty of internal evidence, however, that much of this
   4-course material is virtuosic: besides the diminished dances, try
   those battle pieces, or the de Rippe fantasies, etc.

   Regarding speed: NPR has a story about a steroid scandal among
   musicians; here's the link, below, in case list users haven't heard
   this shocking story yet (once you're on the NPR site, click listen to
   this report). It's nearly 5 minutes long, but this important story is
   worth the length  ;  D

[1]http://www.npr.org/templates/story/story.php?storyId=4572575

   Best,
   Jocelyn
   --
   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   506 School of Music
   East Carolina University
   252.328.1255 office
   252.328.6258 fax
   [2]nels...@ecu.edu
 ___

   From: Martyn Hodgson [3]hodgsonmar...@yahoo.co.uk
   Date: Mon, 30 Mar 2009 11:56:36 -0400
   To: Stuart Walsh [4]s.wa...@ntlworld.com, Daniel F Heiman
   [5]heiman.dan...@juno.com, Nelson, Jocelyn [6]nels...@ecu.edu
   Cc: [7]vihu...@cs.dartmouth.edu
   Subject: [VIHUELA] Re: four-course guitar music 'plus diminuees'
  If the music is primarily meant to accompany dancers, then no doubt
  there's clearly much in the position that the speed remains
   constant.
  However, to take the example of, say, the developed English lute
  galliard with divisions suggests a significantly slower speed than
   most
  dancers find satisfactory - does ayone take these at dancing speed
  these days? The tendency for dance forms to become slower over time,
  and very often to do with increasing numbers of notes, is clear.
  Perhaps the rot sets in when these rapid divisions start to be
  introduced...
  I'd also suggest that since these publications were primarily aimed
   at
  the amateur market the sort of speed O'Dette, and presumably the
   early
  virtuosi, might achieve is surely unlikely for this market.
  MH
  --- On Mon, 30/3/09, Nelson, Jocelyn [8]nels...@ecu.edu wrote:
From: Nelson, Jocelyn [9]nels...@ecu.edu
Subject: [VIHUELA] Re: four-course guitar music 'plus diminuees'
To: Stuart Walsh [10]s.wa...@ntlworld.com, Daniel F Heiman
[11]heiman.dan...@juno.com
Cc: [12]vihu...@cs.dartmouth.edu [13]vihu...@cs.dartmouth.edu
Date: Monday, 30 March, 2009, 2:33 PM
 Hi Stuart and List,
 I think these plus diminuees need to be played up to tempo, even
  though
 it's such a challenge.
 When I think about tempo with these plus diminuee movements, I
   take
  the
 dance aspect seriously. Here are a couple of my favorite quotes
   from
 the author of the 16th c dance tutor, Orchesography:
 I learned [a galliard] on the lute which I enjoyed seeing danced
   by
  my
 companions as I knew how to play and sing it.  And it also seemed
   to
  me
 that the steps were well accented by those who danced it.
 And
 Only you should be told now that some dancers divide up the
   double
 that follows the two simples, and instead of the double
   comprising
  only
 four bars with four semi-breves, they introduce eight minims or
  sixteen
 crotchets, resulting in a great number of steps, passages and
 embellishments, all of which fit into the time and cadence of the
 music.
 Thoinot Arbeau, Orchesography (Langres: 1589; reprint, New York:
  Dover,
 1967, translated by Mary Stewart Evans, introduced and annotated
   by
 Julia Sutton), pp 66 and 91 (page references are to reprint
  edition).
 Le Roy himself seems to imply a tempo with the diminutions:
 . . . decke other songes or daunses, with like flowers and
  ornamentes:
 in whiche he shall bee forced sometyme, for the better grace and
 pleasying of the eare, to leave out someone note of the accorde,
   of
 some one of the partes: not so much for all that for necessitie,
   as
  for
 the pleasauntness of the sounde: yea, and that with full
   recompence
  of
 the lacke

[VIHUELA] Re: CD recording today

[Nelson, Jocelyn]

Good luck, Rob, from this side of the ocean!

JN


Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
506 School of Music
East Carolina University
252.328.1255 office
252.328.6258 fax
nels...@ecu.edu

From: Rob MacKillop [luteplay...@googlemail.com]
Sent: Thursday, February 12, 2009 3:57 AM
To: Vihuela
Subject: [VIHUELA] CD recording today

   I'm just about to leave the house to go and record a CD for Alpha
   Recordings of 17th-century Scottish baroque guitar and viol music, with
   Jonathan Dunford. The French company have all arrived, and we are
   recording in a 17th-century Scottish manse on the outskirts of
   Edinburgh The snow is falling heavily. The birds will be quiet, and
   hopefully the airport will shut down. Wish me luck!



   Rob MacKillop

   --


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[VIHUELA] Re: b-guitar hero

[Nelson, Jocelyn]

   Hi David,

   As a 4course guitar player, I love standing with all my music, both
   solo and with singer. I completely agree that it blends better. And
   then movement comes naturally. For me it's such a relief, after all
   those years trapped in a triangle position as a classical guitarist!

