The guy who does my website is into some software called WordPress. I
suppose we could call it blogging software, or interactive web
software. It means people can post and comment on the posts. We're
using this on the Cittern Cafe site, and except for the fact that the
cittern crowd isn't
I don't have any problem with this list. or any list...
I don't have any antispam/antivirus softwares on my computer.
On Feb 1, 2008, at 9:36 AM, Rob wrote:
There are many problems related to these lists and rejected emails. I
received an email from Wayne yesterday saying I was top of the list
There are many problems related to these lists and rejected emails. I
received an email from Wayne yesterday saying I was top of the list of
people rejecting my emails - over half of the list members don't see my
mails. That might be their choice of course! They might have blocked me
deliberately.
Arpeggio = "in the style of a harp". We harpists do it more or less
automatically. Some chords, especially longer notes at the end of a
phrase, cry to be arpeggiated. Others are more appropriately played
"flat".
When piddling with my new-to-me theorbo I generally try to play in a
style sim
Strange,
I'm not receiving messages I am sending to the Liste - Am I doing
something wrog?
Jurek
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Lost in cybervoid. So her once more:
I don't. I keep mine (76cm) in a, first two courses down. All gut, 415
to 466 tested. I don't see the point why not. I haven't seen valid and
or historical arguments against it. It would work in d too, I'm sure.
David
I understand you, David, very well
"On Frescobaldi's advice, are we sure it is to be applied broadly and not
just to the openings of his toccatas?"
Breaking, or spreading chords was developed on instruments which don't have
enough sustain by nature like harpsichord, lute etc for the sake of
enriching the texture and increas
Dear All:
My favorite advice on the subject of playing in time comes from Pablo
Casals: "Fantasy as much as you like, but with order." I interpret that as
putting as much expression into the piece as you see fit, but keep playing in
time. Occasionally when playing to a metronome I experiment by
I don't. I keep mine (76cm) in a, first two courses down. All gut, 415
to 466 tested. I don't see the point why not. I haven't seen valid and
or historical arguments against it. It would work in d too, I'm sure.
David
I understand you, David, very well, I've also got older living for years
On 2008-01-31, at 20:42, Are Vidar Boye Hansen wrote:
A small price to pay for being able to play a three-note chord over
middle C in first position?
That's the point and the most promising bit. However the price
seems to me not small, indeed, and therefore my quest for someone
maybe expe
On Jan 31, 2008, at 2:15 PM, Bernd Haegemann wrote:
> But that are "separe" signs!
> They don't mean rolling the chord.
If there are three notes written vertically I guess you could call
that a chord. What about that squiggly line drawn beside a chord to
indicate rolling it? Surely that mus
>> A small price to pay for being able to play a three-note chord over
>> middle C in first position?
>
> That's the point and the most promising bit. However the price seems to me
> not small, indeed, and therefore my quest for someone maybe experienced.
Play an archlute! ;-)
Are
To get on
On 2008-01-31, at 20:15, Bernd Haegemann wrote:
Are these markings in historical tabulatures too? I do not
remember i
saw one.
I was thinking of the French ornamentation markings: offhand the
only one I can think of without searching through the music is a
slanted line separating vertical
Dear Howard,
On 2008-01-31, at 18:59, howard posner wrote:
On Jan 31, 2008, at 8:56 AM, Jerzy Zak wrote:
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I'm not sure what the "it" in your question is.
Martyn Hodgson in his recent reply stated quite catego
Are these markings in historical tabulatures too? I do not remember i
saw one.
I was thinking of the French ornamentation markings: offhand the
only one I can think of without searching through the music is a
slanted line separating vertical tab letters, meaning to play them
separated.
But t
On Jan 31, 2008, at 12:49 PM, wolfgang wiehe wrote:
> Are these markings in historical tabulatures too? I do not remember i
> saw one.
I was thinking of the French ornamentation markings: offhand the
only one I can think of without searching through the music is a
slanted line separating ver
On Jan 31, 2008, at 9:56 AM, Jerzy Zak wrote:
> I'm interested how one manages with the bass notes below the _d_ on
> the 6th course of the instrument tuned in 'd'. This is more or less
> one third of the statistical bass notes in an everage part to play
> (depending of course on period and
On Jan 31, 2008, at 8:56 AM, Jerzy Zak wrote:
> Hm..., how many of you are playing continuo on a theorbo in 'd', if
> it's so obvoius?
I'm not sure what the "it" in your question is.
When Ensemble Chanterelle consisted of Sally Sanford, Cathy Liddell
and Kevin Mason, their basic setup was vo
On 2008-01-31, at 18:20, LGS-Europe wrote:
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I don't. I keep mine (76cm) in a, first two courses down. All gut,
415 to 466 tested. I don't see the point why not. I haven't seen
valid and or historical argum
" In fact, there are markings in
the tablature that we take as standard indications that call for
separation of vertically-arranged notes."
