On Wed, 2009-08-26 at 16:51 +0200, Matteo Turri wrote:
Thanks! That's the second wonderful link in one week! Not just dowland
and campion facsimiles but also wilson, rosseter etc. etc. Very nice. \
Unfortunately you can only create a pdf of one page and not the whole
book.
Taco
A great resource
Taco,
you can download the whole documents in pdf.
At the moment I cannot access EEBO form my office. I will do it later
from home and explain you the steps.
M.
2009/8/27 Taco Walstra [1]wals...@science.uva.nl
On Wed, 2009-08-26 at 16:51 +0200, Matteo Turri wrote:
On Thu, 2009-08-27 at 09:59 +0200, Matteo Turri wrote:
Taco,
you can download the whole documents in pdf.
At the moment I cannot access EEBO form my office. I will do it later
from home and explain you the steps.
M.
Ah, I figured it out: you select the document and in the marked list
The Bacheler Consort plays Pacoloni :
http://www.youtube.com/watch?v=OJa0byWuhpU
Very stylish playing. Is the cittern part derived from a lute part?
Stuart
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Quite right, Dana, but if memory serves Milan introduces the 6 Pavanas
by saying that the next six fantasias are pavanas. The there's the
problem of pavans being generally in duple and some of the Milan
pavanas are in triple.
I am away from my copy of milan, so I cant confirm
There are specific skills you need to be a professional
yes, but, what kind of professional?
even if you could, as some of
the great cornetto players can, improvise in the style of Bassano and
others, this would definitely not land you a job.
In itself, perhaps not, but one
However, her lute teacher recently pointed out to her that if she
hopes to play the lute professionally in the future she will need to
become much more proficient in playing improvisationally.
Interesting; the unquestioned linkage to a professional lutenist's
career with improvisational
On Aug 26, 2009, at 6:17 AM, Christopher Witmer wrote:
s improvisational ability something that you either have or you
don't? Or is it something that can be learned? Are there any tips
concerning how my daughter could most effectively approach this?
I'm assuming the skills we're talking about
In the current (August 31) issue of The New Yorker, Alex Ross has an
article called Taking Liberties: Reviving the art of classical
improvisation. He points out that while modern musicians specializing
in the Renaissance and the Baroque have been leaders in improvisation,
the idea
Dear Friends,
Quite right, Dana, but if memory serves Milan introduces the 6 Pavanas
by saying that the next six fantasias are pavanas. The there's the
problem of pavans being generally in duple and some of the Milan
pavanas are in triple.
Dana: I am away from my copy of milan,
Harking back to a recent thread about airline travel with lutes, has
anyone ever tried Ryanair's -L-30 musical instrument transportation
scheme? I would love to know that it works, although frankly I'm
deeply sceptical. Here's what their website says:
Sporting or musical
On Aug 27, 2009, at 12:21 PM, Antonio Corona wrote:
They must be played with a somewhat fast air [so much for the slow
pavan] and it is required that they be played twice or
thrice (Debense tañer con el compas algo apresurado, y requierense
tañer dos o tres veces). Milan does not say
Dear All,
I'm looking for a collection of vocal music with continuo : Il Curtio
precipitato... of 1638 by Tarquinio MERULA. Seams that the net is
full of CD recordings but no edition, either modern score or a
facsimile. Do you know where to get it from?
Thanks in advance,
Jurek
___
Thank you, Richard Kolb, for the article on tempered tuning for lute
players in the latest LSA Quarterly! I've recently read two books on the
subject of temperament: Duffin's How Equal Temperament Ruined Harmony and
Isacoff's Temperament. The former was fun and informative; the latter
From http://tinyurl.com/nxmee2
NOVA ET ELEGANTISSIMA
IN CYTHARA LUDENDA CARMINA QUAE
VIDELICET IN SOLA CYTHARA VEL ETIAM CUM
tribus Testudinibus exhibita, mira dulcedina auiditorum possunt
oblectare, eaque omnia facilitate quam fieri potuit
summa in tyronum usum composita.
Et Primo quidem libro
On Aug 27, 2009, at 9:29 PM, Antonio Corona wrote:
You are quite right, but that was not the point I was trying to
make. Rather than questioning how to manipulate the piece, I was
trying to show the inconsistency of forcing a historic category
into a context that contradicts it explicitly.
Dear Howard,
You are quite right, but that was not the point I was trying to make. Rather
than questioning how to manipulate the piece, I was trying to show the
inconsistency of forcing a historic category into a context that contradicts it
explicitly.
With best wishes,
Antonio
-
17 matches
Mail list logo