   Happy Holidays,
   Jocelyn

   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   East Carolina University
   School of Music
   252.328.1255 Office
   252.328.6258 Fax
   nels...@ecu.edu
 __

   From: David van Ooijen [mailto:davidvanooi...@gmail.com]
   Sent: Mon 12/29/2008 3:01 AM
   To: Vihuela List
   Subject: [VIHUELA] b-guitar hero

   Slightly OT.
   Yesterday I was playing baroque guitar in he opening choir of the
   fifth cantata of Bach's Christmas Oratorio. Changed many orchestra
   members' idea of the piece in the process, btw: off-beat strumming and
   golpe on the rests in the bass was not what they were used to. ;-) It
   was a small band: four violins, viola, cello, double bass, two oboe,
   bassoon, cembalo and just four singers. Everybody except the cello,
   double bass and cembalo where standing up. I was standing up too.
   Standing up I blended better, had better projection and better
   visibility. While I was strumming away looking at the 500+ audience, I
   couldn't help feeling like a pop guitar hero, and it was very hard not
   to move like one. I'm not a pop guitar player at all, but the
   association with strumming-chords-while-standing was very strong.
   Just some observations.
   David - holidays for a full week!
   --
   ***
   David van Ooijen
   davidvanooi...@gmail.com
   www.davidvanooijen.nl
   ***
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: mp3 player and ning

[Nelson, Jocelyn]

   Hi Rob,

   I haven't been on ning for a while, but when I went on to check just
   now it looks like anything I try to do outside of my home page is
   under construction. I don't see an MP3 player, but I'm not sure where
   to look.

   Best,
   Jocelyn
 __

   From: Rob MacKillop [mailto:[EMAIL PROTECTED]
   Sent: Fri 11/7/2008 6:16 PM
   To: Vihuela
   Subject: [VIHUELA] mp3 player and ning

  Since I added the Chat facility to our ning site, the mp3 player on
   my
  My Page has disappeared! A strange coincidence, or is there a
  connection???
  Has anyone else's mp3 player on that site disappeared?
  Rob MacKillop
  --
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Some nice You-tubes

[Nelson, Jocelyn]

   Thanks, Monica,
   I really enjoyed these!
   Best,
   Jocelyn
 __

   From: Monica Hall [mailto:[EMAIL PROTECTED]
   Sent: Sun 10/26/2008 4:00 PM
   To: Vihuelalist
   Subject: [VIHUELA] Some nice You-tubes

  My friend put some new videos in youtube. There's some Sanz and
   Murcia
  which you can see at:
  [1][1]http://es.youtube.com/watch?v=Twk28JECqnM
  [2][2]http://es.youtube.com/watch?v=uhbd_XrdI68feature=related
  Monica
  --
   References
  1. [3]http://es.youtube.com/watch?v=Twk28JECqnM
  2. [4]http://es.youtube.com/watch?v=uhbd_XrdI68feature=related
   To get on or off this list see list information at
   [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://es.youtube.com/watch?v=Twk28JECqnM
   2. http://es.youtube.com/watch?v=uhbd_XrdI68feature=related
   3. http://es.youtube.com/watch?v=Twk28JECqnM
   4. http://es.youtube.com/watch?v=uhbd_XrdI68feature=related
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: History of the guitar on BBC1 (one!)

[Nelson, Jocelyn]

   Dear UK list members,

   I'd love to know what they covered for the early part, if anyone has
   time to mention it. I checked their website and their video is only
   available in the UK.

   Thanks,
   Jocelyn
 __

   From: Waling Tiersma [mailto:[EMAIL PROTECTED]
   Sent: Sun 10/5/2008 2:30 PM
   To: vihuela@cs.dartmouth.edu; Rob MacKillop
   Subject: [VIHUELA] History of the guitar on BBC1 (one!)

  Sorry, wrong channel, It's on BBC1!
  Waling
  - Original Message -
  From: [1]Waling Tiersma
  To: [EMAIL PROTECTED]
  Sent: Sunday, October 05, 2008 6:58 PM
  Subject: History of the guitar on BBC2 (UK)
  Tonight at 22:20 (Brittish time) BBC2 is broadcasting part one of a
  thee part series of the history of the guitar.
  see details on the BBC-website
  at [3][1]http://www.bbc.co.uk/programmes/b00dyhyt
  Might be worth watching. I expect this - beeing part one - to be the
  most interesting part of the series (for us early
  guitarists/vihuelists).
  Waling
  --
   References
  1. [2]mailto:[EMAIL PROTECTED]
  2. [3]mailto:vihuela@cs.dartmouth.edu
  3. [4]http://www.bbc.co.uk/programmes/b00dyhyt
   To get on or off this list see list information at
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   --

