Re: Vihuela

Dear Arto and friends, Roman is completely right. There is abundant Spanish iconography from the 15th century, less so from the 16th, showing lutes. I don`t have the information about the sources at hand right now, but if there is interest I could compile a list over the weekend. On the other

Re: Vihuela and Biguela

Dear Stewart and friends, Your hypothesis is indeed interesting and well argued, but I'm afraid it's not quite correct. Your arguments are based on certain modern phonetical values, but in Spanish - indeed even in modern Spanish - things are not always what they seem. Let us start with the b and

Re: Italiana

Dear all, Just a small bit of information, but it might be of interest to some of you. There is a facsimile edition of the Italiana in question, published by Chilesotti himself. It can be found in his article on notation that appeared in the Encyclopédie de la Musique et Dictionnaire du

Re: new pictures

Dear Vance and friends, Roman does have a point, insofar as the extant vihuelas have, for some reason or other, been considered as atypical examples of what could have been the normal vihuelas (but that is matter for yet further debate and discussion). Thus, all the three surviving instruments

Re: Complete copy of the 6-course vihuela by Belchior Dias

--- Alexander Batov [EMAIL PROTECTED] escribió: I've just uploaded some images of the recently finished complete copy of the 6-course vihuela by Belchior Dias, Lisbon 1581. The original instrument, which is still most commonly referred to as Dias guitar (but is, in fact, a vihuela!), is

Re: charango as vihuela

--- kilpatrickbill [EMAIL PROTECTED] escribió: dear group - my love of small stringed instruments has led me to the wonderful world of the charango. i've come to suspect, however, that charango is merely a word south americans give to a european vihuela de mano. i tried soliciting

Re: charango as vihuela

Oops, sorry for the first message Dear Bill, I'm sorry to be the bearer of bad news: the charango has nothing to do with the vihuela, other than the fact that both are stringed instruments. If you are so keen as to find some ancestor for the charango, as Howard has correctly suggested, I

Re: charango as vihuela

Dear bill, Just a few final comments on your final comments. 2 - one of the luthiers who responded privately said the term vihuela and guitar were interchangeable terms in south america and in the case of argentina, vihuela meant guitar right until the end of the 19th cent.. A name is

Re: Complete copy of the 6-course vihuela by Belchior Dias

Message - From: Antonio Corona [EMAIL PROTECTED] To: Alexander Batov [EMAIL PROTECTED] Sent: Monday, September 13, 2004 5:48 AM Subject: Re: Complete copy of the 6-course vihuela by Belchior Dias Dear Alexander, I looked with attention at the information on the website you

Re: Complete copy of the 6-course vihuela by Belchior Dias

Dear Alexander, From what you tell, I can gather that your argument rests mainly on identifying the eleventh hole in the head as designed to be fitted with a peg. There lies the problem. We don´t know if it was part of the original design, which to me seems rather unlikely. We dont know if at

Re: Complete copy of the 6-course vihuela by Belchior Dias

Deear Alexander, I´m afraid I still remain unconvinced. Dear Antonio, I don't think I am trying to hide the fact that I speculate here. I = think I put it quite clearly by simultaneously disproving my own theory on the nature and placement of the 11th hole. So there is no need to point

Re: Complete copy of the 6-course vihuela by Belchior Dias

--- Roman Turovsky [EMAIL PROTECTED] escribió: To me that might seem most likely to indicate an early experiment with 6 courses on a guitar. Would that make more sense historically? Isn't the guitar simply a vihuela missing 1st and 6th courses in some vihuelist's words? RT

Re: vihuela as guitar

Dear Monica, I assume the book in question is Tyler and Sparks discussion of the mandoline; unfortunately I have not had the opportunity to read it. However, if previous works by Tyler could serve as a reference, I would indeed be careful about what is stated there. Regarding the vihuela-guitar

Re: vihuela as guitar

Dear Monica, I shall certainly have to read this new book; I believe I may be able to get it via amazon. I know what you mean about the lack of critical use of sources, as you well know, this has been for a long time a hallmark in vihuela studies. A little more on Bermudo. If you rememnre the

