David,
In a minor key, I'm not entirely sure what to do with the V chord.
When there's *no other* indication to tell me what kind of third to
play (e.g. a melody note, or some other written part, or a sharp sign
in the figures), does the V chord take a major third or a minor third?
In a
I've read the thread, and understand the desire of all here for HIP. But
whenever I think of the history of music, and the playing, I wonder if we
ask for a perfection available to us that may never have been there in
historic times. The Greeks had their mythology of the Golden Age when all
was
David Rastall [EMAIL PROTECTED] schrieb:
In a minor key, I'm not entirely sure what to do with the V chord.
so am I because unless there is a 5 sign for the 5th above the tonic
you
cannot even be sure it is a fundamental chord or an inversion. There
might be required a 6th instead of a 5th,
Jon Murphy [EMAIL PROTECTED] schrieb:
The simplistic solution is to look to the family of C major (and I have an
advantage as a lever harpist as as I am fixed in a diatonic scale once I set
the levers for the key signature - unless I flip during the piece). The
relative minor of C is A (as you
I never did figure out which version of Une jeune fillette I have.
Being unfamiliar with the gazillion concordances in Rainer's
database, I have no idea which one it could be. I've determined that
I am probably missing 38 measures or more. It seems like I have the
beginning and ending pages
Dear Stewart and all,
Adding a four-foot stop on an organ, or having a double bass
doubling with a cello, will not offend the ear, because the
resultant sound is consistent. You hear one well-overtoned note at a
time, not two notes an octave apart. It is pleasing to the ear.
I don't think so. In
To start off, a good guide to many quastions on continuo realization
is:
North, Nigel. Continuo Playing on the Lute, Archlute and Theorbo.
Bloomington: Indiana University Press, 1987.
See especially Chapter 5, Cadences, Sequences and Unfigured Basses.
In a minor key, I'm not entirely sure what
Dear e-friends,
I am proud to announce another 18th century Ukrainian folk song adapted for
Baroque Lute (##93 94, in 2 versions: a and d, playable as solos as well,
13-course lute required).
It is available for your perusal and delectation at:
http://polyhymnion.org/lieder/lieder.html
as well as
Dear David,
My answers and comments are scattered amongst your questions.
- Original Message -
From: David Rastall [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Sunday, March 07, 2004 4:35 AM
Subject: Continuo Question
Dear luters,
I have a continuo question (or two):
In a minor
This is the Schele version - attributed to Dowland.
Rainer
Ed Durbrow wrote:
I never did figure out which version of Une jeune fillette I have.
Being unfamiliar with the gazillion concordances in Rainer's
database, I have no idea which one it could be. I've determined that
I am probably
Thanks for all the responses - very helpful.
I ended up trying carbon fiber (Savarez Alliance) for the 4th course
(0.69mm, 2.4 kg tension), and am happy that the intonation issue is
resolved, and the tone is better. It took about 5 days for the string to
remain in tune overnight.
-- David
David,
I have a continuo question (or two):
It might be edifying to see how Robert Dowland realized it. You
probably have already done that, but I mention it just in case you
haven't.
cheers,
--
Ed Durbrow
currently in Grass Valley, CA USA
http://www9.plala.or.jp/edurbrow/
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