References

   1. http://www.bbc.co.uk/programmes/b00dyhyt
   2. mailto:[EMAIL PROTECTED]
   3. mailto:vihuela@cs.dartmouth.edu
   4. http://www.bbc.co.uk/programmes/b00dyhyt
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Bartolotti

[Nelson, Jocelyn]

   Thanks so much for your work, Monica.
   Best,
   Jocelyn
  ___
From: Monica Hall [mailto:[EMAIL PROTECTED]
Sent: Sat 10/4/2008 3:56 PM
To: Vihuelalist
Subject: [VIHUELA] Bartolotti

  Dear Collective Wisdom
  I now have on my web page a study of Bartolotti similar to the one I
  have done on Foscarini.   You will find this at
  [1]www.monicahall.co.uk
  It includes an English translation of the prefaces to both his books
  with comments on how these relate to the way that the music is
   notated
  and a section dealing with his use of Lettere tagliate.
  The Introduction includes a few snipets of information about him
   which
  are not yet generally known.
  I hope some of you will enjoy reading it.
  Any comments or corrections will be gratefully received.
  Monica
  --
   References
  1. [1]http://www.monicahall.co.uk/
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.monicahall.co.uk/
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Lineage of early Guitars and the mandora

[Nelson, Jocelyn]

   Martyn,

   That sounds reasonable.

   Now I'm hooked again  . . . I just put in an inter-library loan request
   for the Koch.

   Best,
   Jocelyn

   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   East Carolina University
   School of Music
   252.328.1255 Office
   252.328.6258 Fax
   [EMAIL PROTECTED]
 __

   From: Martyn Hodgson [mailto:[EMAIL PROTECTED]
   Sent: Fri 9/26/2008 3:44 AM
   To: Monica Hall; Joshua Horn; Fred; Nelson, Jocelyn
   Cc: Vihuelalist
   Subject: Re: [VIHUELA] Re: Lineage of early Guitars and the mandora

   What I was hoping might appear was either printed or MS music for this
   tuning other than the two Scheidler sonatas.
   You'll no doubt be aware that Scheidler was one of the musicians at the
   court of the Elector of Mainz: Koch's familiarity with this one player
   and his local pupils may have led to the comment.
   MH
   --- On Thu, 25/9/08, Jocelyn Nelson [EMAIL PROTECTED] wrote:
From: Jocelyn Nelson [EMAIL PROTECTED]
Subject: [VIHUELA] Re: Lineage of early Guitars and the mandora
To: [EMAIL PROTECTED], Monica Hall [EMAIL PROTECTED],
   Joshua Horn [EMAIL PROTECTED], Fred [EMAIL PROTECTED]
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Thursday, 25 September, 2008, 5:32 PM
Hi Martyn,
   
I have no evidence other than the Koch reference that this
tuning (the
lowest guitar string in G rather than E) was common in
Mainz in late 18th c
and its general region. I came across this years ago when I
studied a
Scheidler sonata in a seminar. I wish I had the page
number, sorry!
   
Assuming it really is in Koch (I don^1t have it at hand),
it carries some
weight as a primary source (1802), but of course that
doesn^1t guarantee
absolute truth, especially when we don^1t see it anywhere
else.
   
Tonality might have more to do with this than guitar tuning
conventions,
though: the sonata I looked at was in C Major, and his
other extant works
are in C and G, so perhaps the G tuning is not coincidence
or guitar custom

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[VIHUELA] Re: Lineage of early Guitars and the mandora

[Nelson, Jocelyn]

   Hi Monica and List,

   About that unusual Scheidler tuning: I believe it was considered the
   usual guitar tuning in that area of Germany at the time, according to
   Koch. Sorry I can't tell you the page number:

   Koch, Heinrich Christoph.   Musicalisches Lexicon.  Frankfurt:  Hermann
   dem juengern, 1802.  Facsimile, Heldesheim:  Olms, 1964.

   Jocelyn

   Jocelyn Nelson, DMA
   Teaching Assistant Professor
   Early Guitar, Music History
   336 Fletcher Music Center
   East Carolina University
   School of Music
   252.328.1255 Office
   252.328.6258 Fax
   [EMAIL PROTECTED]
 __

   From: Martyn Hodgson [mailto:[EMAIL PROTECTED]
   Sent: Tue 9/23/2008 4:15 AM
   To: Monica Hall; Joshua Horn; Fred
   Cc: Vihuelalist
   Subject: [VIHUELA] Lineage of early Guitars and the mandora

