Dear David and All:
I would say a larger body is more important, because it takes a critical
mass of top area to reproduce that bass note, sort of like a bass drum. That
is
one reason why many archlutes are deficient in the bass register, in my
opinion.
A luthier once showed me an archlute
.
- Original Message -
From: dc [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Wednesday, September 13, 2006 6:46 AM
Subject: [LUTE] Re: theorbo question
LGS-Europe écrit:
For a good general introduction to theorbo playing
turn to Kevin
Mason's The Chitarrone and its repertoire in early
David,
I have to disagree with the prevailing opinion
somewhat: bigger is not always better. I speak from
some experience, owning both a gigantic theorbo (99cm
on the board(!), diapasons around 6 1/2 feet long) and
a smaller one (76cm fingerboard/119 diapasons).
Nowadays I use the small one
Arthur Ness écrit:
When Boethius took clerical orders, he took the name
Severinus. Check Severinus Press. It's still in print:
Great! Thanks, Arthur.
Dennis
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At some places, I've even learned to hold back when I
use the small guy so that the sound doesn't get too
annoying.
Once I saw a Steinway baby grand that had a nicer
bass than a larger Steinway a few feet away. Not
louder, but clearer and more musical. Is this
phenomenon also possible in
--- Herbert Ward [EMAIL PROTECTED] wrote:
At some places, I've even learned to hold back
when I
use the small guy so that the sound doesn't get
too
annoying.
Once I saw a Steinway baby grand that had a nicer
bass than a larger Steinway a few feet away. Not
louder, but clearer and
- Original Message -
From: Arto Wikla [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Monday, September 11, 2006 7:07 PM
Subject: [LUTE] One marking in Saizenay ms, theorbo tab?
Dear collective wisdom,
in the Saizenay ms. there is is a marking in one theorbo piece
on the
fingerboard, the body is not exactly huge. I've also seen theorboes
with larger bodies with eight or nine frets on the fingerboard and
around 120 cm.diapasons: large body, short neck extension. So my
question is: which is more important to the production of a full,
substantial theorbo sound
(in a limited version) at the first website.
Jim
On 9/10/06, Mathias R=F6sel [EMAIL PROTECTED] wrote:
Richard Brook [EMAIL PROTECTED] schrieb:
Does anyone know whether Theorbo solo music, particularly from
Intavolature Di Chitarrone, Kapsberger, Piccinini, and Viviani has
been put
Dear Dick and All:
Even more helpful, hasn't the Lute Society in England actually published a
volume of Piccinini and Kapsberger in French tab for 10-course lute?
Cheers,
Jim
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There is such a publication, but - without having seen it myself - I think it's
probably archlute/liuto attiorbato music, rather than theorbo. This is what it
says on the Society's website:
Selections from Piccinini and Kapsberger for Solo Renaissance Lute
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
Does anyone know whether Theorbo solo music, particularly from
Intavolature Di Chitarrone, Kapsberger, Piccinini, and Viviani has
been put into French tab?
Thanks, Dick Brook
To get on or off this list see list information at
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Brook [EMAIL PROTECTED] schrieb:
Does anyone know whether Theorbo solo music, particularly from
Intavolature Di Chitarrone, Kapsberger, Piccinini, and Viviani has
been put into French tab?
With modern tablature programmes, you can do that yourself with a
click.
--
Best,
Mathias
http
On Friday 01 September 2006 03:31, you wrote:
dear all,
Just a question what came to mind reading the mails on frets.
My theorbo with gutstrings needs to have the frets with an angle to the
strings to get a correct tone. I.e. the fret needs to be shifted in the
direction of the pegbox
The highest course of the Dm theorbo was d' - ie not f' as on the Dm lute.
This was the subject of various communications over a year ago (see archives).
At this and tuned at something below A440 it's quite possible to use gut
strings on a proper size theorbo (eg the late Schelle
Dear all,
we know that German lutenists in the 18th century like Weiss an Baron played
continuo on their theorbos in d-minor tuning too (cf. Ernst Gottlieb Baron,
Historisch-Theoretisch und Practische Untersuchung des Instruments der
Lauten, Nürnberg 1727 p. 131, who also wrote that their
Benjamin Narvey has an essay on d minor tuned continuo instruments in
the current issue of the Lute Society of America Quarterly.
