Hi all,
I find it really amazing what a long thread of meandering discussion
developed out of the mere question whether a dot in a 500 year old
manuscript is a dot or just flyspeck. ;-)
[1]http://bogulamedia.de/aa/capi1.jpg
Thanks for your answers. Although I have read
On Jul 25, 2007, at 7:11 PM, David Tayler wrote:
Why shouldn't someone be able to really
study modern lute (including Hindemith's Concerto
Hindemith composed a lute concerto? Do tell more.
Ed Durbrow
Saitama, Japan
[EMAIL PROTECTED]
http://www9.plala.or.jp/edurbrow/
--
To get on or off
Dear Ariel,
I think that you starting up from a wrong concept. Playing continuo
is not about learning positions for chords but reading a bass and
adding the right harmonies to it as a result of counterpoint and
correct voice leading. If you think in chords positions like jazz
players do,
On Jul 25, 2007, at 6:11 AM, David Tayler wrote:
I do think we have to get away from any idea that one style is better,
or more authentic, that is the undercurrent that prevents us from
exploring all the possibilities of the instrument, limiting us
somewhat to Historically Blurry
On Wed, 2007-07-25 at 22:32 -0700, gary digman wrote:
F. C. da Milano played viol as well as lute
This might very likely have been a `viola da mano' (italian form of a
vihuela) ...
and used fingerpicks on the
lute. De Visee played lute, theorbo and guitar. Paul O'dette, Hopkinson
Smith,
You asked for speculation:
I think these Italian mid 18thC instruments with string lengths in the high
50s to mid 60s are more likely to be the 18thC Italian continuation of the old
'liuto' (usually in an A tuning ie A d g b e' a' or even G tuning) rather than
the larger
Dear Gary
That's partially correct. BUT:
Modern string material allows other (modern and in history never
possible or needed) techniques as historic ones. F.ex. dampening is
first of all a problem of modern bass strings. If we wish to
understand the acoustic of a historic instrument and use
On Wed, Jul 25, 2007, Caroline Usher [EMAIL PROTECTED] said:
Supposing one wanted to learn the fundamentals of music as it was taught
in the 16th century, starting with the gamut and hexachords.
Dont forget the lectures and post-lecture beer.
Lots of renaissance treatises, Boethius,
Hi Ariel, and welcome to the 17th century...
Nigel North's book on continuo instruments is worth tracking down. There are
second-hand copies available from here:
http://www.amazon.com/Continuo-Playing-Archlute-Theorbo-Music/dp/0253314151/
At 07:16 AM 7/26/2007, Martyn Hodgson wrote:
You asked for speculation:
Thanks for your insightful speculation, Martyn. I like the G to g' or A to
a' concept with a single diatonic bass...sort of like an archlute
light. This is receiving similar discussion on another forum where I
posted.
Hindemuth had a spurt of writing compositions for all kinds of
instruments, including recorder. (Jeremy Montague (sp?) wrote to Early
Music decades ago about HIP, objecting to the equally anachronistic
playing of Hindemuth's recorder trio on baroque-fingered instruments!)
I don't have any record
Trying this again with an appropriate subject line.
I was wondering if any list members were attending the LSA lute seminar
in Vancouver, BC next weekend. It would be nice to have a few faces to
attach to names.
--
Stephen Fryer
Lund Computer Services
Hello,
my name is Caius Hera, I'm from Timisoara Romania, one of the very few
lutenists here(the one and only baroque lute player, I also play vihuela,
renaissance lute and a discant viola da gamba). From oktober I'm student at
Schola with Hoppy. I'm looking for a place to stay in Basel
13 matches
Mail list logo