   There is indeed speculation (first put forward in 1979) that the
   mandora's 6 strings and tuning inspired the addition of an extra course
   to the 5 course 'baroque' guitar.
   Regrettably there is no unequivocal evidence that this was the case;
   merely indirect, such as the unusual tuning for the 6th string
   (mirroring a common mandora tuning pattern) in Scheidler's early
   sonatas for 6 string guitar.
   MH
   --- On Mon, 22/9/08, Fred [EMAIL PROTECTED] wrote:
From: Fred [EMAIL PROTECTED]
Subject: [VIHUELA] Re: Lineage of early Guitars
To: Monica Hall [EMAIL PROTECTED], Joshua Horn
   [EMAIL PROTECTED]
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 22 September, 2008, 3:27 PM
When I've been asked by students a question not unlike
that posed by Josh, my instinct is to draw lineages based on
distinct tuning/stringing characteristics of historical
instruments.  The earliest instrument that is known to me
that shares a similar tuning/stringing scheme to that of the
modern guitar is the single-strung mandora of 18th century
Germany.  Being that there was a strong early guitar making
tradition in Germany that grew to include the likes of
Stauffer, could there be a lineage to the modern guitar that
can be traced from this instrument?  Can the history of the
modern guitar be traced to the theorbo/chitarrone by way of
the mandora?  Is it possible that the theorbo connection
explains how the modern guitar idea came to the builders of
Spain?
   
Sorry to answer a question with more questions.
   
Fred
   
-Original Message-
From: Monica Hall [EMAIL PROTECTED]
Sent: Sep 22, 2008 8:12 AM
To: Joshua Horn [EMAIL PROTECTED]
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Re: Lineage of early Guitars

This is really an impossible question short of writing
a book on the
subject.

However - received wisdom I think is that the vihuela
could originally be
played with a bow, a plectrum or finger style -  to
whit

vihuela de arco
vihuela de penola
vihuela de mano.

However guitars or instruments called
guitarra seem to have existed
alongside the vihuela and it is not altogether clear
whether this was simply
a vihuela with fewer strings or derived from a
different prototype.

Be that as it may, the present day classical guitar is
probably not a direct
descendent of the vihuela - because in between you get
my good friend the
baroque guitar which had only five courses and a
re-entrant tuning and was
all the rage in the 17th and early 18th century.

About the middle of the 18th century someone had the
bright idea of putting
a sixth course on it - or back on it ...and the rest...
as they say ...is
history.

Hope that's helpful and I don't spark off a
whole correspndence from people
who disagree with my History of the guitar in a
nutshell.

Monica

- Original Message -
From: Joshua Horn
[EMAIL PROTECTED]
To: vihuela@cs.dartmouth.edu
Sent: Monday, September 22, 2008 11:11 AM
Subject: [VIHUELA] Lineage of early Guitars


   Guys,

   I have read various sources on the web about the
relation of the
   Vihuela to other stringed instruments. I am
looking for information on
   the lineage of the modern Acoustic Guitars.

   I read on one site that the Vihuela was once a
bowed instrument, is the
   Classical and Flamenco Guitars you see today
direct relatives of the
   Vihuela, or are there other instruments that
influenced them first?

   Josh

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References

   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: jazzy little number

[Nelson, Jocelyn]

Bill,
I always enjoy your postings, but I like this even better than the Frost songs.
Jocelyn
 


From: bill kilpatrick [mailto:[EMAIL PROTECTED]
Sent: Fri 1/18/2008 9:34 AM
To: vihuela@cs.dartmouth.edu
Subject: [VIHUELA] jazzy little number


i know this ain't the place for jazzy little numbers but i posted a tune to 
youtube just now and i'd be interested to hear any and all opinion:

http://www.youtube.com/watch?v=QpHCwxsWhFc

waiting for the morning papers at sardi's (nyc allusion) - bill


http://www.youtube.com/profile?user=billkilpatrick
  
-
 Sent from Yahoo! #45; a smarter inbox.
--

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[VIHUELA] Re: dedillo

[Nelson, Jocelyn]

John,
 
Is the Portuguese guitar you mention the 4-course like the Renaissance guitar 
and the uke?
 
Jocelyn
 



From: John Griffiths [mailto:[EMAIL PROTECTED]
Sent: Tue 10/30/2007 8:41 PM
To: vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Re: dedillo



My two-penneth worth is that we have two main ways of learning about 
dedillo from contemporary practice. One is from the variety of 
techniques used in vihuela/guitarra-derivatives in Latin America, 
such as the charango and various others. The second is the Portuguese 
guitar that has continued to use dedillo technique in a manner that I 
suspect is not far removed from the way that sixteenth-century 
vihuelists used it.

John


On 31/10/2007, at 10:23, Eugene C. Braig IV wrote:

 At 07:00 PM 10/30/2007, Stuart Walsh wrote:
 Is the vihuela the only instrument that uses this technique?  I don't
 think there is anything like it in 4 or 5 course guitar, or any 
 kind of
 lute, technique. There couldn't be anything in the construction of 
 the
 instrument that makes this a more likely possibility, could there? 
 And
 hats off to Ralph Maier for actually mastering it.

 Speaking only as an amateur: the whole business is trying to get 
 the flesh
 of the fingers to sound the strings. But the downward stroke of 
 dedillo
 seems like a crude bash with the nails. How do you square the 
 considered
 upward pluck of the fingers with - what could easily be- a rather
 percussive chunk downwards with the thumb?

