Some harps are made with the possibility of playing alterations by
puting the finger on the "console" of the harp and reducing the length
of the string to play sharp notes. So even on diatonic harps
alterations are possible.
Look this bray harp player
Interesting- to (some) modern players- both HIP and non-HIP; by the way-
that "well played" has to automatically be synonymous with "fast enough".
- And Ralf, thanks for the info concerning falsas, ficta, and the
hexachords.
I never heard that Mudarra was mocking Ludovico, rather instead that
Am Sonntag, 15. Januar 2017 22:37 CET, Mathias Rösel
schrieb:
> > and he wants to say that the false relations sound fine if played fast
> > enough.
> > There are no "wrong" notes.
Wait, wait! Nowhere does Mudarra mention speed at all. It's an easy to fall in
> Has anyone ever done a study of possible wrong notes in ‘Forlorne Hope?” In
> Alonso Mudarra’s Fantasia, there is, according to Pujol, a comment: ‘There
> are are few false notes but they do not sound bad if played well’. So it may
> be an over reach to assume that unusual sounds may have a
On 15.01.2017 20:19, John Mardinly wrote:
Has anyone ever done a study of possible wrong notes in ‘Forlorne Hope?” In
Alonso Mudarra’s Fantasia, there is, according to Pujol, a comment: ‘There are
are few false notes but they do not sound bad if played well’. So it may be an
over reach to
Has anyone ever done a study of possible wrong notes in âForlorne
Hope?" In Alonso Mudarra's Fantasia, there is, according to Pujol, a
comment: âThere are are few false notes but they do not sound bad if
played well'. So it may be an over reach to assume that unusual sounds
may
something slightly off topic...
Perhaps English lute netters can help.
I have recently read a few novels by Collins:
The Moonstone
The woman in White
Armadale
Can anybody recommend other novels by Collins?
Best wishes,
Rainer
PS
there is a complete (shudder)
As others have said, thanks, Ron, for your impressively thorough and
informed scholarship from an insider's viewpoint. This would have
been unlikely to come from someone not intimately involved with the
music.
On Sun, Jan 15, 2017 at 6:05 AM, Ed Durbrow
I personally disagree with changing the rhythm in that bar. It is
perfectly fine to my ear. There is a danger in over-correcting: it can
take away the original flavor of the piece. If it can fly, let it fly.
If it cannot fly, try to make it fly.
In any case, wrong notes should always be
On 15.01.2017 16:45, Ron Andrico wrote:
Rainer, it's simply a difference in the application of an accidental, which
most likely is a copyist's error - or a copyist's insipid choice, if he or she
was unschooled in the proper horizontal tracking of parts. It's a grave
mistake to think of lute
Dear Rainer,
It doesn't sound awfully wrong to me. Furthermore, if you play just the
bass line you will see that the voice moves in exactly the same fashion
in bars 5 and 6.
Best,
Matthew
On 15/01/2017 14:00, Rainer wrote:
Dear lute netters,
please note that the tablature snippets in
Look at a4 in 5th measure. Much ado about white's nothing :)
G
On Sun, Jan 15, 2017 at 2:36 PM, Christopher Stetson
<[1]christophertstet...@gmail.com> wrote:
Dear Rainer and all,
It appears to me that both examples are identical.
Chris.
On Sun, Jan 15,
Dear Rainer and all,
It appears to me that both examples are identical.
Chris.
On Sun, Jan 15, 2017 at 8:00 AM, Rainer <[1]rads.bera_g...@t-online.de>
wrote:
Dear lute netters,
please note that the tablature snippets in this mail may look very
strange if you do not
Dear lute netters,
please note that the tablature snippets in this mail may look very strange if
you do not use a fixed font or - much worse - your mail client wraps after 80
bytes.
I am currently playing through the music supplement 100 (English Lute Society)
and noticed some thing I had
Thanks for your long contribution. Good luck!
Ed Durbrow
Saitama, Japan
http://www.youtube.com/user/edurbrow?feature=watch
https://soundcloud.com/ed-durbrow
http://www9.plala.or.jp/edurbrow/
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