Well, it was the siubject of a further exchange of mails. The subject
title was amended to:
[BAROQUE-LUTE] Re: Male alto in Lute songs? [wasTransposing lute
tablature on sight [was Re: A=392]].
Have you anything constructive to add to the exchange?
Martyn
--- On Thu,
I forgot to mention that the lute music of John Wilson, a sort of
well-tempered lute neck cycle passing through very unusual tonalities for the
instrument, is available in facsimile in English Song, 1600 - 1675, Facsimile
of Twenty-six Manuscripts and an Edition of the Texts vol. 7, Manuscripts
On Dec 2, 2011, at 7:29 AM, Roman Turovsky wrote:
Howard, think a little -
transposition is precluded by temperament.
I'll let David know.
--
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Howard,
You seem not to have read the mailings (yet again) and have therefore
missed the entire point. As David Hill points out (have you bothered
to read his paper?) the voice generally expected when the songs were
composed was soprano/tenor. As he says, the male alto, to take
On Dec 2, 2011, at 7:58 AM, Martyn Hodgson wrote:
As David Hill points out (have you bothered
to read his paper?) the voice generally expected when the songs were
composed was soprano/tenor. As he says, the male alto, to take David
Van Oijan's personal preference, was certainly
From: howard posner howardpos...@ca.rr.com
On Dec 2, 2011, at 7:58 AM, Martyn Hodgson wrote:
I see several fundamental flaws in your conclusion.
First, male altos' range considerations are no different from those of
female altos or baritones or basses. So male altos are relevant to the
A while back on the lute list there was a link to Hector Sequera's
dissertation about Paston - very interesting. It's 100 years earlier,
but goes into a lot of detail about the various keys in the Paston
manuscripts and the sizes of lutes that would have been available to
Paston.
On Dec 2, 2011, at 10:48 AM, Nancy Carlin wrote:
A while back on the lute list there was a link to Hector Sequera's
dissertation about Paston - very interesting. It's 100 years earlier,
Actually, Paston, being Elizabethan, is the period we're talking about. You
were led astray by my
And speaking of such truly accomplished singers as Karamazov:
He tends to have 4-6 archlutes on hand, for various minute instant
adjustments of performance.
RT
- Original Message -
From: Roman Turovsky r.turov...@verizon.net
To: Baroque lute Dmth baroque-lute@cs.dartmouth.edu; lute
Does he really also sing?!
Arto
On Fri, 02 Dec 2011 14:19:05 -0500, Roman Turovsky
r.turov...@verizon.net wrote:
And speaking of such truly accomplished singers as Karamazov:
He tends to have 4-6 archlutes on hand, for various minute instant
adjustments of performance.
RT
-
meant PLAYERS,
his singing is only for the inner sanctum.
RT
- Original Message -
From: wikla wi...@cs.helsinki.fi
To: Roman Turovsky r.turov...@verizon.net
Cc: Baroque lute Dmth baroque-lute@cs.dartmouth.edu; howard posner
howardpos...@ca.rr.com
Sent: Friday, December 02, 2011 2:28
On Dec 2, 2011, at 11:14 AM, Roman Turovsky wrote:
The idea of instant transposition on an instrument PRECLUDES meantone
temperaments, for starters.
It would only possible in EqualT. in a hypothetical situation that a given
transposition causes no hideously hard fingerings.
Say, your singer
It's not difficult to play from lute tablature at a keyboard. I have played
at sight from Italian tablature at a keyboard without ever having practicing
the technique. I've never tried
German, but it would be even easier because there is one distinct note for
each tablature cipher. I'm
Dear Jean-Marie,
There is also a facsimile and transcription of the John Wilson preludes
edited by Matthew Spring (Utrecht: Diapason Press, 1992). It is, alas,
quite flawed. The tablature facsimiles are so small you'd need a magnifying
glass to
read them if you held them ten inches from the
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