I'm having trouble with an email address that I was given for a young lady
who is going to be an English assistant at the school I teach at in France.
As far as I can tell, it is an American address, and it is the host that
is being rejected. As quite a few members of the list are on
I could be really wrong, but not so far as to not be plausible; the Lute
player my have put together his/her own part. Not only is this possible it
is historical.
Vance Wood
- Original Message -
From: Alfonso Marin [EMAIL PROTECTED]
To: lutelist Net lute@cs.dartmouth.edu
Sent: Sunday,
Dear Vance,
That could well be a possibility but the other version of the piece I
have on CD with R. Meunier is identical to the one by Accordone so
there must be a historical source for this song.
Greetings,
Alfonso
On 22-jul-2007, at 18:26, vance wood wrote:
I could be really wrong,
It could well be that those recorded versions were taken and
intabulated from a vocal polyphonic setting by Tromboncino. I have
looked in Jeppesen's book for concordances but I can not find the
piece. Do any of you know of any polyphonic version of it?
Thanks again,
Alfonso
--
To get on or
Try Frederico Marincola's web site. Lutebot #1 has a translation of at least
part of the Capirola text. http://www.marincola.com/
Guy
-Original Message-
From: Orphenica [mailto:[EMAIL PROTECTED]
Sent: Sunday, July 22, 2007 5:12 AM
To: Bernd Haegemann
Cc: lute@cs.dartmouth.edu
Historical back to when? I too hope you find an ancient source but it is
possible that the Lute part was concocted sometime in the last century and the
Lute part has come down attached to this piece. Obviously you prefer this
version to the one you have found in the manuscript, others may
Capirola uses his own system of ornamentation fingering, and there
is even a system for dividing the the paired courses and playing some
extra impossible notes. If you look at the color facsimile, you
will see some of these in red.
For this reason, the trills are often left out or
Without going to the library, because it is Sunday I am lazy,
I would try the Tromboncino editions, starting
with Petrucci and work my way down.
The best place to find things is still Howard
Brown's concordance...just check the index in the back.
The art of adding the missing third part to
Well spotted! This occurs in the first piece in the book too - and it
has puzzled me for a while. My preliminary conclusion is that it
indicates use of the thumb, especially when you would normally expect to
use another finger. For instance, in bar 8 of the first piece:
3
DT writes
A new examination of treatises up through Vivaldi shows that the
main note trill was in continuous use
through the renaissance and baroque. I think the tracing of the trill
through the renaissance into the high baroque is one of the main
interpretive differences in modern performance
Does someone have David Schoengolds e-mail. I've managed to lose it.
Thanks,
Guy
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Jul 22, 2007, at 8:35 PM, David Tayler wrote:
It used to be unheard of to use the main note trill in
later baroque music, but now it is relatively common; the next step
is the use of the above note trill in early baroque music as well as
in renaissance music, shaping resolving the trill
Mr Rastall makes an excellent point.
At 08:31 PM 7/22/2007, you wrote:
On Jul 22, 2007, at 8:35 PM, David Tayler wrote:
It used to be unheard of to use the main note trill in
later baroque music, but now it is relatively common; the next step
is the use of the above note trill in early
13 matches
Mail list logo
