On Sat, 17 Mar 2007, Roman Turovsky wrote:
> > On Sat, 17 Mar 2007, Roman Turovsky wrote:
> >
> > > > This is fun! :-)
> > > > So violone is a big viola, as chitarrone is a big (ancient Greek)
> > > > cithara,
> > > Actually not. Chitarrone is a big CHITARRA ITALIANA.
> >
> > Are you sure? Referen
On Sat, 17 Mar 2007, Roman Turovsky wrote:
> > This is fun! :-)
> > So violone is a big viola, as chitarrone is a big (ancient Greek) cithara,
> Actually not. Chitarrone is a big CHITARRA ITALIANA.
Are you sure? References?
Arto
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> >>> The root word here is "viola". The diminutive
> >> ending is "ino", giving "violino", "little viola".
> >
> > Meaning small viol, of course.
> >
> >> "ello" is an aggrandizing ending, so "violoncello" is "big viola".
> >
> > This is a bit backward. "Ello" is a diminutive, and a "violoncello
The top of my chitarrino, made by lutenist Eero Palviainen, comes
from a house wall made in the 16th century - says Eero. Thus the wood
has aged a longish time outdoors. :-) And the sound of the instrument
is definitely best chitarrino sound I've ever met...
Aging wood outdoors seems to work...
Dear all,
On Tue, 6 Mar 2007, Sean Smith wrote:
> Are there any plausible latin phrases based on "ij"?
As far as I know, it means "iterate item"; letters i and j were quite
the same in printing in those days.
All the best,
Arto
PS Once upon a time one singer was singing a baroque song tellin
Dear Peter & al.
On Monday 05 March 2007 11:29, Peter Steur wrote:
> in some manuscripts for baroque lute, pieces are found that are
> designated with 'Pimpinella', a word that I have always found a bit
> strange. Now finally I have searched a little bit on it and found
> that it is actually the
Dear Bruno et al.
On Saturday 24 February 2007 03:42, Bruno Correia wrote:
> Does anybody knows if there is an English translation of Galilei's
> Fronimo text?
Yes, there is, text translated, music as facsimile:
Carol MacClintock, American Institute of Musicology, Hanssler-Verlag,
1985.
You sh
Dear Mark
> synchronization does seem to be a big problem with your videos, also
> with Roman's. Are you sure that the problem lies with YouTube?
> I think it probably is a problem with the webcam.
> But you should be able to put them back into sync with a video
> editing programme.
I did just a
Hi lute gang,
I joined the YouTube senders... ;-)
I put my Sarmaticae videos of 2005, the very big AVI files, to the
YouTube, too. The quality and especially synchronization are not of
very high quality in the YouTube, though...
You can find Sarmaticae 35, 63, 91, 40, 53 and 81 in the addres
> > > > http://www.youtube.com/watch?v=3zOOdpJ0IIg
> > Is he playing on a double strung theorbo? First time I see one...
> Yes, that's what it seems to be. I was surprised to see it, too.
Take a look to 05:02-05:04, and you can clearly see double strung (1st
single) archlute stringing (and also
> Is he playing on a double strung theorbo? First time I see one...
> > > http://www.youtube.com/watch?v=3zOOdpJ0IIg
If it looks like archlute and sounds like archlute, it must be
archlute! ;-)
(Actually the player seems to have two intruments.)
All the best,
Arto
To get on or off this l
> OBBLIGATO.
If you play continuo to the late baroque, "in the style", you cannot avoid
that... :)
Arto
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On Fri, 2 Feb 2007, David Rastall wrote:
> Define "other than continuo"
That was good, David! :-)
Arto
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On Wed, 31 Jan 2007, Roman Turovsky wrote:
> There seem to be no convincing counterarguments.
The burden of the proof is on the one who claims something.
(I am sure there is also an _English_ idiom of saying that... ;-)
Arto
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Dear all,
it is going bad! Mr. Bush - the winner of the USA elections, the man
chosen by (nearly) half of the Amercians, has managed to produce a
civilian war in a country, where he sent his military. Tens if not
hundreds of people are killed EVERY day! Human beings like you or me.