Re: Complete copy of the 6-course vihuela by Belchior Dias

Are you suggesting that my research and conclusions about the vihuela are based on wishful thinking? Not nice ... not nice Antonio --- Roman Turovsky [EMAIL PROTECTED] escribió: Isn't the guitar simply a vihuela missing 1st and 6th courses in some vihuelist's words? RT

Re: vihuela vs guitar

Dear bill To put it in a nutshell, in Spain, during most of the 16th century five- and six-course instruments were called vihuelas; four-course instruments were called guitars. During the late 1570s and early 1580s a new instrument was developed: the five-course instrument we call baroque guitar,

Re: vihuela vs guitar

--- Roman Turovsky [EMAIL PROTECTED] escribió: To put it in a nutshell, in Spain, during most of the 16th century five- and six-course instruments were called vihuelas; four-course instruments were called guitars. During the late 1570s and early 1580s a new instrument was developed:

Re: Complete copy of the 6-course vihuela by Belchior Dias

Sweeping generalizations (Anyone's notion of vihuela is legitimate, regardless of the fact that it is based on wishful thinking, given the profusion of tangible vihuela evidence) based on the ignorance of the subject (murder that left no corpse (nor a painting thereof) behind) are rather poor

Re: Complete copy of the 6-course vihuela by Belchior Dias

--- Roman Turovsky [EMAIL PROTECTED] escribió: Besides the corpse (Paris, cité de la musique, E.0748, being the most obvious), this particular murder left behind a most enlightening iconographical trail. The differences between E.0748 and Diaz seem to be similar to the differences

Re: Complete copy of the 6-course vihuela by Belchior Dias

--- Roman Turovsky [EMAIL PROTECTED] escribió: Besides the corpse (Paris, cité de la musique, E.0748, being the most obvious), this particular murder left behind a most enlightening iconographical trail. I would suggest that you have a look at: Florence Gétreau, L'iconographie de la

Re: Complete copy of the 6-course vihuela by Belchior Dias

--- Roman Turovsky [EMAIL PROTECTED] escribió: --- Roman Turovsky [EMAIL PROTECTED] escribi?? Besides the corpse (Paris, cit?e la musique, E.0748, being the most obvious), this particular murder left behind a most enlightening iconographical trail. I would suggest that you have

Re: Complete copy of the 6-course vihuela by Belchior Dias

I am questioning a rather dubious methodological approach, and I have stated my reasons for considering it as such. If that reminds you of MO's atacks, it is your privilege to believe so. As to endangering a livelihood, there is nothing to prevent Mr. Batov from approching the reconstruction of

Re: Complete copy of the 6-course vihuela by Belchior Dias

--- Roman Turovsky [EMAIL PROTECTED] escribió: If you want to be creative, you could try the cit?e la musique's page, My French is a bit aproximatif, and besides, my idea of what's creative is different. No doubt or perhaps Alexander Batov could let you know how he got

Re: Complete copy of the 6-course vihuela by Belchior Dias

--- Roman Turovsky [EMAIL PROTECTED] escribió: E.0748, being the most obvious), this particular murder left behind a most enlightening iconographical trail. The differences between E.0748 and Diaz seem to be similar to the differences between Hoffmann and Edlinger, one being

Re: Complete copy of the 6-course vihuela by Belchior Dias

--- bill kilpatrick [EMAIL PROTECTED] escribió: whatever alexander batov calls his beautifully made instrument is fine with me - i call it desireable. So it may be, bill, so it may be. As long as he does not claim he is following historical criteria for designing and making it. That put

Re: Complete copy of the 6-course vihuela by Belchior Dias

--- Roman Turovsky [EMAIL PROTECTED] escribió: We are comparing pink and yellow grapefruits, I'm afraid. If such is the case please do tell us what are the lute's equivalents of vihuela and guitar. A succulent 11/13-course vs. mealy 8-course mandora. If the comparison is

