jiust play in the concertino, not in the grosso...
Le Dimanche 16 mars 2014 19h37, Christopher Stetson
christophertstet...@gmail.com a ecrit :
@trj: A fist bump.
On Sun, Mar 16, 2014 at 12:36 PM, [1][1]theoj89...@aol.com wrote:
In the mid '80s, I was hired to play
Nice. Very sprightly.
On Mar 17, 2014, at 7:51 AM, WALSH STUART s.wa...@ntlworld.com wrote:
https://www.youtube.com/watch?v=Hd-VC7DN3rE
Stuart
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One caveat, and one caveat only, to add to Howard Posner's excellent
perspective- Don't be playing at any time when all the other continuo
players have stopped (or haven't started). Sometimes it's infinitely
worse for the theorbo to be heard!
Dan
On 3/17/2014 7:12 AM, howard posner wrote:
On the few (well recorded) concerts I've seen, (always on TV), the theorbo
has contributed highly with its characteristic bass drone (reminding me of a
didgeridoo for some reason) to the events. But these were smaller ensembles,
where the instrument could really come to its full potential. And
Howard,
On Mon, 3/17/14, howard posner howardpos...@ca.rr.com wrote:
You play continuo, don’t worry about it, and relax knowing
there isn’t any pressure on you to carry the part...
About once a year on this list I have occasion to remind
someone
Don't discount, too, the usefulness of a table. It _does_ help in the
forward projection and, moreover, in the ringing of the basses.
When a string vibrates, the lute absorbs that vibration in a contrary
motion. No matter how you pluck the string it will want to vibrate in
Chris, it took you three and a half hours to join battle this time. You must
be slowing in your old age.
On Mar 17, 2014, at 10:49 AM, Christopher Wilke chriswi...@yahoo.com wrote:
There is no historical evidence implying that plucked continuo players didn't
want or expect to be heard even
Every time I'm in this position (and it happens remarkably often, even
when playing amplified electric bass!) I am minded of Peter Schikele's
introductory speech for PDQ Bach's Sinfonia Concertante S. 98.6 for
Lute, Balalaika, Ocarina, Bagpipes, Left-Handed Sewer Flute,
Double-Reed
Sean,
You're right - lutes were often supported by a table. This may have even
been so in a large ensemble. Strings sat at long tables sitting across from one
another rather in a line facing the audience. Lutes may have as well.
It is more common in iconography, however, to see the
Good point, Chris.
Standing. Yep, I love it. Aside from the projection that you
mentioned, it has helped my breathing and posture (legs, back, neck,
head), which, in turn, helped my hand position, relaxation, confidence
and, best of all for all involved, counting. When I use the same
I agree that playing the lute standing up is a real game changer and also that
modern concert conventions are the thing that stop the game being changed
All the best
Mark
On Mar 18, 2014, at 12:27 AM, Christopher Wilke wrote:
Sean,
You're right - lutes were often supported by a
On 2014-03-17, 7:47 PM, Sean Smith wrote:
Standing. Yep, I love it. Aside from the projection that you mentioned,
it has helped my breathing and posture (legs, back, neck, head), which,
in turn, helped my hand position, relaxation, confidence and, best of
all for all involved, counting.
At the
As Peter Schickle (PDQ Bach) says in the introduction to his duet for
lute and bagpipe, When the bagpipe plays, you won't be able to hear the
lute. But the lute is pleasant to look at. So, when the bagpipe plays,
enjoy the lute.
Gary
On 2014-03-16 04:51, Edward Chrysogonus Yong wrote:
dear
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