I haven't read Isacoff so cannot comment directly. From knowing Isacoff only
via your brief citation, Leonard, there is a point to be made in the
straight-frets argument that seems to have been missed. Setting unsegmented
frets on any lute-like instrument into any non-equal temperament scheme
Harrison's music is sadly an insufferable newage pap of isufferable
duration -
http://www.youtube.com/watch?v=2ieHZ5qmJZIfeature=related
RT
- Original Message -
From: Leonard Williams arc...@verizon.net
To: Lute List lute@cs.dartmouth.edu
Sent: Friday, September 25, 2009 8:43 PM
The Russian theorbo piece is quite nice (albeit too guitaristic for my
taste. Sounds a bit like Piazzolla, but somewhat diluted).
RT
- Original Message -
From: Ed Durbrow edurb...@sea.plala.or.jp
To: LuteNet list lute@cs.dartmouth.edu
Sent: Friday, September 25, 2009 10:55 PM
Subject:
Eugene--
Your final point is a good one in the temperament wars. What,
indeed, did the composer have in mind? How did he/she hear the music? What
was it composed upon? And you're right--one seldom hears of a specified
intonation. We work off assumptions based on what tunings might
To which I hasten to add that it is obvious and self-evident that GOOD music
does not rely on temperament for its interest.
RT
- Original Message -
From: Roman Turovsky r.turov...@verizon.net
To: Leonard Williams arc...@verizon.net; Lute List
lute@cs.dartmouth.edu
Sent: Saturday,
Eugene--
Your final point is a good one in the temperament wars. What,
indeed, did the composer have in mind? How did he/she hear the music?
Composer isnt the isse I think so much as the performers fear of how the
audience will perceive the performance.
Shalm players are always
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It has long been my opinion that temperament is only necessary and
workable on fixed-pitch instruments of limited resources.
Specifically, it is a great work-around for a specific problem. For
the rest of us, it is not a temperament that will be important to us
(except where a specific composer
And
what about the surviving wind instruments from that period: were
they tuned to a particular temperament?
Bob Marvins data on recorders and english flutes (GSJ) is the best attempt
to record this I have seen, but he was hampered by several issues and did
not publish any firm conclusinos.
Regarding temperament, I've always what people with absolute pitch think of our
various efforts. How would someone with perfect pitch perceive an Ab in F
minor in 3rd, 4th, 6th, 11th, or 32.9567 comma meantone? Would this person
hear a kind of real Ab, an out of tune Ab or some other species
[1]http://www.youtube.com/watch?v=xUHQ2ybTejU
--
--
References
1. http://www.youtube.com/watch?v=xUHQ2ybTejU
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Ray,
--- On Sat, 9/26/09, William Brohinsky tiorbin...@gmail.com wrote:
On instruments, like and especially the lute, where the
performer's
fingers are on the strings and corrections can be made
on-the-fly,
nothing that fits the definition of temperament is really
necessary.
Instead,
From: chriswi...@yahoo.com
In fact, modern players of orchestral instruments do this all the time.
Modern bowed string players tune their open strings to perfect (i.e. not
equal) 5ths. They do their darnedest to play any fingered fourth or
fifth as a perfect fifth as well, but this doesn't
Very cool!
ed
At 12:32 PM 9/26/2009, Daniel Winheld wrote:
[1]http://www.youtube.com/watch?v=xUHQ2ybTejU
--
--
References
1. http://www.youtube.com/watch?v=xUHQ2ybTejU
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On Sat, Sep 26, 2009 at 1:50 PM, Roman Turovsky r.turov...@gmail.com wrote:
Exactly.
RT
Exactly what? I'm afraid I'm not getting Chris's point, nor seeing it
as a change from what I said.
By the way: when have professional string players ever not tuned in
perfect fifths? In the 60's, we
ANNA KOWALSKA (Birula) baroque lute
28.09.2009 at 12.30 PM
Studio I of the Royal Conservatory in The Hague
Juliana van Stolberglaan 1
2595 CA The Hague
The Netherlands
Programm
Jaques Gallot (1620-1698)
Suite C-dur
Tombeau du Marechal de Turenne
L'Homme a bonne fortune
I was born with AP, unfortunately, and lived with it without much
thinking to the age of 20. At that time i felt compelled to destroy
it. I still know what the individual notes are, but it is rather
secondary to hearing the relation between the pitches. The experience
(plus being surrounded by
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