This is one
Dear lutenists,
Daniel Shoskes made a nice version for baroque lute in d-minor tuning of
my arrangement of "Heinillä härkien kaukalon", "Entre le boeuf et l'âne gris".
Also this pdf can be found at the end of my Lully page:
http://www.cs.helsinki.fi/u/wikla/mus/Lully/Marche/
Arto
--
To get
Dear Stuart,
On Friday 22 December 2006 11:54, Stuart Walsh wrote:
> I'm having interpretation and performance problems with this piece
> (rutabaga):
>
> http://virtual.finland.fi/xmas/?p=4&sub=3
>
> I think of pieces in this genre as being primarily liquid -
> stock/wine with meat or fish and
Merry Christmas to the Lute List members!
As usual here are some www-links to pages of Santa himself:
Joulupukin Kammari - Santa Claus Office - Joulupukki, Lapland ...
http://www.santaclauslive.com/
Finland Post Ltd, Santa Claus' Main Post Office
http://www.posti.fi/postimerkkikeskus/engl
On Fri, 15 Dec 2006, Daniel Shoskes wrote:
> For another take on the Finnish view of dance and music, see
> http://www.youtube.com/watch?v=ZJj6d5QSYaE
Fantastic! I give +50 points! ;-))
And he is my compatriot!
Arto
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Dear lutenists,
my poll about the quality of Lully's Bourgeois Gentilhomme setup by Jean
Marie Bigard (http://www.youtube.com/watch?v=crgelhKxz34&eurl)
is over. There were only 14 answers. The result was _very_ bipolar as
was expected! Analysis and also colourful comments are found in page
On Thursday 07 December 2006 13:42, Stuart Walsh wrote:
> What about the second chord in bar 23? Is it really that spicy or
> should that be a letter d on the fourth course?
Oh, yes! Of course! I just fixed it in the pdf! Later I'll fix also
the midi!
Thanks Stuart.
Arto
To get on or off t
Dear lutenistis,
I wanted to try, how Lully would suit to 4 course renaissance guitar.
You can find pdf's and also midi's of "Marche pour la Ceremonie des
Turcs" and "Canarie" in my page
http://www.cs.helsinki.fi/u/wikla/mus/Lully/Marche/
My explanation reads:
"These arrangements for chita
Dear lutenists,
I do not want to set light to make a fight, but I would like to make
an artistic, aesthetic poll. Everybody is right and everybody is wrong,
as always in aesthetic questions.
So how would you set the aesthetic quality of the (parts) of
Bourgeois Gentilhomme setup by Jean Marie B
Dear lutenists,
I had already decided to skip this subject, but then on Thu, 23 Nov 2006,
Roman wrote:
> And as far as the specific performance is concerned: there are opinions out
> there according to which EK/S's "IN DARKNESS" is likely to be the best
> Dowland performance ever, full of cha
Sorry, I forgot the address:
http://www.cs.helsinki.fi/u/wikla/mus/Lully/Marche/
On Thu, 16 Nov 2006, I wrote:
> Dear lutenists,
>
> I made also midi-versions of the pieces of the "Suite Méditerranée",
> the version for 10-course lute. (Thanks again, Wayne!) They are perhaps
> useful for get
Dear lutenists,
I made also midi-versions of the pieces of the "Suite Méditerranée",
the version for 10-course lute. (Thanks again, Wayne!) They are perhaps
useful for getting to know the pieces? Especially in case the "tab doesn't
easily ring in your imagination". But take into account the fol
Well, one correction:
I wrote:
> I prefer tabulature for solo and (of course) "normal" notation (only
> the numbered bass) for continuo.
In continuo I very much need/want to have also the music of the
singer/singers/player/players I accompany. Especially in early
baroque monody!
All the best
Dear all,
I think the "staff notation" is only kind of piano tabulature,
there is a system for right hand and left hand (and yes I know this
is simplistic). And the modern octave trasposed guitar notation is kind
of guitar tabulature. Both have been developed for special purposes.
