Francesco Cannova da Miolano
Fell into a pole of guano
His patrons said, "Nay...
please play far away.."
And all of his fortes were piano.
PleaeAt 10:06 AM 3/26/04 -0500, Cinque Cento wrote:
>There once was a list for the lute
>where the home-rules were quite absolute
>
Yes,
> Re European influence on African Music.
> I recently heard an NPR program on Sacred Harp music which is a rare
singing
> tradition from southern US churches. It is a shaped note method and it
struck
> me that it sounds Very similar to South African choirs. And in fact
sounds
> Very much l
RT,
> I take extreme umbrage at this: I am usually extremely attentive to the #
of
> syllables per line.
Limericks aren't Haiku.
jm
Cinque,
I think I want lessons in limericks from you - and RT's corrections don't
parse as well as your originals. But then again the parsing (yes, that isn't
the correct word for fitting the syllables into the meter, but it is used as
such - this only to avoid being corrected on that) has a depen
Greetings again!
I've despaired of being able to compose a decent limerick, so I've come up
with a new ( lute related ) game for those who are totally bored:
It's called "Name that Lute!" Or maybe it should be called "Guess the
origin of Garry's Lutar".
The description:
7 course lu
>> I take extreme umbrage at this: I am usually extremely attentive to the # of
>> syllables per line.
>
> I didn't say syllables, I said beats. There's a great difference between
> the number of syllables and the meter of a limerick especially when you use
> contractions. Attend to the correction
Hi Garry,
Seems to me about 55 mm at the nut is what people would usually
calculate for a seven-course with a single chanterelle, but you might
want to post this on the builder list to see what builders have to say
about historical lute measurements.
Best wishes,
Pe
Roman wrote:
>I take extreme umbrage at this: I am usually extremely attentive to the # of
>syllables per line.
I didn't say syllables, I said beats. There's a great difference between
the number of syllables and the meter of a limerick especially when you use
contractions. Attend to the correc
> There once was a fellow named Roman
> Whose limerick skills he kept honin'
> But try as he might
> They ne'er came out right
> Because his first language is Russian, not English and the scansion isn't
> quite the same between the two languages so he always ends up putting far
> more beats in than
Greetings all!
If I can interrupt the International Limerick Death Match for a moment.
The width of my 7 course lute's neck at the nut ( measured across the
fingerboard ) is 60 mm.
Is this large? If I have average or smaller hands would that width present
a problem?
If so, are there any
> Also the theobo plays it's role in the baroque orchestra.
As an internal metronome in polychoral music, to keep the beat when the
conductor is too far to see/hear. This is an old trecento practice: to put a
harpist in a remote choir to keep them together, audible only to the the
singers themselve
> I will take donations for
> rimes in "eck".
fleck, speck, dreck, OPEC.
RT
GD Em F#6
When humour banished in exile lies,
G Ab Ab5+7b
Gentle folks fight with mucho bile and guile.
C D D7
So unto others' silliness smile,
G Gbm7+ F#Maj.
Lest sweet
No - not again! The story of this discovery has holes larger than loch
ness ... it's more a "could have been, if ..." than it would be based on
facts.
Thomas
Am Die, 2004-03-23 um 00.57 schrieb Roman Turovsky:
> Venere1613/Schelle1726 in Leipzig Musikinstrumenten-Museum, #3356
> (85.5x108x121cm
There once was a fellow named Roman
Whose limerick skills he kept honin'
But try as he might
They ne'er came out right
Because his first language is Russian, not English and the scansion isn't
quite the same between the two languages so he always ends up putting far
more beats in than necessary.
Sorry for going backwards through this thread, but ...
Am Mit, 2004-03-24 um 02.01 schrieb Roman Turovsky:
> unflattering to the instrument no matter who plays it, Smith, Kirchhoff,
> Schall or (salva nos) Wikla.
Nice to be heard among such names ...
Have you been listening to the Duo recordi
> hehehe - even at his times were rumors JAH would have got his well paid
> and respectable job mainly to get his wife (Faustina) into the opera of
> Dresden.
>
> I'm not sure about the quality of his works but they were very popular
> at his time and later. Even ETA Hoffmann ("Gespenster-Hoffmann
[EMAIL PROTECTED]
once pretended to be a cyborg.
