Oh my Stewart,
You've done it again. You have informed me.
> The syllable Ti or Te for the 7th degree of the scale was originally
> "Si" standing for Sancte Iohannes (Saint John).
I posted the first words of Ut queant laxis as the origin of ut (do) - re -
mi, and mentioned that there was a seven
Combining a few in this thread. I was brought up on Scots folk music, and
have an old recording of Ewan McColl doing drinking songs of many years ago.
"The Wind blew the Bonny Lassie's Plaidie Awa' ", and many others. I don't
know their age, perhaps they are recent music hall songs masquerading as
I think we need to avoid overlaying our modern ideas on popular music=20
version serious classical music. It seems to me there was more continuity=
=20
between the styles in the 16th and 17th centuries with pieces being quoted=
=20
back and forth. A lot of late 20th Century comparmentalization o
BTW, is there something actually Scottish about cold & raw? It was
originally published (I think) as "a new Scots song" - Is it a falsely
popular (i.e. written by an educated, professional musician possibly
employed by the court or the church), falsely scottish ballad? I am
thinking about the w
Pedantic, but the German tablature doesn't quite correspond to the French.
I guess the German should read:-
__
|__| |__|__|__| |\ |\ |
| | |__|__|__| | | |
| | | | | | | | |
g g |
A b g b 2 b A C |
Richard Corran
Tel:- (+44) 1332 7
Greg M. Silverman at [EMAIL PROTECTED] wrote:
> If indeed Mr. Purcell was offended that Queen Mary preferred a "vulgar
> ballad" to one of his "refined" tunes, he had a lot of nerve, since he
> was the author of many a vulgar ballad himself
I think Hawkins meant "vulgar" in the sense of "common"
Dear Rainer,
Many thanks for reproducing the review of Jacob Heringman's CD of
music by Josquin des Pres. The piece referred to is an intabulation
of Josquin's "Praeter rerum seriem", which appears as No. 66 in
Munich, Bayerische Staatsbibliothek, Musiksammlung MS 272. Many
thanks also to Dr Wolfg
Ronn McFarlane wrote:
>Dear Alain,
>
>The Baltimore Consort did not have that story specifically in mind when we
>chose to arrange "Cold and Raw" with Custer LaRue singing. We thought more
>generally, that there is so much 17th century gender-bending where singer's
>roles are concerned, that it
Dear list,
there will be a lute class within the summer school of early music held
by Evangelina Mascardi, a marvelous player of the lute.
for details see the information below.
Best wishes
Thomas
> Hello,
> sorry for taking your time, but last year you helped to spread the
> information about
And she is a fisrt-rate player indeed.
RT
__
Roman M. Turovsky
http://turovsky.org
http://polyhymnion.org
> there will be a lute class within the summer school of early music held
> by Evangelina Mascardi, a marvelous player of the lute.
> for details see the information below.
> Best
Hi Ronn,
Many thanks for that very interesting piece of information - that shows how
tricky it is to interpret bits of contemporary information, and even more
so when the information comes from the fairly distant past. But perhaps, it
is more important to try and establish the connection between
Dear Alain,
The Baltimore Consort did not have that story specifically in mind when we
chose to arrange "Cold and Raw" with Custer LaRue singing. We thought more
generally, that there is so much 17th century gender-bending where singer's
roles are concerned, that it fit into the spirit of the t
Dear Jon,
I had wanted to keep Guido d'Arezzo out of it, because, although
Curwen's tonic sol-fa grew from his system, it is really quite
different in a number of ways. For example, Guido's scale was a
6-note hexachord; Curwen's was an 8-note octave. (Please forgive the
tautology.) Guido's hand sh
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