As are diffe
Dear Edward,
> I've been asked to play for Buxtehude's Membra Jesu Nostri next
> March, accompanying a chamber choir and a quartet of string players.
> I haven't a Theorbo, but would an Archlute be inappropriate? It's a
> large Harz-model, so it's pretty loud...
>
> I haven't seen the music yet,
Dear lutenists,
now there is something more by Lully for a 10-course lute player;
I arranged still a Canarie, and at last got a "suite"!
I call the pieces I intabulated by the name "Lully's Suite Méditerranée".
It contains the following pieces (all from the ballet "Le bourgeois
gentilhomme"):
Hi lutenists,
my "Lully for lutenists" -project goes on...
Now the "Marche pour la Ceremonie des Turcs" and "Ritournelle Italienne"
have got some Spaninsh company:
New arrengements are
Premier air des Espagnols and Second air des Espagnols
from the same ballet "Le bourgeois gentilhomme".
T
Dear lutenists,
Now my arrangement of Lully's "Ritournelle Italienne" (from the ballet
"Le bourgeois gentilhomme", for 10-courser) has also the fingerings that
I promised.
The original piece is actually a trio-sonata, where the two top voices
cross here and there. The "melody" of my arr. is t
Dear lutenists,
I made my preliminary version of Lully's "Ritournelle Italienne" for
10-courser public. I'll add some fingerings to the tabulature later, but I
am just now so eager to publish this arrangement that I cannot wait...
The piece is really good, and I hope my arrangement will make a
Dear (early) musicians,
after working a little with the music composed by Jean-Baptiste Lully
I must say that his music seems to be excellent! And you very rarely
meet his music today!
In a while I'll publish some more transcriptions of his instrumental
music set to the lute. This evening I n
Oops, sorry for my grammatical error:
> Well, as you perhaps know, already Dalza used a couple of scordaturi that
> could be interpreted in the same way...
Scordatura in plural must of course be scordature! :-)
Ashamed... ;)
All the best,
Arto
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Dear Göran et all
On Fri, 20 Oct 2006, G. Crona wrote:
> When you look at the Phalese-Teghi late 1540s there is some 6th course
> scordatura. IMO they found out about then that a 7th course would make
> sense.
Well, as you perhaps know, already Dalza used a couple of scordaturi that
could be in
On Thu, 19 Oct 2006, [EMAIL PROTECTED] wrote:
> I'm new to the lute but have played guitar for many years. I would like
> to be able to play both renaissance and Baroque pieces. In purchasing an
> instrument would an 11 course lute work for both or would the D-minor
> tuning be a problem for the
Hi Roman and all,
On Wed, 18 Oct 2006, Roman Turovsky wrote:
> A 11-13course version is at
> http://polyhymnion.org/swv/opus-2.html
Roman, you were very fast, indeed! May I put a link to my Lully/Marche
page? Or perhaps put even a copy directly to my directory? (with a
link to polyhymnion, of c
Dear fellow lutenists,
at last I had time to make also a theorbo version of the wonderful
"Marche pour la Ceremonie des Turcs" composed by Lully!
Actually it works quite well on the instrument. :-)
My theorbo transcription uses lots and LOTS of the campanella effect
that is made possible by t
.. And do not forget Caccini's comments on the matter ...
He was there then...
Arto
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Dear all,
just a couple of comments, not against anyone:
1) I think that when modulation, change of key, inside a piece
became central means of expression in early classisim, the
open basses of baroque lutes and theorboes just could not
cope with the style anymore.
2) I suppose the tech
Hi gang,
I happened to find a net version of BBC concert, where Sting and Edin
perform their Dowland in a church (?) ("All tracks recorded by the BBC
at LSO St Lukes"). I must say this sounds much better than the mp3's
that have been pointed here earlier. And some of the performances are
very
Dear lutenists,
now it is there, the "Marche pour la Ceremonie des Turcs" by Lully,
transcribed to 10-course "renaissance" lute! Actually only 9 courses
are used, and you can manage my transcription also by an 8 course lute,
even perhaps 7, if you are clever.