Wouldn't sign his name
on his limericks lame,
and slowly became a THEORBORG.
or
[EMAIL PROTECTED]
once pretended to be a cyborg.
Wouldn't sign his name
on his limericks lame,
and tuned to mean-tone with his Korg.
RT
> Roman thought of himself as a
hehehe - even at his times were rumors JAH would have got his well paid
and respectable job mainly to get his wife (Faustina) into the opera of
Dresden.
I'm not sure about the quality of his works but they were very popular
at his time and later. Even ETA Hoffmann ("Gespenster-Hoffmann")
compared
Hi Markus,
actually I never felt the volume of a lute a problem - it's well
hearable everywhere. The lute sounds "silent" but usually can be well
heard even in larger ensembles.
I have played "against" 4 viols and a recorder and on the final record
the producer even took the volume of my mik down
Yes, you are very right.
I distiguish between two things: "Lautstaerke" (volume) and
"Tragfaehigkeit" (penetrating?). The lute usually does not have very
much volume but the penetrating is very well. I once played in a large
cathedral and had the effect that my partner on traverso was better
heard
> From: "Cinque Cento" <[EMAIL PROTECTED]>
Too insecure to sign with a name?
Some corrections:
> There once was a list for the lute
> where the home-rules were quite absolute
> and although microscopic
> posters stuck to the topic
> and did not dwell on organ or flute
There once was a list for the
There once was a list for the lute
where the home-rules were quite absolute
and although microscopic
posters stuck to the topic
and did not dwell on organ or flute
In the deep vaults of Dartmouth sat Wayne
with his lute-list to make the world gain
but the upsurge of spam
I am forwarding this, reply to the sender [EMAIL PROTECTED]
The Greater Cleveland (OH) Chapter of the American Recorder Society will
present a recorder workshop focusing on "ELIZABETHAN POULAR MUSIC" on Sat.,
April 3, 9:15 a.m. to 4:30 p.m., at the Middleburg Hts. Public Library,
15600 E. Bagley
On Venerdì, mar 26, 2004, at 19:33 Europe/Rome, [EMAIL PROTECTED]
wrote:
> Re European influence on African Music.
> I recently heard an NPR program on Sacred Harp music which is a rare
> singing
> tradition from southern US churches. It is a shaped note method and
> it struck
> me that it sou
Dear Walter and All:
I've seen Bob Barto play a number of times and he always played what
looked like a traditional baroque stringing, with single first and second
courses and double courses for the rest.
Yours,
Jim
dear lute listeners,
when listening to Robert Bartos Weiss-recordings I ask myself if he
plays on a single strung lute.
Is that true? Or is just the 6th course unisono?
regards
Walter
--
*** please note my new email address: [EMAIL PROTECTED] ***
Dr. Walter Durka
UFZ - Umweltforschungszentr
Re European influence on African Music.
I recently heard an NPR program on Sacred Harp music which is a rare singing
tradition from southern US churches. It is a shaped note method and it struck
me that it sounds Very similar to South African choirs. And in fact sounds
Very much like English
Dear All,
I'm looking for Mr. J. Johnson, Carman's Whistle in any =
digital format (fronimo, django, pdf, etc.).
I'll seriously appreciate your effort.
Thanks in advance.
Saludos,
AA
--
>> I would not underestimate the African influence on American music...
>
> ditto, and I would not underestimate the European and American
> influences on African musics, not to mention the influences from the
> Asian subcontinent.
Which one?
RT
> I am not sure that Romans could tell the difference either! At the
> head of
> our valley in Cumbria is the remains of a roman fort and when the
> weather
> closes in and the mist lies thick around you cant even distinguish the
> Herdwicks from the rocks!
this doesn't scan...
> I would not underestimate the African influence on American music...
ditto, and I would not underestimate the European and American
influences on African musics, not to mention the influences from the
Asian subcontinent.
On Friday, Mar 26, 2004, at 08:11 Europe/Warsaw, Howard Posner wrote:
> ... in the latest Grove
> if memory serves, that Castaldi's pieces are among the few for
> tiorbino,
> which is either a statement that that there are others, or typical
> academic
> mealy-mouthed caution.
Besard 1617 comes
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