Rob,
The Talbot MS gives the small (lesser) French theorbo string length c 76cm as
tuned in D. If this was at 'French' pitch (whatever this means in the context -
French pitch as recorded in England, French Opera pitch, chamber pitch)
then, if the same pitch levels and string
Thanks for this; I'd be grateful for a fuller response to cover all the
points in my previous email to you. Nevertheless I'll respond to this one below:
INFORMATION
I now see from your mention of my guitar stringing email that you seem to
equate 'information' solely with figures
I agree absolutely, Daniel. I enjoyed all their other performances as well.
Martin
Daniel F Heiman wrote:
Only 800 views in over 5 months???
This performance is outstanding and deserves to be much better known:
http://www.youtube.com/watch?v=zJ81bbG-khM
Daniel Heiman
To get on or off
Dear Jaroslav,
Thank you very much for these observations, which you have presumably taken
from Robert Donington, _The Interpretation of Early Music_ (London: Faber
Faber, new version reprinted 1975), p. 425.
The first passage you quote, which Donington took from Thomas Mace, p. 147,
is
Dear Stewart and Jaroslaw,
In a way you are both right advocating legitimate interpretations,
theoretically opposite. But they overlap and that common region is in
much degree subjective, depending on context, historicall or personal
styles, even some national propensities (compare the
I assume that these source wars, where one person trots out his
sources, and someone else trots out his in rebuttal, are purely
academic discussions with little or no relationship to actual real-
world playing. Otherwise, if you guys need to be told how to play
musically, if you have to
Martyn,
All this is very persuasive, but what about the story of a double re-
entrant instrument with double strings and the second course in
octaves, in G or A?
From my sketchy calculations it appeares it must be an instrument of
about 74 cm (stopped), considering on one side the
Ahhha, David:
You forget egos and music. You cannot separate the two and sometimes egos
show themselves in rude responses and --- no responses: I get that all the
time.
Vw
- Original Message -
From: David Rastall [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Sunday,
The following text has been taken from Wolfgang Emmerich's homepage
http://www.zupfinstrumente-emmerich.de/English/index.htm - click on
new on the left, then scroll down to the bottom (pics available
there):
Only scarcely noticed: Magno Stegher in Venetia 1598
A much bigger share of bass-lutes
Taco Walstra wrote:
On Sunday 03 February 2008 02:01, Thomas Tallant wrote:
Depends a bit which platform you are using but I've used lilypond on linux
which is quite good.
Lilypond used to be unistallabe on Windows but now it is easy.
Of course, Lilypond has no GUI - you have to enter a text
Dear Stewart,
Sorry for changing the title but I don't think being Polish has anything to
do with playing in time.
Thank you very much for your analysis. Yes, obviously Robert Donington The
interpretation of early music is a great source of knowledge for all of us.
It's very handy for me, because
I am considering attending the Summer Seminar and wondered if there was
anyone in the greater NYC area, southern Connecticut or for the matter
anyone who might be driving through New York on Route 84. I am trying to
work out transportation and wanted to know if there might be someone willing
to
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