 Dedillo as tremolo is pretty common to modern classical guitar and 
 perhaps
 even more common to flamenco (and, as Bill has offered, to chordal 
 charango
 technique).

 I'm not certain how to interpret your latter paragraph, Stuart.  The
 potential imbalance in tone is between the typical full-voiced 
 upstroke of
 nail/flesh against the thinner-voiced downstroke of the same 
 finger, back
 of nail only.  To quote the fine detail of Ralph's article:
 [W]hen commencing a section of passage-work where dedillo has been
 indicated in the tablature, or where the passage seems well-suited 
 to this
 type of articulation, the vihuelist begins with an upward stroke on 
 the
 accented beat with the fleshy side of the index finger. During the
 subsequent release of the finger to its original starting point (in 
 other
 words, the downstroke), the vihuelist articulates the string again, 
 now
 with nail side of the finger.

 I don't necessarily think it needs to balance.  I think the strong-
 weak
 pulse is a feature of dedillo to be exploited.

 Eugene
 --

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Faculty of Music =95 The University of Melbourne 3010 =95 Victoria =95 
Australia
tel (61+3) 8344 8810 =95 fax (61+3) 8344 5346 =95 [EMAIL PROTECTED]
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--

[VIHUELA] Guerau response and some announcements

[Nelson, Jocelyn]

Monica, 
Amen! Ornamentation, strum patterns and rhythm . . . there's lots more to 
explore in guitar repertoire besides stringing.
 
Dear List: 
 
I would like to announce the November 3rd debut of my new early music group, 
Chitarrina in a concert of 16th century French and Italian music presented by 
the New York Early Music Series. Details can be found at 
http://www.continuony.org/NYEMS/tabid/58/Default.aspx or at 
http://polyphony.com http://polyphony.com/  in the November calendar.
 
Also, John Griffiths recently published the following article. Forgive me if 
this was already announced and talked about on this list; he just mentioned it 
to me so I thought I'd pass it along:
 
J. Griffiths. Printing the Art of Orpheus: Vihuela Tablatures in 
Sixteenth-Century Spain. Early Music Printing and Publishing in the Iberian 
World. Ed. Iain Fenlon and Tess Knighton. De Musica 11. Dassel: Edition 
Reichenberger, 2006. 181-214. ISBN 3-937734-38-4.
 
Best,
Jocelyn
 
Jocelyn Nelson, DMA 
Teaching Assistant Professor 
Early Guitar, Music History 
336 Fletcher Music Center 
East Carolina University 
School of Music 
252.328.1255 Office 
252.328.6258 Fax 
[EMAIL PROTECTED]


From: Monica Hall [mailto:[EMAIL PROTECTED]
Sent: Tue 10/16/2007 9:34 AM
To: Stuart Walsh
Cc: Vihuelalist
Subject: [VIHUELA] Re: Guerau recording


Very interesting - I wouldn't dare to let anyone else on the list  hear me
playing.

Actually I agree with Robert - it sounds as if you are leaving out the
bordon on the 5th course most of the time, whether intentionally or by
accident.   The one
place where the bordon on the 5th course is clearly audible is in the 2nd
bar of the 7th variation where the running figure is clearly audible in both
octaves.

I haven't heard Gordon's recording - it doesn't seem to be available yet.
Hoppy definitely doesn't use a bordon on the 5th course.

However, I agree with Rob that we attach far too much importance to the
whole question of stringing the baroque guitar.   It may not even have been
an issue in the 17th century.  I don't think that there is a right way and
wrong way of doing it or that composers sat down and thought Today I'll
write a piece for the re-entrant tuning/the French tuning etc.

What I do think is that practical considerations would have been much more
important.   Musical instruments are the way they are because that is the
way they work best in practice.   Clearly there were problems with plain gut
strings in the 17th century and for some styles of guitar music re-entrant
tunings may have been the best option.   To some extent this is reflected in
the way the music is arranged on the fingerboard.

And there are so many other important issues to address when playing the
music but nobody ever discusses these - or writes article about them.

The only thing that people who don't play the baroque guitar know about it
is that no-one agrees about how it was strung.

IMHO it's time we told them that it doesn't actually matter.

Monica


- Original Message -
From: Stuart Walsh [EMAIL PROTECTED]
To: Robert Barto [EMAIL PROTECTED]; vihuela@cs.dartmouth.edu
Sent: Monday, October 15, 2007 11:31 PM
Subject: [VIHUELA] Re: Guerau recording


 Robert Barto wrote:
 Do you have the lower octaves as well? and if so are you hitting them?
 (thumb rest strokes?)
  I hear no basses-well a tiny bit.

 Please excuse my lurking,

 Robert




 I teach 16-19 year olds for a living and make (I hope friendly)  sarcastic
 remarks all the time. They almost never appreciate them. So it's only
 karma to be on the receiving end

 I don't know why the basses sound so loud. The whole point of the exercise
 was to demonstrate how intrusive the high octaves sound.

