Playing with a capo does in my ears change the colour to a more lute like one
(less
fundamentals in the sound), however I would use the second fret, so that the
markers are still
in place ;-)
Regards,
Stephan
Am 13 Nov 2007 um 19:38 hat Daniel Winheld geschrieben:
And why wouldn't it work
This is becoming tedious. To return then to the original point: if you have
straight frets across the fingerboard then the chromatic and diatonic sequence
of the frets will vary across the courses and you will often NOT therefore be
playing the same 'meantone' note as the keyboard
if you have straight frets across the fingerboard then the chromatic and
diatonic sequence of the frets will vary across the courses and you will
often NOT therefore be playing the same 'meantone' note as the keyboard
instrument
Let's keep the discussion fair, albeit tedious, I admit. I
As I originally suspected the chimeric 'tastini' are therefore your solution
(or asking the Director to hold on a bit whilst you adjust frets) -
hmm..
MH
LGS-Europe [EMAIL PROTECTED] wrote:
Dear Martyn
What you are also overlooking is what
I'm very much afraid that you have not proved any such thing (' I have
proven my frets do match the organ').
My example of the first fret difficulty, which you now recognise, is but one
of the many fret positions where you will encounter similar problems. Your
earlier table of
Perhaps you are right, and certainly Tyler has done a lot of work
here, but there are some lacunae. My basic feeling is that when
mandolino or its various spellings are called for then it probably in
Vivaldi's time is the 6 course (sometimes fewer, perhaps) as
Tyler/Sparks suggest, and I see
- Original Message -
From: David Tayler [EMAIL PROTECTED]
Date: Tuesday, November 13, 2007 0:08 am
Subject: [LUTE] Re: Vivaldi
Also works nice on 6 course mandolin, and archlute
in mandolin tuning. On mandolin you have not the
parallel octaves, and the modulating parts are
easier
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
Date: Tuesday, November 13, 2007 12:49 pm
Subject: [LUTE] Re: Vivaldi
heard over an orchestra (you can't play as hard)
And that is the overriding consideration.
..And whatever Vivaldi had in mind when naming leuto is still
Though people debate this issue, liuto in
Scarlatti Vivaldi land generally meant mandolin...
I think that Vivaldi actually designated mandolino in several instances
argues to the contrary. Again, O'Dette took that stance originally, but
recanted.
Eugene
To get on or off this list
On Nov 13, 2007 2:01 PM, Daniel Winheld [EMAIL PROTECTED] wrote:
I assume the Morley can be found reprinted and for sale at any of the
usual sources;
Actually, the 1771 edition of the original was available for download,
and I cannot find it any longer online. I have two versions, same
file,
My university's spam filter seems to be a little overzealous at the moment. I
don't seem to be picking up all of this discussion.
In addition to only archlute and mandolin, I think the few-course, lute-like
thing called mandora in some places at some times is worthy of consideration
for
Hi all,
I'm short on time, so I'll try to make this brief.
I agree with Howard in the sense that I think when Vivaldi
meant mandolino, he indicated mandolino. He clearly
knew what a mandolino was, and wrote for it very effectively,
IMHO. There are accounts of mandolinos having existed at
the
I just went back through Eric's article, then sat down at my computer
and saw his own Reader's Digest version.
On Nov 14, 2007, at 9:33 AM, Eric Liefeld wrote:
I agree with Eugene that what Vivaldi meant by leuto is still
open to debate. For a number of reasons, I don't think
these leuto
I may have missed a bit in my last paragraph:
The 1771 PDF I have is 32Mb. So Greg's scans, if they are 12Mb total,
will result in a PDF that is also around 12Mb. The point however, is
that as a PDF, it is a one-piece file that can be read like a book,
rather than 223 individual page files.
I just don't see a gap of any sort in the Vivaldi D major concerto
when played on mandolin.
Perhaps you can be more specific as to what the gap might be.
Obviously it does not fit perfectly on the archlute or people would
not transpose it.
But definitely playable in D, and even more playable
Is it possible to post the readable version using yousendit (the free ftp)
dt
At 10:42 AM 11/14/2007, you wrote:
I may have missed a bit in my last paragraph:
The 1771 PDF I have is 32Mb. So Greg's scans, if they are 12Mb total,
will result in a PDF that is also around 12Mb. The point however,
On Nov 14, 2007, at 12:47 PM, David Tayler wrote:
Obviously it does not fit perfectly on the archlute or people would
not transpose it.
Who transposes it?
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Is there a way to reverse engineer a searchable text version, that is
just a diplomatic facsimile?
Then people could add comments and explanations to the online version
We could divide it up, or *hint hint*
one of the many computer mavens on this forum could take it on :)
dt
At 01:09 PM
Although there are sources, it is very scatteredbut the good news
is you can get a real feeling for the basics just by sightsinging in
hexachords using mutation. By duplicating the standard renaissance
training for musicians, you quickly start to see the patterns.
Definitely the place to
Hi Eugene,
Another totally speculative possibility are the 5- to 7-course lute-
sized things built to very deliberately mirror the aesthetics of
18th-c. 5- and 6-course mandolini. I've raised them here in the
past and they have gotten some decent speculative chat; that should
be archived
Hi Howard,
The only
caveat I'd add is that if you conclude Vivaldi intended, say, a
gallichon in D because the music lies well under the hands on that
instrument, you have to first assume that Vivaldi had a practical
familiarity with the instrument of the sort that almost had to be
acquired by
Whereas I totally agree that
snip
I've found it more than a little dangerous to assume a certain
target instrument because of particular things that may seem
idiomatic to that instrument. In the early mandolin world, for
instance, its quite common for people to claim idiomatic superiority
snip
Hi David,
I just don't see a gap of any sort in the Vivaldi D major concerto
when played on mandolin.
Perhaps you can be more specific as to what the gap might be.
I don't have the scores in front of me, but generally, if you assume
the leuto part to be played at the upper octave (often
On Wed, 14 Nov 2007, David Tayler wrote:
Although there are sources, it is very scatteredbut the good news
is you can get a real feeling for the basics just by sightsinging in
hexachords using mutation. By duplicating the standard renaissance
training for musicians, you quickly start to
I see that the gap is the space between the parts in the harmonic stack.
This is a really interesting theory, so I would like to try to frame
it--this is the best I could come up with.
1. Does Vivaldi write other music with a really wide gap, in other
words, is it part of the style?
2. Do
This site for downloadingmusic is just getting started.
I was hoping that the
Lord Danby Lute Book would be available on line. But
the site bears watching. There's quite a bit of unique
lute music at Eastman's Sibley Music Library.
(For those interested, the Library of Congress now has
an
- Original Message -
From: Eric Liefeld [EMAIL PROTECTED]
Date: Wednesday, November 14, 2007 5:56 pm
Subject: Re: [LUTE] Re: Vivaldi
Hi Eugene,
Much earlier than Presbler, et al, I'm very much taken by the six-
course 1652
Matteo Sellas instrument in Paris (D.E.CI 7688). The
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