Are these markings in historical tabulatures too? I do not remember i
saw one.
wolfgang
-Ursprüngliche Nachricht-
Von: David Rastall [mailto:[EMA
Actually Bream is not "old fashioned". This is rather modern attitude - a
need for steady rhythm and sharp accents. In baroque period breaking chords
was absolutely common practice and thought of as embellishment.
G.Frescobaldi, Toccate 1615 :
"The openings of the toccatas are to be taken adagio a
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I don't. I keep mine (76cm) in a, first two courses down. All gut, 415 to
466 tested. I don't see the point why not. I haven't seen valid and or
historical arguments against it. It would work in d too, I'm s
Martyn Hodgson wrote:
I've already very clearly explained how small theorboes (ie up to
low 80s) were tuned (and even given sources for tablature) and
generally really can't be bothered to continually repeat myself.
Let me see if I can summarize then:
There is no historical information con
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
Jurek
___
On 2008-01-31, at 17:25, LGS-Europe wrote:
I've already very clearly explained how small theorboes (ie up to
low 80s) were tuned (and even given sources for tablature) and
genera
Dear Andrew,
My view is that an occasional spread chord is a useful device, and should
certainly be in one's expressive armoury. However, spreading chords feels good
to a player, and there is a danger that it is overdone. It is actually easier
to play a spread chord than to play all the notes t
- Original Message -
From: "Roman Turovsky" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>; "'Stewart McCoy'" <[EMAIL PROTECTED]>;
"'Lute Net'"
Sent: Thursday, January 31, 2008 12:27 PM
Subject: Re: [LUTE] Re: Playing in time (olim Polish, anyone?)
From: "Rob" <[EMAIL PROTECTED]>
I'm
I've already very clearly explained how small theorboes (ie up to low
80s) were tuned (and even given sources for tablature) and generally
really can't be bothered to continually repeat myself. However, in case
you personally missed it, I'll do it one more time:
EITHER nominal A or G tu
On Jan 31, 2008, at 4:39 AM, Andrew Gibbs wrote:
> ..but do you think the occasional (and tasteful) spreading of chords
> is a bad or non-HIP thing?
No, not really. As long as it's not done to excess. Rolling too
many chords in a piece tends to muddy up the counterpoint and blur
the rhythm.
Collected wisdom
I, for one, am grateful for the information on theorbo tuning and sizes.
I hope the discussion does not get too prickly to continue - Please, swallow
your rancor.
Joseph Mayes
On 1/31/08 8:36 AM, "Martyn Hodgson" <[EMAIL PROTECTED]> wrote:
>
> I've already very clearly
I've already very clearly explained how small theorboes (ie up to low 80s)
were tuned (and even given sources for tablature) and generally really can't be
bothered to continually repeat myself. However, in case you personally missed
it, I'll do it one more time:
EITHER nominal A or
Nigel,
I wonder about this too based on my own
experiences with big and small theorbos. As I stated
on a earlier post on a related subject, its probable
that Pittoni and Melli (Melli, definately, Pittoni is
a little less definative) wrote for an instrument with
an octave second course. This
From: "Rob" <[EMAIL PROTECTED]>
I'm only pulling your leg, Stewart, obviously, but I do have a serious
point
to make regarding time keeping and respecting composers' wishes.
Well, in that case we should level the same charges against Hoppy Smith, who
both keeps "country time" and alters the per
Just out of interest, what size chitaronne do you think Piccinini was
playing when he wrote his pieces? I used to have a 92cm chitaronne and I
can tell you not many of those pieces are playable on a monster like
that. The theorbo I have now measures 85 cm and even then a lot of the
pieces are o
I like these quotes.
..but do you think the occasional (and tasteful) spreading of chords
is a bad or non-HIP thing?
Andrew
On 30 Jan 2008, at 17:17, Stewart McCoy wrote:
> In the last few years, Julian Bream has given master classes at
> Lute Society
> meetings in London. He stressed two
And the Victor Meldrew Award for Music Criticism goes to Stewart McCoy!
For those who have never heard of Victor, the archetypal grumpy old man:
http://en.wikipedia.org/wiki/Victor_Meldrew
I'm only pulling your leg, Stewart, obviously, but I do have a serious point
to make regarding time keeping
To the benefit of those not interested in a peeing contest but in theories
on theorbo stringing, as I am, and not in the happy possesion of a list of
historical theorbos stating string length and setup, here's what the guys
are talking about (info taken from one of the Pohlmanns lying around her
You can easily work it out yourself from what I've told you
David Tayler <[EMAIL PROTECTED]> wrote: OK, I'm asking, how would you,
specifically, tune the theorbos I just
mentioned?
Atton, Ecco, Hoess,
Kaiser, Aman, Koch, Langenwalder, Attore, Mascotto, Stehelin, Greiff,
Tieffenbrucker
dt
At 1
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