 I didn't do any sort of bass boost.

 To be honest, the finished product is better than I hear coming out of the
 instrument.





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 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html





--

[VIHUELA] Re: 4c tuning

[Nelson, Jocelyn]

Hi Michael,

I agree that the high string sounds dominant when it's placed on the outside, 
although for some of the repertoire I'd call it bright,  rather than too 
loud. I find it gives the 4th string note a lot of presence. If it's a highly 
rhythmic dance or I'm accompanying a singer, particularly on a rustic song, it 
can be very effective, and I'd agree with Monica that in this context the chord 
position wouldn't matter. But a contrapuntal solo with one of the serious 
fantasies . . . in that context I, too, hear it as too loud.

Is the single string technique you mentioned you learned from Craddock meant to 
have the index finger pluck only the outside, inside, or either string of the 
4th course?

I think the Conte clar variation you're referring to does not show alteration 
in the bass out of necessity: the fingers need to pluck the higher sounding 
strings in a series of parallel thirds. I'll take your suggestion, though, and 
try the passage with one string or the other on the bass (but I'm in the other 
tuning today).

I agree about the 6th  7th variations; I've always strummed them, and 
listeners love it. I do the opening section both ways, with repeats.

I guess we just don't know what they did about string placement within the 
course for lack of evidence, but I'm glad we're tossing the options around. 
Thanks again for the work and insight you put in to your article.

Jocelyn



-Original Message-
From: Michael Fink [mailto:[EMAIL PROTECTED]
Sent: Fri 6/1/2007 2:56 PM
To: Nelson, Jocelyn; 'Vihuelalist Vihuelalist'
Subject: RE: [VIHUELA] 4c tuning
 
Thank you, Jocelyn, for your kind remarks about my article.

I believe that James Tyler first advocated placing the high string of the
4th course on the outside. I don't know if he still believes in this
solution. However, Michael Craddock pointed out to me that with that
configuration, the high string is *always* too loud. I have found that to be
the case, even when I try to lower it at the bridge. For me, the universal
solution is to place the bourdon on the outside. Since it is physically
possible to play the strings separately, that's what I do, whenever
appropriate. Strumming is not to be underrated either. For chords with the
5th of the chord lying on the 4th course, strumming can obscure the
impression of a 6-4 chord.

There are many times when both strings of the 4th course must sound, as when
a melody lies on the 4th course, and the composer tells you to alternate
thumb and index finger to play it. However, that's not always the case.
Check out Conte Clare in Morlaye's Book I, f.24v. In the 9th variation, a
thumb-finger alternation is shown; however, in the next variation it is not
-- suggesting that the thumb alone should be used. Does Morlaye want the
player to pluck the lower string alone or both strings? This is also a good
piece to try strumming the 6-4 and 8-4 chords. The opening of the piece, as
well as variations 6 and 7 seem to cry out for strumming.

Best wishes,

Michael



-Original Message-
From: Nelson, Jocelyn [mailto:[EMAIL PROTECTED] 
Sent: Thursday, May 31, 2007 7:37 PM
To: John Griffiths; Vihuelalist Vihuelalist
Subject: [VIHUELA] 4c tuning

Everyone,
 
Once I finally had a chance to read everything, Michael's article on 4
course tuning and the comments made by others were very helpful to me, and
to my student as well. I really appreciate Michael's gathering of sources,
including the iconography.
 
Since I'm working on some of the fantasies, I was especially interested in
the right hand technique Michael suggested on page 16, in which the thumb is
played on the 3rd course with the index finger above it. Michael points out
that this is a good way to pluck only the upper string of the 4h course, and
indeed, I find it a workable option. Between Michael's article and John's
comments on the courses and chord positions, we can see 2 options for the
musician, both with advantages and drawbacks: 
 
1) The guitarist needs to perfect the ability to play one string of the
course according to the rules of counterpoint and the voicing of the
passage. This is an important skill for anyone who uses courses, I think.
This idea also has musical integrity and theoretical evidence, but might not
be so idiomatic to guitar literature. 
2) The guitarist can think of the courses the way John described it: the 2
strings are meant to make up 1 sonic whole. This seems idiomatic and
traditional, especially with strummed passages, but for some genres -- the
fantasies, as Michael shows -- it does seem to be lacking.
 
(I don't mean to imply these are mutually exclusive approaches, or that
either Michael or John think they are.)
 
But here's a possible 3rd option: At the risk of opening another can of the
slimy, squirmy creatures, are we really able to assume whether the bourdon
was placed higher or lower than the upper octave? When I played a fantasy
for Hoppy Smith last year on my 4-course guitar, his comment was that he
didn't

[VIHUELA] 4c tuning

[Nelson, Jocelyn]

Amen!
 
Best,
Jocelyn



From: Michael Fink [mailto:[EMAIL PROTECTED]
Sent: Sat 6/2/2007 2:03 PM
To: Nelson, Jocelyn; 'Vihuelalist Vihuelalist'
Subject: RE: [VIHUELA] Re: 4c tuning




Hi, Jocelyn,

Notes below.

