[LUTE] Re: Improvising Baroque Music
This time a reply after watching the video (test question: What's the colour of Steve's cat?). What I saw was Steve playing written-out formulae in a baroque style, cycling through many keys. What Chris referred to as 'don't be afraid to copy' and 'learning many licks', or similar wording, anyway, the usual jazz teaching method. In the end Steve plays a written-out single-line exercise and a written out contrapuntal exercise. Whether a student will be able to use this in his improvisation to go beyond the formulae, is up to the student, but he will be given the harmonic and contrapuntal tools on the fingerboard as opposed to just on paper to do so. Yes, it would be great to have this for dm-lute, and I don't think it would be all that much work to make. Some years ago I made a few beginners' lessons for playing continuo on dm-lute (on-line on my website for those interested). There are historical dm continuo lessons by Perrine and in the Prague University Library Ms. II Kk 51. But these are all harmony oriented, and Steve's approach is focused on contrapuntal cadences and formulae. Keyboard players (notably organ players) are still trained in improvising contrapuntal compositions. I have a classical guitar colleague who liked to improvise baroque counterpoint. To call it fugues would be stretching it, but his contrapuntal fantasies were convincing enough. I don't think it should be taken as a goal though, when so much better composers wrote so much better music. But it would be a great tool in understanding music, in gaining fluency on the dm-fingerboard and in playing more contrapuntal/more interesting continuo. Closest historical source I can think of is the Italian ms with written-out cadenses and 'licks' for theorbo. David *** David van Ooijen [1]davidvanooi...@gmail.com [2]www.davidvanooijen.nl *** On 1 July 2015 at 14:49, Rob MacKillop [3]robmackil...@gmail.com wrote: I've long thought that there was something missing from the way most of us learn to play baroque music, whether on lute or guitar. Some of us have studied figured bass playing, it's something I particularly enjoyed doing, though I haven't done any for years. But rarely do we step beyond that practice, and I believe that only a very, very small percentage of us are happy improvising baroque counterpoint in Dm tuning. I was fascinated to learn that one of my jazz guitar heroes, Steve Herberman, teaches a class online called Going For Baroque. You have to buy the class, but an overview video is available: [1][4]http://youtu.be/u9oZ5Us0sfQ It would be really interesting to transfer his approach to the Dm lute. One would really get to know the instrument and tuning well, and discover many contrapuntal finger movements which could be used in improvising fugues or dance movements. I'd like to know your thoughts after watching the video. Rob MacKillop [2][5]www.robmackillop.net -- References 1. [6]http://youtu.be/u9oZ5Us0sfQ 2. [7]http://www.robmackillop.net/ To get on or off this list see list information at [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:davidvanooi...@gmail.com 2. http://www.davidvanooijen.nl/ 3. mailto:robmackil...@gmail.com 4. http://youtu.be/u9oZ5Us0sfQ 5. http://www.robmackillop.net/ 6. http://youtu.be/u9oZ5Us0sfQ 7. http://www.robmackillop.net/ 8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Improvising Baroque Music
Hi All, Yes I agree improvisation is something to be introduced early on, not just as an advanced topic. To do it properly one really needs some knowledge of composition, which unfortunately many amateur lute players lack. I'm not thinking of anything very advanced here, just a very basic grounding in figured bass and counterpoint. I wonder if someone could be persuaded to write a little snippet each quarter for Lute News? Don't look at me, I'm too busy. Martin On 02/07/2015 10:31, Rob MacKillop wrote: Thanks for the comments. Yes, Steve Herberman is dealing mainly with contrapuntal devices. How well they they would transfer to Dm tuning remains to be discovered. I have seen many harpsichord players rip through similar devices many times, and have been duly impressed. I once joked to a harpsichord player Now do it a semitone higher, and without batting an eyelid, he did...Steve Herberman and Ted Greene are the only guys I have seen who can do that on a guitar, which is closer to the lute than a harpsichord. The thing is, Steve has worked out a system. I might buy the course to see how he does it. So much for contrapuntal improv. What about the topic of introducing improv ideas and concepts to post beginners? I'd like to see improv becoming more normal in our learning process, not something to put off until you have hopefully mastered the instrument (as that will never happen). For this to happen, we need educational material at stepped levels. Something for our lute societies, perhaps? Rob On 2 July 2015 at 07:05, David van Ooijen [1]davidvanooi...