I suspect that the vocal part acceded to the lute in cases where the
there was but one lute available and the lutenist was not a
thoroughly trained professional. Of course whatever system the singer
used (and I do remember moveable do training from a thousand years
ago, although specific hexach
it should of course read 'inspiring stuff' rather than 'insiring stuff'
- hope i did not produce an insulting or misunderstandable word - am
not english
f
__
From: Franz Mechsner
Sent: Wed 22.07.2009 04:51
To
This is exciting, david, and certainly an important extra bit
information which makes much sense in addition to the movable do-space.
there were and are of course different lutes and humans to adapt
towards each other, and the consort art hand. If you have to re-key,
are there interv
Respectfully, I disagree that the that the singing part was was
always intended to be transposed to match the lute.
Also, the singing part would have been read in "moveable Do" space,
so transposition would neither have been necessary nor called for.
The vocal parts are simply hexachord position
Dan:
Your missive outlines one of my pet peeves concerning a rational
approach to editing early music. Yes, several old prints contain clear
guides indicating logical starting pitches of of a piece for voice and
lute. The singing part was _always_ intended to be transposed to match
Thanks David, I actually have that entry about lute sources, but I
don't think it is complete. Btw where is Kapsberger 1611? No mention
about it...
Thanks Peter, I'll check Arthur's page.
2009/7/21 Peter Martin <[1]peter.l...@gmail.com>
There's the beginnings of such
Dear David,
It was Margaret Donnington, Robert's sister (I think), who first
explained to me (on an early music course for viols in Cheltenham in
1973) that there were two basic sorts of galliard:
1) The fast galliard, where you have five jumps in the air - 1, 2, 3,
4, wait, 5
There's the beginnings of such a list on Arthur Ness's website at
[1]http://mysite.verizon.net/vzepq31c/id23.html
P
2009/7/21 Bruno Correia <[2]bruno.l...@gmail.com>
Hello,
Does anybody has access to a list of published music for lute in
17th
century Italy?
Hi David,
I'm aware of this book, unfortunately too expensive for my budget right
now. I don't know if my question is anwered in this book because I am
looking for the official published music in Italy (not manuscripts),
for lute, theorbo and archlute.
Thanks.
2009/7/21
On Tue, Jul 21, 2009 at 9:30 PM, Bruno Correia wrote:
> Does anybody has access to a list of published music for lute in 17th
> century Italy?
Not what you asked for, but related:
Victor Coelho
The manuscript sources of seventeenth-century Italian lute music (Garland 1995)
It's a history, des
Hello,
Does anybody has access to a list of published music for lute in 17th
century Italy?
I'm browsing OMI's catalog but I'm afraid of missing any source.
Regards.
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Back to the slippery "do"- While Renaissance theory and concepts of
"moveable do" may seem counterintuitive, arcane & complicated to us,
for the 16th - 17th century music consumer they were rendered
incredibly simple and user friendly by the publications. In
Willaert's 1536 edition of Verdelott
To quote an icon of American television culture "D'oh!"
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Lex van Sante
> Sent: Tuesday, July 21, 2009 4:42 AM
> To: lute mailing list list
> Subject: [LUTE] Re: Alto lute help
>
> It wa
It was the Dodo that was to slow to adapt to changing circumstances
wasn't it?
LvS
Op 21 jul 2009, om 09:47 heeft David van Ooijen het volgende geschreven:
On Tue, Jul 21, 2009 at 7:42 AM, Daniel
Winheld wrote:
Unfortunately this leads us to the "Do Si Do" moveable do space
theory.
Aka
On Tue, Jul 21, 2009 at 7:42 AM, Daniel Winheld wrote:
> Unfortunately this leads us to the "Do Si Do" moveable do space theory.
Aka the final frontier in musicology,
David
--
***
David van Ooijen
davidvanooi...@gmail.com
www.davidvanooijen.nl
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