Michael


 -Original Message-
 From: Nelson, Jocelyn [mailto:[EMAIL PROTECTED]
 Sent: Saturday, June 02, 2007 9:03 AM
 To: Michael Fink; Vihuelalist Vihuelalist
 Subject: [VIHUELA] Re: 4c tuning

 Hi Michael,

 I agree that the high string sounds dominant when it's placed
 on the outside, although for some of the repertoire I'd call
 it bright,  rather than too loud. I find it gives the 4th
 string note a lot of presence. If it's a highly rhythmic
 dance or I'm accompanying a singer, particularly on a rustic
 song, it can be very effective, and I'd agree with Monica
 that in this context the chord position wouldn't matter. But
 a contrapuntal solo with one of the serious fantasies . . .
 in that context I, too, hear it as too loud.

 Is the single string technique you mentioned you learned from
 Craddock meant to have the index finger pluck only the
 outside, inside, or either string of the 4th course?

The index finger plucks only the inside string.

 I think the Conte clar variation you're referring to does not
 show alteration in the bass out of necessity: the fingers
 need to pluck the higher sounding strings in a series of
 parallel thirds. I'll take your suggestion, though, and try
 the passage with one string or the other on the bass (but I'm
 in the other tuning today).

We may be talking about different variations. The one I mean that seems to
omit finger(s) on the 4th course begins at the bottom of f.25r.

 I agree about the 6th  7th variations; I've always strummed
 them, and listeners love it. I do the opening section both
 ways, with repeats.

 I guess we just don't know what they did about string
 placement within the course for lack of evidence, but I'm
 glad we're tossing the options around. Thanks again for the
 work and insight you put in to your article.

And thanks, again, for the kind words. Yes, that's history for ya. A jig-saw
puzzle with most of the pieces missing. I think Monica is right about us
injecting our personal tastes into these matters -- often creating
anacronisms. I guess we just yearn to know the answers and to bring closure
to the questions. However, there seem to be built-in anacronisms and
contradictions in performing Early Music. For example, we go to such
extremes to know the details about early instruments, and then we (most of
us, I imagine) put nylon strings on the reproductions for a number of
perfectly good reasons. One of which is the difference between venues --
then and now -- an anacronism in itself.

So, if we choose to play a single string of the 4th course in a certain
context, merely because it sounds better to our ears (and whose else's can
we use?), what's the harm? As long as we don't try to pass it off as
historical fact. (Apropos, I'm revising the Mudarra-Bermudo conflict part of
my paper to show it as just that, without proposing a conclusion.)

Thanks, for the stimulating remarks.
-- Regards, Michael



 Jocelyn



 -Original Message-
 From: Michael Fink [mailto:[EMAIL PROTECTED]
 Sent: Fri 6/1/2007 2:56 PM
 To: Nelson, Jocelyn; 'Vihuelalist Vihuelalist'
 Subject: RE: [VIHUELA] 4c tuning
 
 Thank you, Jocelyn, for your kind remarks about my article.

 I believe that James Tyler first advocated placing the high
 string of the 4th course on the outside. I don't know if he
 still believes in this solution. However, Michael Craddock
 pointed out to me that with that configuration, the high
 string is *always* too loud. I have found that to be the
 case, even when I try to lower it at the bridge. For me, the
 universal solution is to place the bourdon on the outside.
 Since it is physically possible to play the strings
 separately, that's what I do, whenever appropriate. Strumming
 is not to be underrated either. For chords with the 5th of
 the chord lying on the 4th course, strumming can obscure the
 impression of a 6-4 chord.

 There are many times when both strings of the 4th course must
 sound, as when a melody lies on the 4th course, and the
 composer tells you to alternate thumb and index finger to
 play it. However, that's not always the case.
 Check out Conte Clare in Morlaye's Book I, f.24v. In the
 9th variation, a thumb-finger alternation is shown; however,
 in the next variation it is not
 -- suggesting that the thumb alone should be used. Does
 Morlaye want the player to pluck the lower string alone or
 both strings? This is also a good piece to try strumming the
 6-4 and 8-4 chords. The opening of the piece, as well as
 variations 6 and 7 seem to cry out for strumming.

 Best wishes,

 Michael



 -Original Message-
 From: Nelson, Jocelyn [mailto:[EMAIL PROTECTED]
 Sent: Thursday, May 31, 2007 7:37 PM
 To: John Griffiths; Vihuelalist Vihuelalist
 Subject: [VIHUELA] 4c

[VIHUELA] 4c tuning

[Nelson, Jocelyn]

Everyone,
 
Once I finally had a chance to read everything, Michael's article on 4 course 
tuning and the comments made by others were very helpful to me, and to my 
student as well. I really appreciate Michael's gathering of sources, including 
the iconography.
 