@gmail.com wrote: This time a reply after watching the video (test question: What's the colour of Steve's cat?). What I saw was Steve playing written-out formulae in a baroque style, cycling through many keys. What Chris referred to as 'don't be afraid to copy' and 'learning many licks', or similar wording, anyway, the usual jazz teaching method. In the end Steve plays a written-out single-line exercise and a written out contrapuntal exercise. Whether a student will be able to use this in his improvisation to go beyond the formulae, is up to the student, but he will be given the harmonic and contrapuntal tools on the fingerboard as opposed to just on paper to do so. Yes, it would be great to have this for dm-lute, and I don't think it would be all that much work to make. Some years ago I made a few beginners' lessons for playing continuo on dm-lute (on-line on my website for those interested). There are historical dm continuo lessons by Perrine and in the Prague University Library Ms. II Kk 51. But these are all harmony oriented, and Steve's approach is focused on contrapuntal cadences and formulae. Keyboard players (notably organ players) are still trained in improvising contrapuntal compositions. I have a classical guitar colleague who liked to improvise baroque counterpoint. To call it fugues would be stretching it, but his contrapuntal fantasies were convincing enough. I don't think it should be taken as a goal though, when so much better composers wrote so much better music. But it would be a great tool in understanding music, in gaining fluency on the dm-fingerboard and in playing more contrapuntal/more interesting continuo. Closest historical source I can think of is the Italian ms with written-out cadenses and 'licks' for theorbo. David *** David van Ooijen [1][2]davidvanooi...@gmail.com [2][3]www.davidvanooijen.nl *** On 1 July 2015 at 14:49, Rob MacKillop [3][4]robmackil...@gmail.com wrote: I've long thought that there was something missing from the way most of us learn to play baroque music, whether on lute or guitar. Some of us have studied figured bass playing, it's something I particularly enjoyed doing, though I haven't done any for years. But rarely do we step beyond that practice, and I believe that only a very, very small percentage of us are happy improvising baroque counterpoint in Dm tuning. I was fascinated to learn that one of my jazz guitar heroes, Steve Herberman, teaches a class online called Going For Baroque. You have to buy the class, but an overview video is available:
[LUTE] Re: Improvising Baroque Music
Thanks for the comments. Yes, Steve Herberman is dealing mainly with contrapuntal devices. How well they they would transfer to Dm tuning remains to be discovered. I have seen many harpsichord players rip through similar devices many times, and have been duly impressed. I once joked to a harpsichord player Now do it a semitone higher, and without batting an eyelid, he did...Steve Herberman and Ted Greene are the only guys I have seen who can do that on a guitar, which is closer to the lute than a harpsichord. The thing is, Steve has worked out a system. I might buy the course to see how he does it. So much for contrapuntal improv. What about the topic of introducing improv ideas and concepts to post beginners? I'd like to see improv becoming more normal in our learning process, not something to put off until you have hopefully mastered the instrument (as that will never happen). For this to happen, we need educational material at stepped levels. Something for our lute societies, perhaps? Rob On 2 July 2015 at 07:05, David van Ooijen [1]davidvanooi...