Referring to Arto's message, quoted below. Reading my newly arrived Damiani
Method is my first exposure to Italian tabulature, it seems it is not only
numeric (in contrast to the French letters) but also up side down (the
treble course at the bottom). It would seem to be difficult to convert
Subject: Re: Names of composers (Was: Vihuela)
One additional/interesting/ curious thing - Melchore Barberis' book
printed
in Venice in 1549 includes four pieces for a chitara de sette corde -
i.e.
4 course guitar. These are intabulated with the uppermost line
representing
the highest
Hi Vance,
An Orpharion should be differntly shaped.
I guess Kenneth gave a very good interpretation of the whatabouts (which
James already indicated). I wondered because the depicted instrument
seemed close to the vihuela depicted in Milan's book and the painting
was done in early baroque so the
Dear Kenneth,
thank you very much for this explanation.
It's very plausible although I wonder about the time when the painting
was made (being just shortly behind the end of the vihuela age and
shortly before or at the start of the age of the baroque guitar) which
propably confused me.
My point
- Original Message -
From: Jon Murphy [EMAIL PROTECTED]
To: [EMAIL PROTECTED]; Arto Wikla [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]; [EMAIL PROTECTED]
Sent: Wednesday, December 17, 2003 7:25 AM
Subject: Re: (Was: Vihuela) follow up question
Tablatures for 5-course guitar, both Italian and
Ed,
Looks as if he was sending in rich text rather than plain text. An
option on most software. An option to be avoided on lists as not all have
the software set up to read it.
Best, Jon
- Original Message -
From: Ed Durbrow [EMAIL PROTECTED]
To: [EMAIL PROTECTED]; lute list [EMAIL
An Irish carpenter, being asked to explain the difference between a joist
and girder, replied:
One wrote Ulysses, and the other wrote Faust.
RT
Which merely shows the natural literacy of the Irish, whatever their
station.
Best, Jon (Murphy)
Monica,
you should know that there are many examples of on line French tablature,
(perhaps most?) some of them the earliest, like Attaingnant, (who used
capital letters) Besard, Phalese etc. I wonder what's the earliest between
line French tablature. I suppose it's all a question of printing
It is not an original lute (as far as I remember there are NO Dutch type
lutes that have survived, 12-course, never mind 14). Just a well-made modern
one.
RT
__
Roman M. Turovsky
http://turovsky.org
http://polyhymnion.org
Any ideas who the creator of this beauty may have
been?
I
Dear Ed,
Bakfark finished his Lyon lute book with the piece my last sighs
(Ultimi mei sospiri), and the Cracow lute book ends with a
reference to the lack of money (Faulte d'argent).
Best regards, Peter
-
Peter Király
Glockenstr. 34
D-67655 Kaiserslautern
T/Fax. (00)49
It's always been my understanding that cifra is very much a standard
form of notation for flamenco players. A relative of mine was for many
years a close friend of Pepe Martinez who was one of the great flamenco
guitarists of the last century. I have seen examples of his cifras, which
were
Dear Stefan,
Thank you for all this information. I think it would be very
difficult to prove that you were the first person to perform music
from a lute manuscript. The chances are that the original owner of
the manuscript played music from it to a few friends, and so
(according to your
Jon,
Another way to think of Italian tab is looking through the neck with
x-ray vision from the thumb side while you're in playing position.
-- David
Jon Murphy wrote:
Referring to Arto's message, quoted below. Reading my newly arrived Damiani
Method is my first exposure to Italian
Dear Stefan,
I was glad to read your mail, as it reverberated many of my own thoughts on
this issue. If what you say is right, then, I suppose we have no issue at
all. So, those flame-wars were actually only in vain. :) Happy if they were!
Best Regards
Göran
- Original Message -
From:
Dear Stefan Stewart,
Surely this cannot be true. I would assume this one just remains in legal limbo-land
- untested and without precedent.
Regards,
Michael Stitt
Stewart McCoy [EMAIL PROTECTED] wrote:
Dear Stefan,
Thank you for all this information. I think it would be very
Dear all,
Just after reading the lute doctor I just wondered what the state of play is for
luthiers these days. Have we come to a point where woods used for the construction of
lutes and historical based instruments are using ecologically sustainable timbers? By
this I mean timbers which
Dear Michael,
In this day and age, I think cutting down any tree whether endangered, or
not, is a crime. However, some crimes are more serious than others. This
from a self confessed criminal.
The only thing stopping me from buying up all the Brazilian rosewood I
can is the price, and
Thanks for your detailed reply Michael.
I guess some companies - and I'm sure there are many, which condone woodchipping and
other uses on a non sustainable basis, which are the real vandals, and not the humble
luthier. Its unfortunate that the market (and therefore $$$) which appears to be
Dear Luciano others
My comment by no means intended to suggest that all wood from Brazil was illegally
obtained by luthiers. If my last E-mail read like this then I certainly need to make
this clear. Like I expressed broadly before, I'm sure most luthier's are honest, hard
working
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