This is a pretty difficult question, but I'd like to hear some thoughts.
As you might know there are people more or less on the synaesthetic side.
Such perception is no doubt to be looked for in Early Music too.
The Lute is also an instrument that furthers synaesthetics, due to the
fine colors
Ad 1. It didn't. At least, not in Italy. May I add that I play a copy
of a Sellas liuto attiorbato with double first. And it's sheer joy as
it tends t to kinda "sing".
Ad 2. My guess is that players tended to prefer the single first
because it strikes the ear when the first course
Very interesting, Arthur.
I read this article yesterday, it would be interesting to hear what you
have to say about it.
As a musicologist student, I learned that style criticism should be
avoided because it cannot be valid evidence.
The original question however was if the grouping of the
Dear Collective wisdom,
When did double first courses cease to exist on renaissance lutes? We
know from early on, and from the middle ages, they were double strung
on every course, including the treble. In terms of iconographical
evidence, I looked at the Caravaggio "Lute
Hi Ron,
I need to reply to your comment and will do so tomorrow, since today
has been a bit busy for me.
The thrust of Victor's comments are bizarre and I think you don't
understand what he's saying.
He's advocating a corrupt source as the "authoritative" version of a
Tristan,
Cavalcanti isn't a very exciting manuscript. It has some Francesco
(including the duets, canon and spagna),
but with lots of mistakes. Some ricercars attributed to FdaM are in
fact intabulations. The book was
prepared dated 1590 for Rafaello Cavalcanti when the was
Apparent5l, Andre Souris didn't know this either.
After all, he was Belgian :)
Rainer
On 21.01.2018 15:39, David van Ooijen wrote:
I understand these as 'French' 1st and 2nd endings, where the second
ending is written first, and the first ending written last. You find
these a lot
Hm, what an idiotic idea. DO you have a reference?
Rainer
On 21.01.2018 15:39, David van Ooijen wrote:
I understand these as 'French' 1st and 2nd endings, where the second
ending is written first, and the first ending written last. You find
these a lot in French Baroque. Very
I understand these as 'French' 1st and 2nd endings, where the second
ending is written first, and the first ending written last. You find
these a lot in French Baroque. Very confusing when sight reading
chamber music, as there's always some poor soul getting lost (usually
me, to
Thank you Arthur - I always thought reading it upside down was a joke.
I'll try that :)
The problem is that I am self-taught so my fingerboard is always French.
I could try imagine it looking backwards through it...
I fear I'll be fluent in German tabs before I wrap my head around
Italian. :)
Dear All,
I think most luters will find that if one plays from Italian tab every
day -- even if only for a short while -- after a week or two it becomes
much easier.
It also may help to visualize it as a mirror image of your fretboard.
Jim Stimson
Sent from my Verizon,
Tristan, You can always turn the Italian tablature upside down and play
backwards. It's been done.
Perhaps an efficient way to learn Italian tablature is to imagine it
representing the fingerboard as your teacher shows you fingerings while
seated opposite. Those pitches are "upside
Dear lute netters,
I wonder what Vallet's intention in
"L'Espagnolle", page 80, Secret des Muses I
was.
It is not at all clear how interpret the double bar lines, the half notes at
the end of both strains and the repeat sign.
Obviously Andre Souris had no idea either - he reproduced the
The initial idea might have been that reading the tab is like looking on the
instrument of your teacher.
regards
Stephan
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von Ed Durbrow
Gesendet: Sonntag, 21. Januar 2018 02:17
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