@gmail.com wrote: This time a reply after watching the video (test question: What's the colour of Steve's cat?). What I saw was Steve playing written-out formulae in a baroque style, cycling through many keys. What Chris referred to as 'don't be afraid to copy' and 'learning many licks', or similar wording, anyway, the usual jazz teaching method. In the end Steve plays a written-out single-line exercise and a written out contrapuntal exercise. Whether a student will be able to use this in his improvisation to go beyond the formulae, is up to the student, but he will be given the harmonic and contrapuntal tools on the fingerboard as opposed to just on paper to do so. Yes, it would be great to have this for dm-lute, and I don't think it would be all that much work to make. Some years ago I made a few beginners' lessons for playing continuo on dm-lute (on-line on my website for those interested). There are historical dm continuo lessons by Perrine and in the Prague University Library Ms. II Kk 51. But these are all harmony oriented, and Steve's approach is focused on contrapuntal cadences and formulae. Keyboard players (notably organ players) are still trained in improvising contrapuntal compositions. I have a classical guitar colleague who liked to improvise baroque counterpoint. To call it fugues would be stretching it, but his contrapuntal fantasies were convincing enough. I don't think it should be taken as a goal though, when so much better composers wrote so much better music. But it would be a great tool in understanding music, in gaining fluency on the dm-fingerboard and in playing more contrapuntal/more interesting continuo. Closest historical source I can think of is the Italian ms with written-out cadenses and 'licks' for theorbo. David *** David van Ooijen [1][2]davidvanooi...@gmail.com [2][3]www.davidvanooijen.nl *** On 1 July 2015 at 14:49, Rob MacKillop [3][4]robmackil...@gmail.com wrote: I've long thought that there was something missing from the way most of us learn to play baroque music, whether on lute or guitar. Some of us have studied figured bass playing, it's something I particularly enjoyed doing, though I haven't done any for years. But rarely do we step beyond that practice, and I believe that only a very, very small percentage of us are happy improvising baroque counterpoint in Dm tuning. I was fascinated to learn that one of my jazz guitar heroes, Steve Herberman, teaches a class online called Going For Baroque. You have to buy the class, but an overview video is available: [1][4][5]http://youtu.be/u9oZ5Us0sfQ It would be really interesting to transfer his approach to the Dm lute. One would really get to know the instrument and tuning well, and discover many contrapuntal finger movements which could be used in improvising fugues or dance movements. I'd like to know your thoughts after watching the video. Rob MacKillop [2][5][6]www.robmackillop.net -- References 1. [6][7]http://youtu.be/u9oZ5Us0sfQ
[LUTE] Re: Improvising Baroque Music
Improvisation teaches many things besides improvisation: compositional awareness, arranging and adapting skills, freedom on the instrument, confidence, musical expression (hopefully), a better involvement in what you're playing and in a roundabout way you'll become a better sight reader because you'll become better at recognizing structure in stead of just notes. Not 100% relevant to the discussion, but I touch upon improvisation not as a goal in itself but as a means in becoming a better musician in the series I wrote (am writing) on Zen and lute playing. The series is on-line in the Writings section of my website. Here's a direct link: [1]http://home.kpn.nl/ooije006/david/writings/lutedou8_onemoment_f.html David *** David van Ooijen [2]davidvanooi...@gmail.com [3]www.davidvanooijen.nl *** On 2 July 2015 at 10:31, Rob MacKillop [4]robmackil...@gmail.com wrote: Thanks for the comments. Yes, Steve Herberman is dealing mainly with contrapuntal devices. How well they they would transfer to Dm tuning remains to be discovered. I have seen many harpsichord players rip through similar devices many times, and have been duly impressed. I once joked to a harpsichord player Now do it a semitone higher, and without batting an eyelid, he did...Steve Herberman and Ted Greene are the only guys I have seen who can do that on a guitar, which is closer to the lute than a harpsichord. The thing is, Steve has worked out a system. I might buy the course to see how he does it. So much for contrapuntal improv. What about the topic of introducing improv ideas and concepts to post beginners? I'd like to see improv becoming more normal in our learning process, not something to put off until you have hopefully mastered the instrument (as that will never happen). For this to happen, we need educational material at stepped levels. Something for our lute societies, perhaps? Rob On 2 July 2015 at 07:05, David van Ooijen [1][5]davidvanooi...