I play at 392 with a string length of 69. My baroque guitar is also at 392
for de Visee. This is a home recording of my 11c:
http://www.rmguitar.info/mp3s/11c/TombeauDeDuBut.mp3
Some like that low pitch, others don't. You will read conflicting reports
about pitch during this period in France,
Thanks everyone for the responses so far!
The info on wind instruments and the prevalence of +/- 392Hz etc. is
clearbut I am just not convinced yet...
For most string instruments, the usual method was to tune the highest note
as high as comfortable, and go from there.
Especially when used for
Dear Collected Wisdom,
I've been working on some lutesongs with an amateur singer who by
day-job is a musicologist in the London University with a specialism in
gender and music.
We've been having lots of fun playing the core lutesong repertoire, but
she would like to put together a set of songs
Dear Peter
I don't know if you play the guitar as well, but there is a huge
amount of repertoire from the early 19th century for voice and guitar
by female composers.
I am doing a programme of those songs on an original 19th century
guitar. Let me know if you want to now more.
Best wishes,
Martin,
A Fronimo file doesn't take up much space at all. I think it is up to you,
of course, but a Fronimo file would be handy, especially for those who like
to change from Italian to French tab, or reorganise the page turns to suit
themselves. That said, I am very inconsistent on my own site,
Was the newly released CD, Sister Awake! by Chris Goodwin et al,
already mentioned? It can rightly be called a gender specific recording,
exclusively containing music by women composers.
Mathias
Jelma van Amersfoort [EMAIL PROTECTED] schrieb:
Dear Peter
I don't know if you play the guitar
On Thu, 14 Feb 2008, Martin Shepherd wrote:
Dear All,
I've just been creating PDF versions of all the files in the Piece of the
Month archive (they're not online yet) but it occurs to me that there's
really no need to supply Fronimo and Tab files as well. The only advantage
is that you
This may be useful. I think it also includes msuci for lute:
MacAuslan, Janna
Guitar music by women composers :an
annotated catalog /compiled by Janna
MacAuslan and
Kristan Aspen. Westport, Conn. :
I have been asked to play theorbo accompaniment in Bach's Actus Tragicus
cantata. The performance will be in F rather than Eb (for the recorders).
Does anybody have a score of the work in F with the figured bass?
Thanks
Nigel
To get on or off this list see list information at
Unfortunately none of the songs on the CD are by women composers although
they deal with women's lot in life (not a happy one).
There is however Antonia Bembo from the end of the 17th century - a pupil
of Cavalli who ended up in Paris.. One or two pieces - voice and bass line
are included
Hello Friends,
Just want to let you know that all of the Dorian Recordings / Sono
Luminus recordings are available from your favorite digital
sites...Just visit iTunes, Rhapsody etc. to download your favorite
piece or entire CD from our catalog!
Suzanne Konefal
Director of Marketing and
On Feb 14, 2008, at 1:15 AM, Peter Jones-RR wrote:
We talked about Barbara Strozzi and Francesca Caccini - does anyone
have
any other suggestions?
If you want to expand to solo motets, there's Isabella Leonarda
(1620-1704).
I suppose your partner is familiar with Barbara Garvey
I just thought of two other pieces:
1 - Songs of Sundrie Kindes, tenor and lute, 12', originally from
Oxford University Press but now on sale from Allegro Music
(www.allegro.co.uk). I rather like the music by Tate that I've played
so far. Tenor should translate easily to mezzo-soprano.
2 - There
I forgot to say: 1 - Songs of Sundrie Kindes by _Phyllis Tate_ (1911-1987).
On 2/14/08, Jelma van Amersfoort [EMAIL PROTECTED] wrote:
I just thought of two other pieces:
1 - Songs of Sundrie Kindes, tenor and lute, 12', originally from
Oxford University Press but now on sale from Allegro
Earlier sources do exist, but they are not French. Do we consider
Mace as sufficiently French influenced to count as French?
Unfortunately I can't get into this article to see exactly what is said.
THOMAS MACE,
he tells you that When you begin to Tune, raise your treble or.
smallest string
Hi Ed,
--- Edward Martin [EMAIL PROTECTED] wrote:
I am uncertain if the strings back in the period
were better than ours
today. That is unproven, and as we have no strings
of which to compare, we
really cannot assume they were better than what is
available today.
But I think we can
Hi Anthony,
Yes, this is what I was getting at. There is this general tendency in many
stringed instruments to search for the =8Cbreaking point'
of the highest string and go from there, even design wise (as in harpsichord
building.)
I think this idea crosses countries, periods and many different
I stand corrected, it's true. The booklet tells of the poetesses, Mary
Wroth et al, and I hadn't noticed that they aren't the composers as
well. Sorry, that was my fault. The music and the recording, however,
are beautiful, to say the least.
Mathias
Monica Hall [EMAIL PROTECTED] schrieb:
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