On Aug 20, 2006, at 9:25 AM, Dr. Henner Kahlert wrote:
Dear all,
we know that German lutenists in the 18th century like Weiss an
Baron played continuo on
Henner and All,
While this may not exactly answer your query, I have used my 76/120 theorbo
in continuo playing and it is in normal Dm tuning. Due to the manageable
string length of 76cm on the fingerboard re-entrant tuning was not required
or desired. The instrument has double course
[EMAIL PROTECTED] wrote:
Well, they were played together with an organ, it's in the title, so
there must have been in a church...
I don't think organo necessarily meant organ as such. It often
appears to be used in the sense of keyboard or even continuo; e.g.
in Vivaldi's published
Dear All,
Martin Haycock has asked me to forward around the following information
about two fabulous instruments of his that are currently on sale. They are:
*14 course Theorbo Martin Haycock* 1998. 85 164 cms. Can be strung 7+7 or
6+8. Snakewood multirib back. Ebony veneered lower and upper
two
lutes, a 13 crs Dieffenbrucher style baroque lute and a 74/140cm theorbo
lute, for Dm tuning, spectacularly constructed of ebony and ivory (fellow
greenies don't despair, it's all certified, CITES legal ivory) both of which
I play today.
In the introduction and QA section prior to the first
I've been watching some of the 'travelling with theorbo'-discussion here -
indeed a problem for many of us, to which no fully satisfactory solution has
yet been found.
I was wondering: obviously there is a size difference, but it became a norm
to rent a harpsichord for a performance; why renting
Nancy,
Paul said that he thought the French 11-course
music was the most difficult stuff in the lute
repertoire from a purely musical perspective. He also
said that he thought most players didn't play the
dances with enough concern for the underlying pulse,
but instead play the brise
On Feb 24, 2006, at 1:00 PM, [EMAIL PROTECTED] wrote:
Paul said that he thought the French 11-course
music was the most difficult stuff in the lute
repertoire from a purely musical perspective. He also
said that he thought most players didn't play the
dances with enough concern for the
[EMAIL PROTECTED] wrote:
He also
said that he thought most players didn't play the
dances with enough concern for the underlying pulse,
He's been saying this for a least 20 years.
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On Fri, 24 Feb 2006, Howard Posner wrote:
[EMAIL PROTECTED] wrote:
He also
said that he thought most players didn't play the
dances with enough concern for the underlying pulse,
He's been saying this for a least 20 years.
And in his Italian recordings - Kapsberger et. al. - he has
Arto Wikla [EMAIL PROTECTED] schrieb:
said that he thought most players didn't play the
dances with enough concern for the underlying pulse,
He's been saying this for a least 20 years.
And in his Italian recordings - Kapsberger et. al. - he has
used the interpretation soft -
, 2006 4:14 PM
Subject: [LUTE] Re: 19 Course Theorbo
Arto Wikla [EMAIL PROTECTED] schrieb:
said that he thought most players didn't play the
dances with enough concern for the underlying pulse,
He's been saying this for a least 20 years.
And in his Italian recordings - Kapsberger et
Of course we can say O'dette is a= great musician. Listen to his
accompaniment of Ellen Hargis on their= recent CD, or watch him direct an
opera. These are skills that go to= tally beyond his astonishing technical
ability. He has his quirky mom= ents, but I've never met anyone
Dear Daniel,
the best information about theorboes, size and string length you can find at
www.theorbo.com
the website of Lynda Sayce.
Until now I play a theorbo of Andreas von Holst, Munich, a wonderful
instrument. It has 6 courses with 76 cm on the fingerboard and 8 basses with
140 cm
I am looking for a second-hand theorbo or 10c lute, including case for up to
3,000 pounds sterling (5,000 USD or 4,500Euros). Must have ebony
fingerboard. I actually want both instruments, but can only afford one. This
is an expensive business! Email me privately, please.
Rob MacKillop
first movement (Adagio or Grave),
followed by several dance movements (Corrente, Sarabanda, Giga, occasional
Allemanda)
The continuo bass mostly doubles the theorbo bass, so you can play them
without organ or cembalo. But I think the point of this music is to have a
rich, supporting continuo sound
parts with a violin player, and it
sounded quite nice.
I would choose a small organ by the way to get a more ensemble character
because the theorbo part is important here, but that's a matter of taste of
course.
Taco Walstra
To get on or off this list see list information at
http
A duet partner of mine, Paul Berget, has recorded some Pittoni with an
organist, but it is not released. It is beautiful music.
ed
At 07:52 AM 12/6/2005 +0100, LGS-Europe wrote:
do you really consider Pittoni playable, useful? Can you really play
his music?