@gmail.com wrote: This time a reply after watching the video (test question: What's the colour of Steve's cat?). What I saw was Steve playing written-out formulae in a baroque style, cycling through many keys. What Chris referred to as 'don't be afraid to copy' and 'learning many licks', or similar wording, anyway, the usual jazz teaching method. In the end Steve plays a written-out single-line exercise and a written out contrapuntal exercise. Whether a student will be able to use this in his improvisation to go beyond the formulae, is up to the student, but he will be given the harmonic and contrapuntal toolson the fingerboard as opposed to just on paperto do so. Yes, it would be great to have this for dm-lute, and I don't think it would be all that much work to make. Some years ago I made a few beginners' lessons for playing continuo on dm-lute (on-line on my website for those interested). There are historical dm continuo lessons by Perrine and in the Prague University Library Ms. II Kk 51. But these are all harmony oriented, and Steve's approach is focused on contrapuntal cadences and formulae. Keyboard players (notably organ players) are still trained in improvising contrapuntal compositions. I have a classical guitar colleague who liked to improvise baroque counterpoint. To call it fugues would be stretching it, but his contrapuntal fantasies were convincing enough. I don't think it should be taken as a goal though, when so much better composers wrote so much better music. But it would be a great tool in understanding music, in gaining fluency on the dm-fingerboard and in playing more contrapuntal/more interesting continuo. Closest historical source I can think of is the Italian ms with written-out cadenses and 'licks' for theorbo. David *** David van Ooijen [1][2][6]davidvanooi...@gmail.com [2][3][7]www.davidvanooijen.nl *** On 1 July 2015 at 14:49, Rob MacKillop [3][4][8]robmackil...@gmail.com wrote: I've long thought that there was something missing from the way most of us
[LUTE] Re: Improvising Baroque Music
True. As an improviser, even an accomplished one, to compare ones own improvisations against properly composed music is demotivating to say the least. Improvisation is more about the joy of playing than about good music and should be qualified accordingly. Interesting subject though. Lex Op 2 jul 2015, om 14:20 heeft Christopher Wilke het volgende geschreven: Garrison Keillor came through town recently with A Prairie Home Companion. (Keillor just named virtuoso mandolinist Chris Thile as his replacement, who is quite the improviser himself, that's another topic.) I'm not actually a huge fan of his style, but I found this interesting. Anyway, a local radio host interviewed him and asked, Many people probably don't realize how much of the show is ad libbed. After doing it for so many years, you probably feel pretty comfortable improvising, right? Keillor said, I never feel comfortable improvising. Just shame. A continual sense of shame that it could have been better. I think that just about sums up improvisation. Understand going in that no performance will be everything you want it to be. Just go for it! Chris [1]Sent from Yahoo Mail for iPhone At Jul 2, 2015, 5:24:57 AM, David van Ooijen wrote: Improvisation teaches many things besides improvisation: compositional awareness, arranging and adapting skills, freedom on the instrument, confidence, musical expression (hopefully), a better involvement in what you're playing and in a roundabout way you'll become a better sight reader because you'll become better at recognizing structure in stead of just notes. Not 100% relevant to the discussion, but I touch upon improvisation not as a goal in itself but as a means in becoming a better musician in the series I wrote (am writing) on Zen and lute playing. The series is on-line in the Writings section of my website. Here's a direct link: [1][2]http://home.kpn.nl/ooije006/david/writings/lutedou8_onemoment_f.h tml David *** David van Ooijen [2][3]davidvanooi...@gmail.com [3]www.davidvanooijen.nl *** On 2 July 2015 at 10:31, Rob MacKillop [4][4]robmackil...