Before Paul played thumb-in, he played thumb-out.
On Aug 2, 2019, at 8:35 AM, John Mardinly wrote:
> Paul Odette was inspired by Julian Bream. One played thumb out, the
> other played thumb under. Both got excellent results. That is what
> matters the most.
Ed Durbrow
Saitama, Japan
Concerning these "doubles":
I found that it sounds really nice if you play them with inegale notes,
i. e. "swing".
This way, the "hidden melody" comes out very nicely. I have no idea if
that is "allowed" in that time. Normally, this is a Lully thing.
Being able to apply some groove seems to be
Nigel North has a relaxed thumb out playing style. Notice how the
pinky wanders!
[1]https://www.youtube.com/watch?v=QAuj1_wqsbk
G.
--
References
1. https://www.youtube.com/watch?v=QAuj1_wqsbk
To get on or off this list see list information at
Thomas is getting all the gigs at the moment, and rightly so, despite
his non-hip choices. So what's your point?
David - not fighting anyone in this exchange, just observing players
and audiences making their own choices, neither based on anything the
hip-police is describing as
I agree with Bernard. That's nice guitar playing on a strange guitar.
Mathias
__
Gesendet mit der [1]Telekom Mail App
--- Original-Nachricht ---
Von: David van Ooijen
Betreff: [BAROQUE-LUTE] Re: thumb in or
Matthew,
Not quite, probably. May I try to figure out why.
Robert Ballard wrote out many doubles to his courantes, that way
breaking grounds for what was later called style luthe (I omit accents
for the sake of readability). One particular feature is to rhythmically
dispose
Single-strung archlute tuned in g'. a' = 415Hz
Poor rose.
David
***
David van Ooijen
[1]davidvanooi...@gmail.com
[2]www.davidvanooijen.nl
***
On Sat, 3 Aug 2019 at 20:24, Fischer BE (Aon) <[3]fischer...@aon.at>
My comment sounds like this:
Unfortunately, this performance is on a "lute-shape instrument" but by far
not on a baroque lute. Apparently the young musician misses the idea and
ideal of baroque lute sound and technique. He treats the instrument like a
guitar. The type of string material is by far
Your accents got mangled Mathias (at least on my email programs).
'Style luthé' is generally used by harpsichord players to describe the arpeggio
style used by many French baroque keyboard compositions and the term 'séparé'
refers to the indications to play chords with different rhythms (as
Matthew, you're talking to Ron, I know. May I weigh in, nevertheless.
Two terms spring to mind, viz. style luthé and séparé.
Mathias
__
Gesendet mit der [1]Telekom Mail App
--- Original-Nachricht ---
Well, yes of course it is. I'm living in the 21st century, using the Internet
as a means of communication and French is my everyday language, so I employed a
term which was common to me and used inverted commas to show that I was
borrowing it from another language.
Pray, dire sire, what
George Torres wrote an article about the impact of French verse on the
making of melody in French baroque lute music. May I warmly recommend
that article. George successfully sorted out the term style brisé and
17th century terms like style luthé.
Mathias
;-) Ron, I’m afraid you’re being rather disingenuous... !!!
Jean-Marie
> Le 3 août 2019 à 13:47, Ron Andrico a écrit :
>
> <'accords brisés'>?
>
> Is this yet another contrived modern term that a modern person is
> imposing on an antique musical device?
>
> "The term most frequently
<'accords brisés'>?
Is this yet another contrived modern term that a modern person is
imposing on an antique musical device?
"The term most frequently used by modern writers to describe the
musical style of the seventeenth-century French lutenists is the style
brise ("broken
I suspect that this very issue explains why there are so many depictions of
lutenists playing late renaissance and baroque lutes with the little-finger the
other side of the bridge where there are no strings to hamper it. If one
changes the angle of the hand in relation to the courses of the
Well. Single strung lute. Rather special right hand technique with
thumb in, but the rest of the fingers employed more like a
guitarist. I would say it was neither, nor really. To me, his right
hand did not give a "relaxed" impression. But musically, he played
the bwv 995
On 02.08.2019 10:50, Matthew Daillie wrote:
There are passages in pieces by Vallet where he indicates a thumb-index
alternation in diminutions on the 4th to 6th courses of the lute but this does
not mean that he was using thumb-in (since he seems to specifically to deride
the use of this in
17 matches
Mail list logo