I did not try to imitate French lute
Hi all,
I wrote:
> This could be a good idea to me: I have now my smaller theorbo (Barber's
> French theorbo, 76cm:8x1/140cm:6x1) stringed and tuned to high
> d-theorbo, but that instrument could be easily set also to d-minor
> tuning. But what would our collective "hip police" say about pl
Hi all
> Yet another theorbo question. It seems to me that a moderately-sized
> solo theorbo in D minor tuning would be a good all-purpose Baroque
> lute upon which one could play the "modern" late 17th/early 18th-
> century continuo, as well as all the German (and maybe even some of
> the Frenc
Dear Tony and all,
on Sat, 30 Sep 2006, Tony Chalkley wrote:
> Looking at your other message, it seems that you got a fair number of
> responses with attachments - they can only go direct to you - I don't think
> it was a question of hiding the info from the list.
Sorry sincerly, I've forgot
Dear lutelist,
a short while ago I asked a question in the List. And I got several
good and useful answers, too. But everything came as mail only to me.
Good, very good to get the knowledge, to get the info. But is the
List somehow dead? Is it only possible to be "public" in a talk
about Sting o
Dear all,
I asked info of a certain piece by Lully. I got good info and also some
midi-files. Many thanks! Very useful! But I got something even more
useful, which I'll share with you.
One private mail (I do not know if the person will his name be mentioned?)
told me that the facsimile of th
Dear collective knowledge,
does anyone happen to have a link to a pdf (or such) version
to the score of Lully's "Marche pour la cèrèmonie des Turcs"?
After the film "Tous les matins du monde" that piece has become
very popular (at least in the Finnish Classical FM radio), and
for a good reason;
Dear all,
one friend of mine, who only reads this list, doesn't write, asked me to
ask the List something
This friend is a lute and theorbo player, and she is going to Paris 5th
October. She would like to have advice and ideas about
- (early) music shops
- museums (with lutes and the
Dear all,
if everybody (="you") have to say some comments of Sting's Dowland, here
are mine:
1) To me - to my ears and to my understanding - he sings very, VERY,
amateur-wise. Technically and also artistically. It was a surprise to
me that a professional pop/rock? singer really wants to
BTW, in his article "Chitarrone, Theorbo and Archlute" late Bob Spencer
also mentions the possibility that Banchieri might have meant by
"chitarrone" an instrument tuned lute like and by single strings. That is
why I sometimes have called my sometimes single stringed archlute a
"Bachieri archlute
It has been long time when I last tuned my archlute - which now is
stringed by single strings on the fingerboard (and of course single
basses). I tuned the beast (or the "axe" a'la RT), and what nice and lute
like sound it has! And there is not a single gut string... just the
horrible and un-HIP
On Fri, 15 Sep 2006, Roman Turovsky wrote:
> Rödt Vin, Pimpinella
> and Beccasin in the first stanza are all commestibles.
As I told you, it is very easy to find B:s texts that more clearly refer
to eating and drinking! Especially to the latter...
The 82 is too clever and too deep to that pur
On Fri, 15 Sep 2006, Roman Turovsky wrote:
> Epistel 82 lists quite a few food items:
> http://bellman.net
As far as I understand, in the Swedish explanation of the Epistel 82:
(http://www.bellman.net/texter/komm_fe82.html)
I denna magnifikt vemodiga avslutande epistel får Fredman återlämna de
On Tue, 12 Sep 2006 [EMAIL PROTECTED] wrote:
> About ten years ago. Me carrying a lute in its case over a moderately
> crowded square in a small german town. A male teenager in a loud voice:
> "Hey, there's a guy carrying half an Easter egg on a stalk!"
Once I carried my 10 course lute in a bus
Dear all,
this is very interesting topic, indeed! (I leave David's and Chris' texts
below for reference.)