@gmail.com wrote: Thanks for the comments. Yes, Steve Herberman is dealing mainly with contrapuntal devices. How well they they would transfer to Dm tuning remains to be discovered. I have seen many harpsichord players rip through similar devices many times, and have been duly impressed. I once joked to a harpsichord player Now do it a semitone higher, and without batting an eyelid, he did...Steve Herberman and Ted Greene are the only guys I have seen who can do that on a guitar, which is closer to the lute than a harpsichord. The thing is, Steve has worked out a system. I might buy the course to see how he does it. So much for contrapuntal improv. What about the topic of introducing improv ideas and concepts to post beginners? I'd like to see improv becoming more normal in our learning process, not something to put off until you have hopefully mastered the instrument (as that will never happen). For this to happen, we need educational material at stepped levels. Something for our lute societies, perhaps? Rob On 2 July 2015 at 07:05, David van Ooijen [1][5][5]davidvanooi...@gmail.com wrote: This time a reply after watching the video (test question: What's the colour of Steve's cat?). What I saw was Steve playing written-out formulae in a baroque style, cycling through many keys. What Chris referred to as 'don't be afraid to copy' and 'learning many licks', or similar wording, anyway, the usual jazz teaching method. In the end Steve plays a written-out single-line exercise and a written out contrapuntal exercise. Whether a student will be able to use this in his improvisation to go beyond the formulae, is up to the student, but he will be given the harmonic and contrapuntal tools on the fingerboard as opposed to just on paper to do so. Yes, it would be great to have this for dm-lute, and I don't think it would be all that much work to make. Some years ago I made a few beginners' lessons for playing continuo on dm-lute (on-line on my website for those interested). There are historical dm continuo lessons by Perrine and in the Prague University Library Ms. II Kk 51. But these are all harmony oriented, and Steve's approach is focused on contrapuntal cadences and formulae. Keyboard players (notably organ players) are still trained in improvising contrapuntal compositions. I have a classical guitar colleague who liked to improvise baroque counterpoint. To call it fugues would be stretching it, but his contrapuntal fantasies were convincing enough. I don't think it should be
[LUTE] Re: Improvising Baroque Music
Hi Martin, I agree that improvisation should be introduced early on. However, I disagree that it need be so formally codified with proper theory and counterpoint at the early stages. Students are often initially hesitant to improvise for fear of making mistakes and looking foolish. In fact, the pathway to becoming fluent at improv is accepting the concept that in any given situation there are no mistakes, simply a range of choices along a spectrum of quality. If one waits to introduce improv until the instrument is mastered and all the abstract rules are understood, the task becomes daunting. This is the perfect recipe for stiffness. The first step for a teacher is merely creating an encouraging, non-judgemental environment. The very beginning can and perhaps should be done entirely by ear. No need for any theory, music reading or even knowledge of the names of the notes. And there need not be any degree of technical mastery. I don't mean the one should drop students into an ocean of choices, but at first rather limit them to just a few easy notes to be played over simple chords (not yet even approaching the complexity of a ground). Afterwards I ask, Which did you like better? Did you like the sound of note X, Y or Z when I played chord 1?. 95% of the time, they already have the correct theoretical answer. I don't correct them if they have the wrong answer, although I may isolate the example and have them listen carefully again. Maybe the ear is simply being trained at this point or maybe they're developing a personal style which I don't want to discourage. Later on I show them licks (or motifs as we would say). Then it becomes, Which lick did you like with chord 1? With chord #2? To be clear: I don't mean that anything goes in improv. The theory comes later, and regardless of one's personal preferences, it is important to eventually understand the components of music as practiced by most. Best, Chris [1]Sent from Yahoo Mail for iPhone At Jul 2, 2015, 5:14:15 AM, Martin Shepherd wrote: Hi All, Yes I agree improvisation is something to be introduced early on, not just as an advanced topic. To do it properly one really needs some knowledge of