Sure! And as I said, audiences
Everyone,
I just sent a message like this to only David by
mistake, when I wanted to send it to the list. Are
there any opinions as to the contents of this book?
I'm mainly looking for pieces to play solo, so if its
all made up of sonatas with obligatory continuo, its
probably not the best
- it is, of course, necessary to be careful to spot the
rest marks which can be v small in the MSs of this period.
MH
Donatella Galletti [EMAIL PROTECTED] wrote:
Well, about the organ I'm not sure he meant a chamber one. I played theorbo
with a real church organ, Italian of course, of about
Dear lutenists (especially theorbists)
On Mon, 5 Dec 2005, Donatella Galletti wrote:
Pittoni was considered a great virtuoso, so I also think he must have played
something more, apart from the written notes.
do you really consider Pittoni playable, useful? Can you really play
his music?
do you really consider Pittoni playable, useful? Can you really play
his music?
Sure! And as I said, audiences love it, for whatever that's worth.
David
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I played a long time ago a few Kapsberger pieces for theorbo with a figured
bass (on the organ), and am wondering if there's anything else for a solo
theorbo and continuo.
Thanks,
Dennis
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Pittoni! Spes Edition
Donatella
http://web.tiscali.it/awebd
- Original Message -
From: dc [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Sunday, December 04, 2005 11:29 AM
Subject: [LUTE] Theorbo and continuo
I played a long time ago a few Kapsberger pieces for theorbo
On Sun, 4 Dec 2005, Donatella Galletti wrote:
Pittoni! Spes Edition
Yes! Ferrara 1669. Lots of Sonate da Chiesa and Sonate da Camera!
The only problem is the tuning; seems to be so that in places the
second string or choir should be in upper octave, in other places
in lower octave! Andrea
the big North..
http://web.tiscali.it/awebd
- Original Message -
From: Arto Wikla [EMAIL PROTECTED]
To: Donatella Galletti [EMAIL PROTECTED]
Cc: dc [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent: Sunday, December 04, 2005 11:57 AM
Subject: [LUTE] Pittoni, was: Theorbo and continuo
, for example, Lambeth Palace Library
MS 1041.
I have a sample in PostScript format at my www site, the anonymous
French song, with archlute or theorbo tablature, Hola, hola Charon.
See:
http://ace.acadiau.ca/score/archive/ftp.htm#A
In Italian tablature these are shown usually with numbers above
Great resource, Gordon, but how many of us have a Postscript printer?
Rob
-Original Message-
From: Gordon J. Callon [mailto:[EMAIL PROTECTED]
Sent: 13 November 2005 16:51
To: dc; lute@cs.dartmouth.edu
Subject: [LUTE] Re: Theorbo tablature
In French tablature the diapasons or bordons
,
David
Rob MacKillop wrote:
Great resource, Gordon, but how many of us have a Postscript printer?
Rob
-Original Message-
From: Gordon J. Callon [[2]mailto:[EMAIL PROTECTED]
Sent: 13 November 2005 16:51
To: dc; [EMAIL PROTECTED]
Subject: [LUTE] Re: Theorbo tablature
In French
]
To: 'Lute net'mailto:lute@cs.dartmouth.edu
Sent: Sunday, November 13, 2005 10:04 AM
Subject: [LUTE] Re: Theorbo tablature
Thanks David!
Rob
-Original Message-
From: David Cassetti [mailto:[EMAIL PROTECTED]
Sent: 13 November 2005 17:44
To: Lute net
Subject: [LUTE] Re
to: [EMAIL PROTECTED]
Subject:[LUTE] Re: Theorbo tablature
Great resource, Gordon, but how many of us have a Postscript printer?
Rob
-Original Message-
From: Gordon J. Callon [mailto:[EMAIL PROTECTED]
Sent: 13 November 2005 16:51
To: dc; lute@cs.dartmouth.edu
_
From: guy_and_liz Smith [mailto:[EMAIL PROTECTED]
Sent: 13 November 2005 18:15
To: [EMAIL PROTECTED]; 'Lute net'
Subject: Re: [LUTE] Re: Theorbo tablature
Or get a copy of Ghostscript (http://www.cs.wisc.edu/~ghost/), and you can
just print them yourself. It's free for non-commercial use
Are there any specific sites out there devoted to theorbo tablature? I
found quite a few for the different lutes, but none for theorbo. I was
wondering in particular how the unfretted strings were notated.