Re: vihuela vs guitar

--- Roman Turovsky [EMAIL PROTECTED] escribió: 16th century five- and six-course instruments were called vihuelas; four-course instruments were called guitars. During the late 1570s and early 1580s a new instrument was developed: the five-course instrument we call baroque guitar,

Re: Complete copy of the 6-course vihuela by Belchior Dias

--- Roman Turovsky [EMAIL PROTECTED] escribió: --- bill kilpatrick [EMAIL PROTECTED] escribi?? whatever alexander batov calls his beautifully made instrument is fine with me - i call it desireable. So it may be, bill, so it may be. As long as he does not claim he is

Re: Complete copy of the 6-course vihuela by Belchior Dias

Since none of the questions posed below have been answered, I shall consider that they have been evaded from lack of an adequate response. --- Roman Turovsky [EMAIL PROTECTED] escribió: If the comparison is apposite and germane to the discussion, now please tell us about the similarities

Re: Complete copy of the 6-course vihuela by Belchior Dias

--- Roman Turovsky [EMAIL PROTECTED] escribió: --- Roman Turovsky [EMAIL PROTECTED] escribi?? I am questioning a rather dubious methodological approach, and I have stated my reasons for considering it as such. If that reminds you of MO's atacks, it is your privilege to believe

Re: vihuela vs guitar

--- Roman Turovsky [EMAIL PROTECTED] escribió: --- Roman Turovsky [EMAIL PROTECTED] escribi?? 16th century five- and six-course instruments were called vihuelas; four-course instruments were called guitars. During the late 1570s and early 1580s a new instrument was developed:

Re: Complete copy of the 6-course vihuela by Belchior Dias

I certainly wiil --- Roman Turovsky [EMAIL PROTECTED] escribió: Suit yourself RT Since none of the questions posed below have been answered, I shall consider that they have been evaded from lack of an adequate response. --- Roman Turovsky [EMAIL PROTECTED] escribi?? If the

Re: Complete copy of the 6-course vihuela by Belchior Dias

Since these are but mere opinions they were dismissed as lacking interest. --- Roman Turovsky [EMAIL PROTECTED] escribió: I accept the E.0748 as a six-course vihuela; I accept the Dias instrument for what it may be: either a five-course guitar or a five course-vihuela, both

Re: vihuela vs guitar

Again, just opinions, nothing worthwhile to respond to. --- Roman Turovsky [EMAIL PROTECTED] escribió: Not a bad idea altogether. Batov renames his instrument a five-course viguela/vihuela/biguela (and there are further variations on the spelling), and makes it as a five course

Re: Complete copy of the 6-course vihuela by Belchior Dias

Just a small notice: in future I shall not respond to mail by Roman Turovsky that, in my opinion, is uninteresting or offers little or no contribution to our knowledge. My apologies for hogging the list. With best wishes for everyone, Antonio

Re: vihuela vs guitar

we now have. VW - Original Message - From: Roman Turovsky [EMAIL PROTECTED] To: Antonio Corona [EMAIL PROTECTED]; [EMAIL PROTECTED] Sent: Sunday, September 19, 2004 5:07 PM Subject: Re: vihuela vs guitar Not a bad idea altogether. Batov renames his instrument

Re: vihuela vs guitar

, Antonio --- G.R. Crona [EMAIL PROTECTED] escribió: Fra: Antonio Corona [EMAIL PROTECTED] A rough definition of the vihuela could run in these terms: a guitar-shaped (a polemic description, I'm aware, but also a practical one) instrument used in 15th- and 16th century Spain and areas

Re: vihuela vs guitar

Dear Jon, I thank you for your corrrection, I meant polemic as an adjective: of, relating to, or being a polemic: controversial. It should have been polemical. Now to more interesting bussiness. --- Jon Murphy [EMAIL PROTECTED] escribió: Antonio, With Vance I thank you for the

Re: Viola sine arculo = Vihuela ?