composition, which unfortunately many amateur lute players lack. I'm not thinking of anything very advanced here, just a very basic grounding in figured bass and counterpoint. I wonder if someone could be persuaded to write a little snippet each quarter for Lute News? Don't look at me, I'm too busy. Martin On 02/07/2015 10:31, Rob MacKillop wrote: Thanks for the comments. Yes, Steve Herberman is dealing mainly with contrapuntal devices. How well they they would transfer to Dm tuning remains to be discovered. I have seen many harpsichord players rip through similar devices many times, and have been duly impressed. I once joked to a harpsichord player Now do it a semitone higher, and without batting an eyelid, he did...Steve Herberman and Ted Greene are the only guys I have seen who can do that on a guitar, which is closer to the lute than a harpsichord. The thing is, Steve has worked out a system. I might buy the course to see how he does it. So much for contrapuntal improv. What about the topic of introducing improv ideas and concepts to post beginners? I'd like to see improv becoming more normal in our learning process, not something to put off until you have hopefully mastered the instrument (as that will never happen). For this to happen, we need educational material at stepped levels. Something for our lute societies, perhaps? Rob On 2 July 2015 at 07:05, David van Ooijen [1][2]davidvanooi...@gmail.com wrote: This time a reply after watching the video (test question: What's the colour of Steve's cat?). What I saw was Steve playing written-out formulae in a baroque style, cycling through many keys. What Chris referred to as 'don't be afraid to copy' and 'learning many licks', or similar wording, anyway, the usual jazz teaching method. In the end Steve plays a written-out single-line exercise and a written out contrapuntal exercise. Whether a student will be able to use this in his improvisation to go beyond the formulae, is up to the student, but he will be given the harmonic and contrapuntal tools on the fingerboard as opposed to just on paper to do so. Yes, it would be great to have this for dm-lute, and I don't think it would be all that much work to make. Some years ago I made a few beginners' lessons for playing continuo on dm-lute (on-line on my website for those interested). There are historical dm continuo lessons by Perrine and in the Prague University Library Ms. II Kk 51. But these are all harmony oriented, and
[LUTE] Re: Improvising Baroque Music
Garrison Keillor came through town recently with A Prairie Home Companion. (Keillor just named virtuoso mandolinist Chris Thile as his replacement, who is quite the improviser himself, that's another topic.) I'm not actually a huge fan of his style, but I found this interesting. Anyway, a local radio host interviewed him and asked, Many people probably don't realize how much of the show is ad libbed. After doing it for so many years, you probably feel pretty comfortable improvising, right? Keillor said, I never feel comfortable improvising. Just shame. A continual sense of shame that it could have been better. I think that just about sums up improvisation. Understand going in that no performance will be everything you want it to be. Just go for it! Chris [1]Sent from Yahoo Mail for iPhone At Jul 2, 2015, 5:24:57 AM, David van Ooijen wrote: Improvisation teaches many things besides improvisation: compositional awareness, arranging and adapting skills, freedom on the instrument, confidence, musical expression (hopefully), a better involvement in what you're playing and in a roundabout way you'll become a better sight reader because you'll become better at recognizing structure in stead of just notes. Not 100% relevant to the discussion, but I touch upon improvisation not as a goal in itself but as a means in becoming a better musician in the series I wrote (am writing) on Zen and lute playing. The series is on-line in the Writings section of my website. Here's a direct link: [1][2]http://home.kpn.nl/ooije006/david/writings/lutedou8_onemoment_f.h tml David *** David van Ooijen [2][3]davidvanooi...@gmail.com [3]www.davidvanooijen.nl *** On 2 July 2015 at 10:31, Rob MacKillop [4][4]robmackil...