I saw a picture of an experiment Mimmo made: gut (I suppose) core with very
open metal windings on top of that. He copied something from a painting.
Looks like a thumb-and-fret file, by the way.
David
A few weeks ago there was a brief discussion about open wound strings.
Does anyone know if
A very serene and beautiful *artificial* MP3 David!
Try to play it that well in your 6 course though ;)
B.R.
G.
- Original Message -
From: David Cassetti [EMAIL PROTECTED]
To: Lute net lute@cs.dartmouth.edu
Sent: Friday, November 11, 2005 6:03 PM
Subject: [LUTE] Re: Cabezon tiento
- Original Message -
From: Carl Donsbach [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Saturday, November 12, 2005 1:45 AM
Subject: [LUTE] Open wound bass strings
Greetings,
A few weeks ago there was a brief discussion about open wound strings.
Does anyone know if these are
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
Ben,
I had just discussed this with Lynda Sayce after reading her laments on
the same subject. I had built a one case fits all lutes fiberglass one
that carries any instrument I own. It has made many flights and I have
watched the baggage handlers drop it out of a commuter jet onto the
tarmak
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
Not to speak of brighter sound. I'd say mine is a bit short for
continuo but OK for solo.
At 07:49 AM 11/12/2005, you wrote:
Am Freitag, 11. November 2005 11:58 schrieben Sie:
This is what puzzles me a bit as I can't see the advantage of having a long
string length for accompanying. Maybe
Pardon - I was thinking theorbo in my previous reply. I have never
tried vihuela, but maybe what I said was valid anyway.
At 07:49 AM 11/12/2005, you wrote:
Am Freitag, 11. November 2005 11:58 schrieben Sie:
This is what puzzles me a bit as I can't see the advantage of having a long
string
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
Thanks for the compliment Göran,
I think this tiento is about as difficult as some of the Esteban Daza
fantasias for vihuela.
Best,
David
G. Crona wrote:
A very serene and beautiful *artificial* MP3 David!
Try to play it that well in your 6 course though ;)
B.R.
G.
-
Am 12 Nov 2005 um 12:00 hat Alexander Batov geschrieben:
Northern Renaissance Instruments makes some open-wound strings for
violoncello, pardessus de viole, quinton etc.
http://www.nrinstruments.demon.co.uk/Guide.html
As well as Kürschner and Larson...
Regards,
Stephan
To get on
Dear all,
any idea of what this might have been?
In addition, he invented a new sort of instrument, a cross between lute
and psaltery, which he called the serena serenarum, an instrument that
produces an exquisite sound when its strings are struck.
Filippo Villani
Wondering,
Arne Keller
I have now uploaded performances of the first two fantasias from Book 4.
Fuenllana describes these works as 'difficult' - he is not kidding! I found
them really hard to play well. They are more lively and shorter than the 3rd
fantasia of book 4 which I posted last week.
Go to:
Must be one of these:
http://polyhymnion.org/torban/mamai.html
RT
Dear all,
any idea of what this might have been?
In addition, he invented a new sort of instrument, a cross between lute
and psaltery, which he called the serena serenarum, an instrument that
produces an exquisite sound when
or one of these?
http://www.john-jacob-niles.com/index.htm
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu; Arne Keller [EMAIL PROTECTED]
Sent: Saturday, November 12, 2005 8:19 PM
Subject: [LUTE] Re: Landini-invention
Must be one of these:
I particularly like this passage:
Black is The Color of My True Love's Hair' as sung here was composed
between 1916 and 1921. I had come home from eastern Kentucky, singing this
song to an entirely different tune--a tune not unlike the public-domain
material employed even today. My father liked
Where might I find the music for this Ciaccona?
http://www.cs.dartmouth.edu/~lsa/download/audio/Ciaccona_Piccinini.mp3
Thanks,
Dennis
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Dear David and All:
The Cabezon tiento you intabulated is the same piece that I published in
the LSA Quarterly last year.
So far I've arranged about 20 Cabezon pieces, including at least one
tiento in each of the eight church modes. They seem to fit the vihuela
remarkably well for pieces
I was surprised to run across Niles' name in Thomas Merton's Journals. They
were friends in ' 67 or so and Niles wrote some pieces to Merton's poetry.
Merton on Niles: John Niles is a character and I like him. Carolyn commented
on his cockiness, but who cares? He has a good weather-beaten,
Hi Jim,
I only recently rejoined the LSA so I don't have any jounals from 2004.
If you and others could provide information on availability of Cabezon's
works I'd greatly appreciate it.
I know very little about Cabezon other than what I read in Reese's
Music in the Renaissance that piqued my
Try the Fronimo Group at yahoo.
Best wishes
Thomas
Am Samstag, 12. November 2005 21:08 schrieben Sie:
Where might I find the music for this Ciaccona?
http://www.cs.dartmouth.edu/~lsa/download/audio/Ciaccona_Piccinini.mp3
Thanks,
Dennis
To get on or off this list see list information
21 matches
Mail list logo