I think we all have our opinions of accepted ways of performances and our
"no, no" performances. Perhaps a couple of decades ago I met an "early
musician", who seemed to accept anything f
Dear collective wisdom,
in the Saizenay ms. there is is a marking in one theorbo piece that is
(probably) borrowed from guitar tabulature signs. In the beginning of
the Chaconne, in page 288, there is the chord progression named "pour la
Chaconne", where the writer has used eight notes after th
On Tue, 5 Sep 2006, doc rossi wrote:
> That's nice, but check out this one:
>
> http://www.youtube.com/watch?v=yCNH2M5SH-o
What is great in that? Entertaining but nothing very special?
Arto
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One visual artist who also composed and performed some
music is John Lennon.
Arto
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Hi Chris and all
On Sun, 20 Aug 2006 [EMAIL PROTECTED] wrote:
> I'm wondering if anyone out there knows of other
> baroque lute pieces that may have had this same kind
> of influence? These could be "Turkish" pieces in name
> only, or maybe even anything that sounds the least bit
> like
Hi all
Just one idea on 8-coursers (I've wrote about it earlier, too, but perhaps
there are new members in the List):
In my 8-courser in G I have the 7th course in D and 8th course in F - so
it is contrary to the "common" order. It is nice to be able to finger the
chromatics on the low D and it
Dear David,
> I have an upcoming concert where I'm asked to play Dowland and
> 'something from the Danish court after Dowland'. Any suggestions? I
> don't mind arranging music.
What about Gabriel Voigtländer's songs? One facsimile is in Det
Kongelige Bibliotek, see http://www.kb.dk/
Their e-mu
Hi
On Tue, 6 Jun 2006, David Rastall wrote:
> --- Arto Wikla <[EMAIL PROTECTED]> wrote:
> > ...who of us played lute or vihuela better in 1970's than
> > those video examples of Williams or Akkermann, not to speak of
> > Bream? Just a thought...
> Let
Dear David and the V-List,
On Tue, 6 Jun 2006, David Rastall wrote:
> --- Rob MacKillop <[EMAIL PROTECTED]> wrote:
> > > The end is really funny, though...
> > > Arto
> > I never made it that far
> It's pretty bad.
>
> It looked as though Williams was a young man when he
> made that vide
On Mon, 5 Jun 2006, Roman Turovsky wrote:
> http://www.youtube.com/watch?v=UKh6o8ZkF6o&search=lute
Actually this Akkerman 1973 has certain merits in his Dowland,
especially compared to the tasteless Milan by Williams:
> > http://www.youtube.com/watch?v=bUEe2TpCBlk&search=vihuela
In spite of the
On Sat, 3 Jun 2006, Roman Turovsky wrote:
> For Arto, Howard et al:
> http://www.newmusicclassics.com/figured_bass.jpg
Heh, heh... :-)
Seems to be quite late baroque with those 7th chords and
their inversions...
Arto
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Dear all,
I guess Mr. MAK's former(?) director's talk is ok: The dogs are
barking but the caravan goes on... (I guess you have nearly a simliar
saying in English, too?)
All the best and enjoyfull theorboeing - especially if you happen to
theorboe in Hamburg - if we can believe to the report ment
I wrote about Finnish grammar:
> I have just some tiny comments: In the name of the piece the genetive form
> of my name is ok, but the end "LUUTTU POLKAA" should be either
> "LUUTTUPOLKKA" or "LUUTTUPOLKKAA". The first is in nominative form and
> means "(the) lute polka", the second is in par
On Mon, 29 May 2006, Roman Turovsky wrote:
> Under extreme duress, and without an Archlute to actually check for
> playability/problems:
> http://polyhymnion.org/torban/balli/luuttu-it.pdf
> http://polyhymnion.org/torban/balli/luuttu-fr.pdf
> in both Italian and French tabulature.
>
On Tue, 23 May 2006, Roman Turovsky wrote:
> Correction:
> http://polyhymnion.org/torban/sounds/zvon2.pdf
> RT
"The page you requested is unavailable"
Arto
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Hi all,
I strongly agree with Roman of his comment below!
Arto
On Thu, 4 May 2006, Roman Turovsky wrote:
> > Hmmm.. Tab may be hard to memorize (don't know - never tried), but music
> > isn't, lol. IMO, if you need to read to play in performance you don't know
> > the music and you might as we
On Sun, 30 Apr 2006, Arto Wikla wrote:
> And BTW, if you just forget the 6th, you can directly play baroque guitar
> tabulature... :-)
Sorry, you have to forget only the 1st!