Thanks,
Dennis
To get on or off this list see list information at
http
dc [EMAIL PROTECTED] schrieb:
Are there any specific sites out there devoted to theorbo tablature? I
found quite a few for the different lutes, but none for theorbo.
theorbo issues are considered integral parts of lute sciences on this
list :)
I was wondering in particular how the unfretted
Dennis,
Check out Lynda Sayce's site: www.theorbo.com.
There is a section about notation directed towards
composers, but it will tell you more than you ever
thought you needed to know.
Chris
--- dc [EMAIL PROTECTED] wrote:
Are there any specific sites out there devoted to
theorbo
Are there any easy pieces specifically written for theorbo?
Thanks,
Dennis
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On Wednesday 09 November 2005 12:19, dc wrote:
Are there any easy pieces specifically written for theorbo?
Thanks,
Dennis
It depends of course what you call easy. If you are an experienced luteplayer
without any difficulties of reading tablature, starting on theorbo you can
have a look
Dear list,
I'm wondering what instrument or tuning is in
mind for use in the Goess theorbo manuscript. The
TREE edition has theorbo printed on the spine but
theorbo/archlute on the title page. A quick scan of
the preface proved unhelpful in clearing this up (I
could have missed
On Monday 17 October 2005 16:50, you wrote:
hi chris,
The book contains a mix of archlute and theorbo pieces and tunings differ
continuously unfortunately: some are standard theorbo or archlute, some need
the 2nd string in the english tuning like Wilson. If I remember it correct
there is also
Dear Emilio,
I'm playing Continuo on a liuto attiorbato and am happy with it. You have a
different tone than ona n archlute or theorbo but are able to play good
continuo. Volume is no problem (at least with my instrument).
In a smaller ensemble there is no problem playing continuo
Warm thank you to David, Thomas and Davide for their insightful responses to my
questions.
-
Yahoo! for Good
Click here to donate to the Hurricane Katrina relief effort.
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between
playing continuo on a smaller theorbo and playing on an extended archlute?
4. If anyone on the list plays continuo on a liuto attiorbato, would you advise
as to the advantages and disadvantages (e.g. is there sufficient volume).
Any advice would be welcome.
Emilio
shapes encountered in that music. If you really study
continuo you will discover many more useful chord shapes and find the ones
that work best for you.
3. In smaller ensembles, would there be significant tonal differences
between playing continuo on a smaller theorbo and playing on an extended
makes most sense if you glue the pinky on the soundboard because it's
much
easier to obtain a stable position of the right hand.
Indeed, as opposed to my guitar habit of keeping 'a' in touch with the first
string.
A look into guitar methods of the early 19th century also gives hint: Sor
One thing that I find especially trying is the common
occurance of 'i' being placed on the strong parts of
the measure. This free for all amoung the three RH
Indeed, I'm so lue-trained at using 'm' on strong beats. Another difficult
thing I find is repeating the same finger.
easier to find
On Sunday 28 August 2005 10:03, you wrote:
I am religiously trying to follow De Visée's right hand fingering of his
theorbo pieces (Saizenay MS): no third finger! I find it not easy to leave
my well-trained guitar-a out of it, but it does improve my sound (changing
to no nails and gut strings
Hoi Taco
I am religiously trying to follow De Vise's right hand fingering of his
theorbo pieces (Saizenay MS): no third finger! I find it not easy to leave
..
Isn't this what Kapsberger was also doing? Need to check.
Kapsberger even plays his broken chords without ring finger. Cannot quite do
David,
easier to find all those low strings with my
thumb,
But with only using i and m it is possible to keep
the little finger on the
soundboard, making finding basses easier again.
David
Yes, in theory, and this is what everyone told me
when I started theorbo directly from
I am religiously trying to follow De Visée's right hand fingering of his
theorbo pieces (Saizenay MS): no third finger! I find it not easy to leave
my well-trained guitar-a out of it, but it does improve my sound (changing
to no nails and gut strings also helped ;-). Anyone else has the same
right hand fingering of his
theorbo pieces (Saizenay MS): no third finger! I find it not easy to leave
my well-trained guitar-a out of it, but it does improve my sound (changing
to no nails and gut strings also helped ;-). Anyone else has the same or
contradictory experiences?
David - trying
fingers on the fingerboard strings doesn't make it any
easier to find all those low strings with my thumb,
either! Much of this has to do with the re-entrant
tuning of the French theorbo of course.
