was significantly less than ordinary
contemporary lutes - around 12mm
rgds
M
--- On Tue, 4/10/11, Rob MacKillop robmackil...@gmail.com wrote:
From: Rob MacKillop robmackil...@gmail.com
Subject: [BAROQUE-LUTE] Re: L'Infidele
To: sterling price spiffys84...@yahoo.com
Cc
Hi Rob,
I have no knowledge of the source of this suite. Do you know if it is
in Weiss's own hand?
I'm opening myself up to brickbats here, but it is usual for classical
guitarists to make slight alterations to the pieces they play, to suit
their own physical characteristics and
Dear Rob,
It is a stretch but I do think the low A (ie 13th) is meant: the BL MS
is very clear and there are no signs of an a on the 6th course being
altered to a 6 (as we sometimes find elsewhere).
I think there are two factors here:
1. Clearly much depends on how one
The Dresden Ms version has that bass note up an octave. Nevertheless, it isn't
the only example in Weiss of playing notes on the 1st and 13th course
simultaneously (and if you travel further in time, Hagen and Falckenhagen)
Danny
On Oct 4, 2011, at 4:05 AM, Rob MacKillop wrote:
Enjoying
robmackil...@gmail.com
Sent: Tuesday, 4 October 2011, 10:25
Subject: [BAROQUE-LUTE] Re: L'Infidele
Dear Rob,
It is a stretch but I do think the low A (ie 13th) is meant: the BL
MS
is very clear and there are no signs of an a on the 6th course being
altered to a 6
: Rob MacKillop robmackil...@gmail.com
Subject: [BAROQUE-LUTE] Re: L'Infidele
To: Daniel Shoskes dshos...@mac.com
Cc: BAROQUE-LUTE baroque-lute@cs.dartmouth.edu
Date: Tuesday, October 4, 2011, 6:31 AM
I can play the 13th and 1st courses
simultaneously without too much of a problem. I think
...@yahoo.co.uk
To: BAROQUE-LUTE baroque-lute@cs.dartmouth.edu; Rob MacKillop
robmackil...@gmail.com
Sent: Tuesday, 4 October 2011, 10:25
Subject: [BAROQUE-LUTE] Re: L'Infidele
Dear Rob,
It is a stretch but I do think the low A (ie 13th) is meant: the BL
MS
is very clear
in the mid 140s. Perhaps reflecting local tastes? - but too
small a sample to draw any clear conclusions.
Martyn
--- On Tue, 4/10/11, William Samson willsam...@yahoo.co.uk wrote:
From: William Samson willsam...@yahoo.co.uk
Subject: [BAROQUE-LUTE] Re: L'Infidele
To: Martyn
baroque-lute@cs.dartmouth.edu
Sent: Tuesday, 4 October 2011, 12:44
Subject: Re: [BAROQUE-LUTE] Re: L'Infidele
Thanks, Bill. That's it. To which Malcolm added a few more, including
the bizarre c.160mm on the small Berr, the smallest lute but with the
largest string band.
Thanks to all
2011, 12:44
Subject: Re: [BAROQUE-LUTE] Re: L'Infidele
Thanks, Bill. That's it. To which Malcolm added a few more, including
the bizarre c.160mm on the small Berr, the smallest lute but with the
largest string band.
Thanks to all the advice on different approaches to managing
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Rob,
I'll second the lifting of the pinky off the soundboard. If you watch some
of the videos of this suite and other Weiss suites, some performers, perhaps
without
say.
Chris
Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com
--- On Tue, 10/4/11, William Samson willsam...@yahoo.co.uk wrote:
From: William Samson willsam...@yahoo.co.uk
Subject: [BAROQUE-LUTE] Re: L'infidele
To: Rob MacKillop robmackil...@gmail.com
Cc
That's getting on the wide side, Sterling. Would you have a problem with Bar 4
of L'Infidele? I agree that close spacing is difficult. I don't know how people
can play with a string band of less than 148, but they do. People find a way.
Rob
www.robmackillop.net
On 4 Oct 2011, at 22:34,
When I started baroque lute 30 years ago (!!), I had difficulty at
first, but I learned to accommodate the stretches. On 13 course
lute, I seldom rest the pinky on the soundboard, and when playing the
first 2 courses with my middle or ring finger (with the thumb on 12th
or 13th course), they
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