All the best,
Arto
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Dear Manolo,
> does somebody have experience in playing renaissance guitar music (Le
> Roy, Mudarra and Fuenllana, for instance) with a 6 course ren lute?
> What is the tuning of the renaissance guitar?
One idea is just to forget the strings number 1 and 6, and just play
directly from the tabul
Dear all,
On Fri, 28 Apr 2006, Sean Smith wrote:
> I'm glad you liked the issue, Arto. I couldn't find any lute-playing
> tarantulas. ;^)
Just look to your left hand on the lute neck! Keep every finger stopping
the string/course until it is necessary to lift it - just as all the early
lute
Dear Thomas,
> after the receipt of harsh critics I think it's better to delete the
> videos.
> Thanks to the others for their positive input which will help to
> improve the quality of videos and possibly my playing.
What a pity that you deleted your videos before I had time to watch and
list
Hi gang,
thanks for the LSA Quarterly "I No.1"! The interview of R. Savino
is very interesting! I was so pleased of Richards's comment on his single
course (single string) archlute, and on his comment on string materials:
"I generally use gut single basses on my larger instruments, and mix o
Dear Benjamin,
On Wed, 19 Apr 2006, Benjamin Stehr wrote:
> If this programm proves usefull to you i would be very happy. Anyway, i
> would be very interested in your feedback or anything you miss in the
> programm (like your favorite instrument :-)
Congratulations! There are very good ideas th
Dear Thomas,
> I'm getting old: Could someone please be so kind and bring back to my
> memory the form and chord scheme of Passamezzo (antiqua e moderno) as
> well as the scheme of a Romanesca (was there any difference to the
> Passamezzo?).
>
> I'm trying to build some patterns for a pupil and
Hi gang,
in the Italian list there were some nice tips of public e-material:
Biblioteca Nazionale Centrale di Firenze:
http://www.bncf.firenze.sbn.it/Bib_digitale/Manoscritti/home.html
Index:
http://www.bncf.firenze.sbn.it/Bib_digitale/Manoscritti/index.html
Magl. XIX, 105"Danze intavo
Dear David,
> Quick question: who is the "Emperador" referred to in the "Cancion
> del Emperador / Milles Regres (Josquin)" by Luys de Narvaez?
I woud say Carlos V. If memory serves he liked much that piece by
Josquin, and that should be why Narvaez named the Emperador in his
name to the i
My new string calculator: nothing but complains of it not working in Mac,
and the only thanks to Mac wizards who tell how to make it work in Mac.
Not a first comment on the usability or bad usability of the program...
My advertising of the Spanish music examples leaded by ALK: One comment.
My
Dear all,
I found my pile of photocopies of the Conserto Vago!
There are 36 pages, so it is not practical to scan them, sorry.
Also the quality of the copies would be problematic for scanning.
The copies are clearly from microfilms, because no modern page
numbers or such can be seen anywhere.
Chris and Benjamin,
> Sounds very interesting. Do you know if each
> instrument in the trio has a written part (as opposed
> to alfabeto for guitar or continuo for theorbo)?
> Also, how many courses is the lute part written for;
> an archlute in "old" tuning?
If memory serves: everythin
Dear Benjamin,
> It is apparently a collection of trios written for lute, theorbo, and
> baroque
> guitar, which I think is quite unique. Also, if anyone knows any other
> information about this source, I'd be much obliged!
I think I have photocopies of "Vago", but I just now cannot find the
Dear lutenists,
I wrote about a concert of Latin American baroque last December:
> > Chamber Choir Utopia
> > dir. and baroque harp Andrew Lawrence-King
..