Chris
--- LGS-Europe [EMAIL PROTECTED] wrote:
I am religiously trying to follow De Visée's right
David,
I ran across Andrea Damiani's article right after
I posted my message to the list. I would love to try
the octave course, but unfortunately, my theorbo is
single strung. Someday, I might try it with the
second string in the upper octave, though. Do you
think this may work
You'll encounter the same questions, and lack of definitive answers, in the
theorbo music by Pittoni. But a double second course with one of the strings
in the higher octave is a new thought for me, actually similar to what
you'll find on a baroque guitar. Interesting. Anybody ever tried
anyone know what the theorbo tuning is for
Pietro Paolo Melii's handful of works per la Tiorba?
It certainly seems that the second course at least is
not re-entrant. Perhaps he's written for a
double-strung instrument with only one string of the
course tuned down the octave? Or is it for a
different
PROTECTED] am 14.04.2005 01:13:57
An:LUTE-LIST lute@cs.dartmouth.edu
Kopie:
Thema: Re: more about the old theorbo
Wayne,
This looks old indeed - but why call it a theorbo when the courses are
doubled? It looks like a 10-course archlute, perhaps the famed liuto
francese used in Italy?
Just
Dear Martin,
The neck and the shape of the body would suggest IMHO it's not a theorbo but a
german baroque lute. This would also suggest double courses for the basses.
To be sure we would need the measures of the body.
I would opt for 2 single courses on the top, 5 doublecourses
Apr 2005 12:04:12 +0200
Subject: Re: Antwort: Re: more about the old theorbo
Dear Martin,
The neck and the shape of the body would suggest IMHO it's not a theorbo
but a
german baroque lute. This would also suggest double courses for the
basses.
To be sure we would need the measures
g. The rake of the pegbox looks too shallow to allow for a
treble rider to be glued on to add a single first string in addition to
those already present.
Swan-neck lutes never have treble riders.
RT
--
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PROTECTED] wrote:
Anyhow - max 11-courses. I'll ask around to check if somebody knows more
about the instrument.
Thomas
Roman Turovsky am 14.04.2005 01:13:57
An: LUTE-LIST
Kopie:
Thema: Re: more about the old theorbo
Wayne,
This looks old indeed - but why call it a theorbo when
I will be playing in the czech republic later that year. If there are closer
details about the whereabouts I would be willing to take a closer look at the
instrument (take additional photos and make some measurements). But I would
need a contact. Hello Wayne - would you have such a contact?
more
about the instrument.
Thomas
Roman Turovsky [EMAIL PROTECTED] am 14.04.2005 01:13:57
An:LUTE-LIST lute@cs.dartmouth.edu
Kopie:
Thema: Re: more about the old theorbo
Wayne,
This looks old indeed - but why call it a theorbo when the courses are
doubled? It looks like a 10-course
I have pictures of the old instrument at
http://www.cs.dartmouth.edu/~wbc/lute/Raillich/
Jiri Cepelak has looked at it, apparently.
Wayne
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Looks like scalloped ribs?
Craig
Wayne Cripps [EMAIL PROTECTED] wrote:
I have pictures of the old instrument at
http://www.cs.dartmouth.edu/~wbc/lute/Raillich/
Jiri Cepelak has looked at it, apparently.
Wayne
To get on or off this list see list information at
It is very interesting. Thos strings look old... they are not
original, are they?
ed
At 08:41 AM 4/13/2005 -0400, Wayne Cripps wrote:
I have pictures of the old instrument at
http://www.cs.dartmouth.edu/~wbc/lute/Raillich/
Jiri Cepelak has looked at it, apparently.
Wayne
8:41 AM
Subject: more about the old theorbo
I have pictures of the old instrument at
http://www.cs.dartmouth.edu/~wbc/lute/Raillich/
Jiri Cepelak has looked at it, apparently.
Wayne
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Hi all,
nothing important, ... ;-)
One colleague at the University was cleaning his directories, and found
some old photos, taken in 2003, of my then new Dieffopruchar theorbo:
http://www.cs.helsinki.fi/u/wikla/mus/Teorbi011203/
Isn't the instrument beautiful... :-)
Arto
To get
Indeed it is!