Dear Daniel, Yes, to all intents and purposes the viola is the Italian equivalent of the vihuela, both from the nomenclature point of view as well as from he organological. It may be worthwhile to remember, among other Italian sources, the two books with music by Francesco published at Naples in

New vihuela society

Dear friends It gives me great pleasure to announce that last saturday, september 25, the Spanish Vihuela Society was formally constituted. At this point, when things are beginning to shape up, and as far as I am aware of (I was unable to attend the founding meeting) the memberships are not yet

Re: Rubato and rolling chords - Milan

Dear Stewart, I´m glad you agree with me about the interpretation of Milan's slow chords and fast scales; perhaps I should also point out that Milan does not specify this kind of treatment for all of his fantasias -just in case someone might be tempted to make a broad generalization- but it is

Re: Rubato and rolling chords - Milan

Dear David, Given the preceding nearly identical passage: _aa |_d___b_|_a_ _| a__b|_a__b__d___|__c__|_d__ __c_|_a_|_c___| |___|_|_a__

Re: Renaissance america - a little more lute related, maybe

Dear all, --- Carl Donsbach [EMAIL PROTECTED] wrote: Early colonial life was hard! The early English and Spanish colonies in North America were not characterized by much musical cultural growth, and there is little evidence of lute playing or making in those times. Musical

Re: Renaissance america - a little more lute related, maybe

No charangos (or cuatros or any other derivation whatsoever). And these deluded buggers surely knew how to name the instruments they made. Antonio --- bill kilpatrick [EMAIL PROTECTED] wrote: --- Antonio Corona [EMAIL PROTECTED] wrote: Incidentally, the Spanish Ordenanzas de violeros

RE: Renaissance america - a little more lute related, maybe

PROTECTED] wrote: Some interesting stuff regarding the origin of Chaconne and Passacaglia and the new world. http://www.streetswing.com/histmain/z3chacna.htm -Original Message- From: Antonio Corona [mailto:[EMAIL PROTECTED] Sent: Friday, December 10, 2004 2:36 AM To: [EMAIL

Re: Oldest known viola bodied vihuela guitar, 1300's, Spain

Dear Roger, An update to your update. I am sorry to disappoint you but, even though the frescos in the Capilla del Aceite indeed date from the 14th century, the painting in question is a 20th-century restoration, and a botched job at that. I have know this picture for a long time, I´ve been to

Vihuela, charango and armadillos. Long post . Olim Renaissance america - a little more lute related, maybe

Dear Bill, How right you are. In the remote case that the Historias de la Conquista del Mayab proved to be genuine, I would require more evidence than what this text alone tells to consider that there might be a relationship between the vihuela and the charango. There are certain statements in

Re: Vihuela, charango and armadillos. Long post . Olim Renaissance america - a little more lute related, maybe

--- bill kilpatrick [EMAIL PROTECTED] wrote: you say potato - i say potato ... let's call the whole thing off. regards - bill Dear Bill, I shall be pleased to oblige. Best regards, Antonio

Re: Renaissance america - a little more lute related, maybe

supervisor passed on to me an advice from Thurston Dart which all of us would do well to heed: verify your references. I´m sorry, but the authority of a website without any other supporting evidence is not good enough for me. With best regards, Antonio - --- Antonio Corona [EMAIL PROTECTED

Re: cement

Dear Manolo and friends, I am surprised, if your friend consulted Corominas, to read that he finds the origins of vihuela obscure. Corominas does make a rather good case for deriving vihuela from the Latin fides, string, via fidula, fidicula, vitula, viula, etc. (I cannot remember exactly as I am

Re: Fw: Byrd

An unlikely combination, unless you wish them to kill each other... --- Roman Turovsky [EMAIL PROTECTED] wrote: VILLA, ZAPATA, CARRANZA HUERTA. RT The vihuela quartet is forming. does anyone have a good idea for a name for a vihuela quartet? Please, do not call it the

[LUTE] Re: [VIHUELA] Re: jarana or xarano or ukulele

Does the subject line imply any relationship between the ukulele and the jarana? Best wishes Antonio --- Wayne Cripps [EMAIL PROTECTED] wrote: the ukulele is a european instrument, directly linked to an early tradition. its arrival in the new world is well documented and it

[LUTE] Re: Baxa and Guardame

Dear friends, In my opinion, the Guardame las Vacas ground, as treated by Narváez does indeed alternate binary and ternary groupings, but not in a regular fashion. Almost all of the first diferencia is organized in a ternary pattern, save for the cadences at bars 10-12 and 20-22. This

[LUTE] Re: *** SPAM *** Re: [VIHUELA] What is the historical vihuela?