@gmail.com wrote: Thanks for the comments. Yes, Steve Herberman is dealing mainly with contrapuntal devices. How well they they would transfer to Dm tuning remains to be discovered. I have seen many harpsichord players rip through similar devices many times, and have been duly impressed. I once joked to a harpsichord player Now do it a semitone higher, and without batting an eyelid, he did...Steve Herberman and Ted Greene are the only guys I have seen who can do that on a guitar, which is closer to the lute than a harpsichord. The thing is, Steve has worked out a system. I might buy the course to see how he does it. So much for contrapuntal improv. What about the topic of introducing improv ideas and concepts to post beginners? I'd like to see improv becoming more normal in our learning process, not something to put off until you have hopefully mastered the instrument (as that will never happen). For this to happen, we need educational material at stepped levels. Something for our lute societies, perhaps? Rob On 2 July 2015 at 07:05, David van Ooijen [1][5][5]davidvanooi...@gmail.com wrote: This time a reply after watching the video (test question: What's the colour of Steve's cat?). What I saw was Steve playing written-out formulae in a baroque style, cycling through many keys. What Chris referred to as 'don't be afraid to copy' and 'learning many licks', or similar wording, anyway, the usual jazz teaching method. In the end Steve plays a written-out single-line exercise and a written out contrapuntal exercise. Whether a student will be able to use this in his improvisation to go beyond the formulae, is up to the student, but he will be given the harmonic and contrapuntal tools on the fingerboard as opposed to just on paper to do so. Yes, it would be great to have this for dm-lute, and I don't think it would be all that much work to make. Some years ago I made a few beginners' lessons for playing continuo on dm-lute (on-line on my website for those interested). There are historical dm continuo lessons by Perrine and in the Prague University Library Ms. II Kk 51. But these are all harmony oriented, and Steve's approach is focused on contrapuntal cadences and formulae. Keyboard players (notably organ players) are still trained in improvising contrapuntal compositions. I have a classical guitar colleague who liked to improvise baroque counterpoint. To call it fugues would be stretching it, but his contrapuntal fantasies were convincing enough. I don't think it should be taken as a goal though, when so much better composers wrote so much better music. But it would be a great tool in understanding music, in gaining fluency on the dm-fingerboard and in playing more contrapuntal/more interesting continuo. Closest historical source I can think of is the Italian ms with written-out cadenses and 'licks' for theorbo.
[LUTE] Polonica: new lute CD released
Dear Lutenists, There seems to be no announcement on this list yet, nor have I put one myself until now: my CD Polonica is now out and available worldwide, at least from most major online music retailers. A Google search will provide further information. Here are a few links: http://www.outhere-music.com/en/albums/polonica-musique-a-connotation-polonaise-autour-de-1600-ram-1406 https://itunes.apple.com/us/album/polonica/id998688358 See also https://www.youtube.com/watch?v=32p53Q1WGQ0 [four settings from D-LEu II.6.15, better known as the (improbable) Dlugoraj Lute Book]. Please help spreading the word. Best to all, Michal -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Polonica: new lute CD released
That is lovely! Very sensitive playing and wonderful sound. Congratulations. :) On Thu, Jul 2, 2015 at 8:23 AM, Michal Gondko [1]cont...@lamorra.info wrote: Dear Lutenists, There seems to be no announcement on this list yet, nor have I put one myself until now: my CD aPolonica' is now out and available worldwide, at least from most major online music retailers. A Google search will provide further information. Here are a few links: [2]http://www.outhere-music.com/en/albums/polonica-musique-a-connota tion-polonaise-autour-de-1600-ram-1406 [3]https://itunes.apple.com/us/album/polonica/id998688358 See also [4]https://www.youtube.com/watch?v=32p53Q1WGQ0 [four settings from D-LEu II.6.15, better known as the (improbable) aDlugoraj Lute Book']. Please help spreading the word. Best to all, Michal -- To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:cont...@lamorra.info 2. http://www.outhere-music.com/en/albums/polonica-musique-a-connotation-polonaise-autour-de-1600-ram-1406 3. https://itunes.apple.com/us/album/polonica/id998688358 4. https://www.youtube.com/watch?v=32p53Q1WGQ0 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
