On 08/05/2011 07:22, Gilbert Isbin wrote:
A very nice happy composition, well played and the video fits
wonderfully with the music.Sounds great on the lute.!
Gilbert
http://users.telenet.be/gilbert.isbin/contents.html
Thanks Gilbert. It's fun to play. And unusual to have twelve-tone music
Thanks Stuart - like it! Do you know: did Margriet Verbeek write this
specifically for lute - or for guitar?
Best
Andrew
On 8 May 2011, at 10:20, Stuart Walsh wrote:
On 08/05/2011 07:22, Gilbert Isbin wrote:
A very nice happy composition, well played and the video fits
wonderfully with
On 08/05/2011 10:41, David van Ooijen wrote:
On 8 May 2011 11:31, Andrew Gibbsand...@publicworksoffice.co.uk wrote:
Thanks Stuart - like it! Do you know: did Margriet Verbeek write this
specifically for lute - or for guitar?
Margriet is a classical guitarist/composer from Holland. She has no
I might have very slightly violated the rules of serial
composition
Oh dear, we have a serial killer in our midst! There must be
serial-police for this kind of thing. ;-)
It's remarkable how transposing a piece often takes away some of the
instrument-specific characteristics. Your serial
Thank you so much everyone who helped me with a version of Ancor!
That was very kind of you all!
All the best,
Susanne
Schon gehoert? WEB.DE hat einen genialen Phishing-Filter in die
Toolbar eingebaut! [1]http://produkte.web.de/go/toolbar
References
1.
On 08/05/2011 11:31, David van Ooijen wrote:
Some of the
movements from Poulenc's piano suite with dances from Gervaise (can't
remember it's called) I arranged for lute as well, and pair them with
the 'original' dances. Here I feel the dissonances work quite well on
lute; they don't feel
for fairness' sake it should be noted that that jigg is merely atonal, and
not dodacaphonic,
as it contains repeated notes, which are not permissible in strict 12tone
composition.
RT
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Lute Net lute@cs.dartmouth.edu
For guitar, and my initial reaction was corroborated by the source.
I also suspect that it would be a lot more pungent on guitar, as the
consonances in the lute overtones
take edge off that, and the piece seemed lacking in substance to me.
Stuart, keep at it, the enlightenment value of this
Roman, what you say about the consonances in the lute overtones is interesting.
For those of us less familiar with the characteristics of both lute and guitar
overtones, could you elaborate a bit about the differences? Are you saying
that the guitar produces more dissonances in its overtone
No, guitar procuces a lot less overtones.
Hence the silver sound of them lutes.
RT
From: Edward Mast nedma...@aol.com
Roman, what you say about the consonances in the lute overtones is
interesting. For those of us less familiar with the characteristics of
both lute and guitar overtones, could
meant proDUCes.
RT
No, guitar procuces a lot less overtones.
Hence the silver sound of them lutes.
RT
From: Edward Mast nedma...@aol.com
Roman, what you say about the consonances in the lute overtones is
interesting. For those of us less familiar with the characteristics of
both lute and
Aha - I think I understand. More fundamental sound as opposed to overtone
sound. Hence its somewhat darker (if that's the proper word) than the lute.
Thanks again, Ned
On May 8, 2011, at 3:46 PM, Roman Turovsky wrote:
meant proDUCes.
RT
No, guitar procuces a lot less overtones.
Hence the
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