> >* Ricardo Padilla, percussion
> >* Annamari Pölhö, organ
> >* Visa Jämsä, dulcian
&
Dear Ed,
I hope you don't mind me answering to the list. Also some other have had
this problem:
On Mon, 3 Apr 2006, Ed Durbrow wrote:
> I get a white square with an X in the upper left corner at: http://
> www.cs.helsinki.fi/u/wikla/mus/NewScalc/
> There is text below it starting with What is
Dear lutenists,
I had time to document a little my New String Calculator in
http://www.cs.helsinki.fi/u/wikla/mus/NewScalc/
The new features:
* In the old calculator you had only two possibilities for tuning the
a', only 440 Hz and 415.3 Hz. Now it is possible to choose any pitch to
the a',
Dear lutenists,
I have made a brand new version of my rather popular String Calculator
(many of you perhaps know it, see
http://www.cs.helsinki.fi/u/wikla/mus/Calcs/wwwscalc.html)
The New String Calculator is still a test version! And there is no
documentation yet, will be soon...
The us
On Tue, 28 Mar 2006, Eugene C. Braig IV wrote:
> At 05:12 AM 3/28/2006, LGS-Europe wrote:
> >Of course, but we have to play together with keyboards, and think of
> >something not to be _too_ out of tune with them. |-(
> >So it's worth trying such temperaments on our continuo lutes.
>
> A fretted
Dear Sandy
> Does anyone know where I can get a copy of Heartz's edition of
> Attaignant? I loaned it out years ago and it is gone and I would love
> to get another. I am willing to pay to have it copied. Many thanks.
I got mine 2002 from Paris publisher. I was not out of print then,
31 eur
On Sat, 25 Mar 2006, Roman Turovsky wrote:
> Indeed, but there isn't enough time.
Don't worry pal, there is plenty of time! The scholars (in this case
the scientists) claim there was a start to the time (the so called "Big
Bang", which btw I do not believe), but there is no end to the "time",
On Sat, 25 Mar 2006, Roman Turovsky wrote:
> But the partisan adherence to meantone is equally unscolarly.
Between strict meantone and modern ET there are many many alternatives!
Arto
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On Sat, 25 Mar 2006, Roman Turovsky wrote:
> I suspect my Artusi and Frescobaldi quotes disappeared in the crash of Mac
> last August, but it seems the Werckmeisrter quote survived:
> ".
> The irony of mentioning Werckmeister's temperaments of 1691, is that in his
> 'Paradoxal-Discourse" publ
On Sat, 25 Mar 2006, Roman Turovsky wrote:
> Anyway, Frescobaldi PETITIONED Vatican for an ET organ. And that's Standard
> Scholarship.
And then, if we forget for a while your claims about Monteverdi using ET,
could you repeat the words Frescobaldi used when he "petitioned" something
for the Va
On Sat, 25 Mar 2006, Roman Turovsky wrote:
> Arto, I am playing in ET exclusively, so I am not in the habit of reading much
> on the subject, never mind keeping track of page numbers. We have Howard Der
> Advokat for that.
Sorry for you! ;-)
I was not interested in page numbers, I was interested
On Sat, 25 Mar 2006, Roman Turovsky wrote:
> Those "ugly thirds" are problematic only in major keys, anyway.
Well, of course major thirds are the major problem of ET, but my
enjoyment of the wider than ET minor thirds is so evident that
also for that reason I prefer non-ET! :)
Arto
To get o
On Sat, 25 Mar 2006, Roman Turovsky wrote:
> It is a whole series of invective starting with , as I recall, L'Artusi, overo
> delle imperfettioni della moderna musica (1600).
> RT
> >
> > > (Monteverdi was attacked by Artusi for tuning in ET).
> >
> > Quote please! And the proof that Artusi re
On Sat, 25 Mar 2006, Roman Turovsky wrote:
> (Monteverdi was attacked by Artusi for tuning in ET).
Quote please! And the proof that Artusi really was speaking of ET.
(Remember you are now talking of my composer hero! :-)
(BTW, when I played theorbo in the Poppea, I set also another "tastino"
On Sat, 25 Mar 2006, Roman Turovsky wrote:
> You forgot the modifier EARLY. In the later baroque where the expression is
> based on modulation the ET is essential.
Are you really sure that at least partly the late baroque expression by
modulation did not come from the different interval structur
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