Since I'm working on some of the fantasies, I was especially interested in the 
right hand technique Michael suggested on page 16, in which the thumb is played 
on the 3rd course with the index finger above it. Michael points out that this 
is a good way to pluck only the upper string of the 4h course, and  indeed, I 
find it a workable option. Between Michael's article and John's comments on the 
courses and chord positions, we can see 2 options for the musician, both with 
advantages and drawbacks: 
 
1) The guitarist needs to perfect the ability to play one string of the course 
according to the rules of counterpoint and the voicing of the passage. This is 
an important skill for anyone who uses courses, I think. This idea also has 
musical integrity and theoretical evidence, but might not be so idiomatic to 
guitar literature. 
2) The guitarist can think of the courses the way John described it: the 2 
strings are meant to make up 1 sonic whole. This seems idiomatic and 
traditional, especially with strummed passages, but for some genres -- the 
fantasies, as Michael shows -- it does seem to be lacking.
 
(I don't mean to imply these are mutually exclusive approaches, or that either 
Michael or John think they are.)
 
But here's a possible 3rd option: At the risk of opening another can of the 
slimy, squirmy creatures, are we really able to assume whether the bourdon was 
placed higher or lower than the upper octave? When I played a fantasy for Hoppy 
Smith last year on my 4-course guitar, his comment was that he didn't know why 
I'd play the fantasies with the high string on top, I believe for the very 
reason Michael put forward: contrapuntal errors in voicing are quite glaring in 
this particular genre. Although Hoppy agreed that the high string on top for 
the dances creates a bright, charming sound, I did switch my bourdon to the 
highest (nearest to the ceiling) position for the fantasies. 
 
Here's my 3rd option: until I'm wealthy enough to go around with a different 
guitar for every tuning (not likely ever, but a guitarist can dream), I 
consider bourdon placement for the most important pieces on my program, and 
then also learn techniques to emphasize one string in a course over the other, 
which can be helped by some fidgeting with the string height at the bridge. 
This usually seems to work well enough, even in the highly wrought fantasies. 
Perhaps 16th c. guitarists often used only one of the strings in a course, but 
they probably also compromised in these other ways, too.
 
Best,
Jocelyn
 
Jocelyn Nelson, DMA
Early Guitar, Music History
336 Fletcher Music Center
School of Music
East Carolina University
252.328.1255 Office
252.328.6258 Fax
[EMAIL PROTECTED]




From: John Griffiths [mailto:[EMAIL PROTECTED]
Sent: Tue 5/22/2007 8:16 PM
To: Vihuelalist Vihuelalist
Subject: [VIHUELA] Re: Early Music cover story



Thanks Michael for your detailed response. The points you raise in 
response all seem valid to me and serve to show the limits of our 
knowledge, the limitations and ambiguities of the sources, etc. A few 
of our observations, both yours and mine, show how our evolving 
contemporary experience of early instruments, string technology etc, 
are also informing our historical perspectives.


Good wishes
John

On 23/05/2007, at 1:19, Michael Fink wrote:

 Hello John,

 How great to have you joining the list! And I'm honored and 
 grateful that
 you have read, analyzed, and thoughtfully commented on my paper.

 I have a few responses, interpolated below.

 Many thanks,

 Michael


 -Original Message-
 From: John Griffiths [mailto:[EMAIL PROTECTED]
 Sent: Sunday, May 20, 2007 10:14 PM
 To: Vihuelalist
 Subject: [VIHUELA] Re: Early Music cover story

 Dear Vihuela list,
 a few days ago William Bartlett contacted me following an exchange 
 of ideas
 about Bermudo etc on this list. I thank him for contacting me 
 because I
 didn't know that this particular mail group existed, so I have just 
 joined
 up.

 I also downloaded and read Michael Fink's paper with interest and 
 have a bit
 of feedback. This business of stringing and tuning still has a bit 
 further
 to travel, but it is good that someone has attempted to gather the
 information together. So, thank you Michael.

 At the same time, I don't think we have it exactly right yet. The
 insuperable problem is that we still have insufficient information 
 to be
 able to arrive at definitve conclusions. That means that we finish 
 coming to
 our own beliefs about what was practised centuries ago.
 Beliefs, as distinct from knowledge, are more personal, and are often
 strongly coloured by our own views on the world.

 Right. I don't mean to 

[VIHUELA] Early Music cover story

[Nelson, Jocelyn]

Dear List,
 
Has anyone seen the most current issue of Early Music (Oxford U Press, vol XXXV 
no 1)? Black guitar-players and early African-Iberian music in Portugal and 
Brazil by Rogerio Budasz is the cover article. I haven't had time to read much 
yet since I found it in the mail yesterday, but it looks fascinating and is 
accompanied by musical and iconographic examples. 
 
Best,
Jocelyn
 
Jocelyn Nelson, DMA
Early Guitar, Music History
336 Fletcher Music Center
School of Music
East Carolina University
252.328.1255 Office
252.328.6258 Fax
[EMAIL PROTECTED]


 

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