Joseph Mayes
On 4/12/05 7:29 AM, Arto Wikla [EMAIL PROTECTED] wrote:
Hi all,
nothing important, ... ;-)
One colleague at the University was cleaning his directories, and found
some old photos, taken in 2003, of my then new Dieffopruchar theorbo:
http
Dieffopruchar theorbo:
http://www.cs.helsinki.fi/u/wikla/mus/Teorbi011203/
Isn't the instrument beautiful... :-)
Arto
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I got a message and picture from someone who says he has what looks
like an old therobo, which he found while working on
an old chapel. So I am wondering if there is
a good museum or expert who could look at this instrument
and evauluate it. He is in the Czech Republic.
Wayne
Dear lutenists,
during the Easter I had time to experiment with my smaller theorbo,
Stephen Barber, 76cm:8x1/140cm:6x1. I stringed and tuned the instrument
a fourth higher than a normal a-theorbo:
C D E F G A B c d g c' e' a d'.
The tensions on shorter strings vary between 3.6-4.3 Kg's,
basses
Dear Arto,
Thank you for your very interesting message. I have 8c ren lutes in G and
and a 13c baroqu lute but no theorbo (yet). How many different kinds
of theorbos are there and what advice would you have for me as I
think about what to order?
Happy Easter,
Marion
-Original Message
Dear Marion,
Thank you for your very interesting message. I have 8c ren lutes in G and
and a 13c baroqu lute but no theorbo (yet). How many different kinds
of theorbos are there and what advice would you have for me as I
think about what to order?
Well, at least there are the following
In a message dated 3/17/2005 4:58:57 AM Pacific Standard Time,
[EMAIL PROTECTED] writes:
Yesterday I played the 2 Sor pieces from
http://polyhymnion.org/swv/opus-2.html
on my 13-course. Did it turn it into a guitar?
Hi Roman,
I was just thinking some of Sor's etudes might sound really well on
) played the theorbo (Galpin Soc
Journal 1989). There's no evidence as to how it was tuned (and indeed if it was
a theorbo or an archlute) but I suspect it may have used a guitar tuning rather
like the contemporary 'Bass Guitars' with open bass strings. Am I suggesting
we therefore call V's
Incidentally, on this business of early steps towards using 'old'
instruments in performance,
are you aware of the 1845 concert in which Ventura (the harp-lute-guitar man
and principal competitor of Edward Light) played the theorbo (Galpin Soc
Journal 1989). There's no evidence as to how
in performance,
are you aware of the 1845 concert in which Ventura (the harp-lute-guitar man
and principal competitor of Edward Light) played the theorbo (Galpin Soc
Journal 1989). There's no evidence as to how it was tuned (and indeed if it
was a theorbo or an archlute) but I suspect it may have
rgds
Martyn
Mathias R? [EMAIL PROTECTED] wrote:
Incidentally, on this business of early steps towards using 'old' instruments
in performance,
are you aware of the 1845 concert in which Ventura (the harp-lute-guitar man
and principal competitor of Edward Light) played the theorbo (Galpin Soc
in performance,
are you aware of the 1845 concert in which Ventura (the harp-lute-guitar man
and principal competitor of Edward Light) played the theorbo (Galpin Soc
Journal 1989). There's no evidence as to how it was tuned (and indeed if it
was a theorbo or an archlute) but I suspect it may have
, on this business of early steps towards using 'old'
instruments
in performance,
are you aware of the 1845 concert in which Ventura (the harp-lute-guitar man
and principal competitor of Edward Light) played the theorbo (Galpin Soc
Journal 1989). There's no evidence as to how it was tuned (and indeed
Johann Sebastian Bach
Six Suites for Cello Solo
Transcribed for Theorbo
by Stefan Lundgren
EUR 40.- $ 48.-
When I got my first theorbo, my aim was to accompany singers and
instrumentalists by playing basso continuo. To start reading staff notation on
the 14-string theorbo in A, I put
Richard just confirmed to me that the pieces in question are transcriptions
from the Saizenai MS as well as the Agen MS.
Alain
At 08:09 PM 9/22/2004, Steve Amazeen wrote:
Subject: Civiol's edition of Visee theorbo music
I can no longer find the web site where I got this. My question
/2004, Steve Amazeen wrote:
Subject: Civiol's edition of Visee theorbo music
I can no longer find the web site where I got
this. My question is: What
is
it, exactly?
The title page says Pieces pour theorbe sur
differents modes De Robert De
Visee. Edite par Richard Civiol
- Sunday, March 04, 2001, at 09:58, it says
Intabulated by Richard Civiol.
So is it a collection of original theorbo pieces by Visee, or Civiol's
theorbo intabulations of other Visee pieces?
I trust that anyone who answers will note that the question betrays an
ignorance of nearly all things
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