On Wed, Mar 15, 2006, Tony Chalkley [EMAIL PROTECTED] said:
2) Bowed instruments have distinct up and down stroke instructions in the
music - push and pull for the gamba. This does not mean that the pull
stroke is intrinsically weaker - in fact I was told that it should be as
strong, just
the only other reference i've come across, in regards
to the subject of plectrum and lutes, is joseph
baldassare's article in the april 2004 issue of lute
news, entitled playing the lute in medieval europe.
as i'm too cheap to subscribe to the lute society and
therefore miss out on receiving
known which is the stronger
movement for the violin...
Tony
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
To: 'lute list' lute@cs.dartmouth.edu
Cc: 'medieval lute' [EMAIL PROTECTED]
Sent: Tuesday, March 14, 2006 11:19 PM
Subject: [LUTE] Re: right hand technique - plectrum
Hi Rob,
On Mar 15, 2006, at 2:56 AM, Rob MacKillop wrote:
I agree, but I was referring to alternation of strong and weak
fingers. Most
classical guitarists spend years ironing out the natural
inequalities of
finger strength. They then have to deliberately manufacture
inequalities.
Tony Chalkley wrote:
2) Bowed instruments have distinct up and down stroke instructions in
the
music - push and pull for the gamba. This does not mean that the pull
stroke is intrinsically weaker - in fact I was told that it should be
as
strong, just in case of a mix up - it just sounds
At 10:31 AM 3/15/2006, Paul Pleijsier wrote:
The Early Romantic Guitar
enthusiasts have my vote: they seem to be trying to bring a more
natural (less manufactured...?) approach to their realizations of the
19th-century repertoire.
?? I find that these players are mostly modern players,
bow is
typically more towards the tip, with less leverage and a distinctly lighter
sound.
Guy
- Original Message -
From: Howard Posner [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Wednesday, March 15, 2006 7:40 AM
Subject: [LUTE] Re: right hand technique - plectrum
Tony
As long as we have an early guitar list, let's continue on that
list...
On Mar 15, 2006, at 10:31 AM, Paul Pleijsier wrote:
The Early Romantic Guitar
enthusiasts have my vote: they seem to be trying to bring a more
natural (less manufactured...?) approach to their realizations of the
Sorry, Bill, but I think having upstrokes as strong as downstrokes is
unspeakably unmusical! :-) It is what makes classical guitar technique
unlistenable.
Inequality of stress is in the music, and the best way to articulate it is
to match it with the natural inequality in the technique of down
Sorry, Bill, but I think having upstrokes as strong as downstrokes is
unspeakably unmusical! :-) It is what makes classical guitar technique
unlistenable.
Inequality of stress is in the music, and the best way to articulate it is
to match it with the natural inequality in the technique of down
i don't know how unspeakable or unmusical it is but it
certainly is difficult - for me - to do. it's also
just one of several techniques offered by a jazz
musician who would, i imagine, find it useful at times
when winging it.
if i understand your lully reference correctly it's to
say that his
What about the last part of Bill's sentence?: where it says that one
should be able to control the strokes with a pick, whether they are up or
down. He's right, as you should know from playing jazz guitar.
There are quite a few different techniques for jazz guitar, and I certainly
don't
What about the last part of Bill's sentence?: where it says that one
should be able to control the strokes with a pick, whether they are up or
down. He's right, as you should know from playing jazz guitar.
There are quite a few different techniques for jazz guitar, and I certainly
don't
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