Dear Monica, The Quito Instrument has been examined and measured by Egberto Bermudez, who published his results in: “La vihuela: los ejemplares de París y Quito - The Vihuela: the Paris and Quito Instruments” in _La guitarra española-The Spanish Guitar. Catálogo de la exposición realizada en

[LUTE] Re: tele-Teaching

Dear Vance, According to the available evidence, vihuelas could be either strung with a double or a single first course; therefore you can be perfectly historical if you want to use a single first (I do). With best wishes, Antonio --- Vance Wood [EMAIL PROTECTED] wrote: Rob: I agree with

[LUTE] Re: Bad translation of the first of 11 short stories.....(who volunteers the next?)

Dear Roger, Ortiz the musician did in fact exist. He is mentioned by Bernal Diaz del Castillo, in his _Historia verdadera de la conquista de la Nueva España_, as one of the soldiers who accompanied Cortez in his venture (not in the probably spurious source Bill mentioned). There is room for

[LUTE] Re: Bad translation of the first of 11 short stories.....(who volunteers the next?)

attending a soirée of hand plucked vihuelas. not surprisingly, this allegation of a mexican origin for their (!) national instrument, a century earlier, got the thumbs down treatment from everyone at the Asociación Internacional del Charango (A.I.C). - bill --- Antonio Corona [EMAIL

[LUTE] Re: Bad translation of the first of 11 short stories.....(who volunteers the next?)

- From: Antonio Corona [EMAIL PROTECTED] To: bill kilpatrick [EMAIL PROTECTED] Cc: Lute Net lute@cs.dartmouth.edu Sent: Friday, December 02, 2005 11:29 AM Subject: [LUTE] Re: Bad translation of the first of 11 short stories.(who volunteers the next?) Dear Bill, The source you quote

[LUTE] Re: Bad translation of the first of 11 short stories.....(who volunteers the next?)

Dear Bill, Perhaps you would care to visit the following page. http://journals.cambridge.org/action/displayAbstract?fromPage=onlineaid=43765# Unfortunately the links therein do not seem to work with my browser, but an abstract of the article concerned with this page states: Research Article

[LUTE] Sad news for Bill ....

Dear Bill, I have received confirmation from Dr. Prem that the Historias de la Conquista del Mayab by Joseph de San Buenaventura is indeed a 20th-century fake. I'm sorry to confirm my first impression of this purported source. Here is the relevant text from Dr. Prem's reply: Estimado Dr.

[LUTE] Re: a vihuela named sue

Dar Bill, I suspect that Solis and Bracamonte were duped as well; acording to Dr. Prem the original document is found at a private archive (Archivo Condumex) at Mexico. Best wishes, antonio --- bill kilpatrick [EMAIL PROTECTED] wrote: here's a nice piece of buddhist logic for you: of the

[LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango?

Dear Eugene, The etymology of vihuela, according to Joan Corominas, author of the most reliable etymological dictionary of Spanish, runs more or less along these lines (I am quoting from memory): It comes, in the first instance from the Latin fides (string) which later underwent various

[LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango?

. Blumberg [EMAIL PROTECTED] wrote: - Original Message - From: Antonio Corona [EMAIL PROTECTED] To: Lute Net lute@cs.dartmouth.edu Sent: Monday, December 05, 2005 9:01 PM Subject: [LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? Out of curiosity, do you

[LUTE] Re: alternate and economy picking

--- bill kilpatrick [EMAIL PROTECTED] wrote: in a previous post from arne keller - no subject was given but he was asking for notation advise - he says that according to tinctoris, there was a change from playing the lute with plectrum to plucking it with the fingertips during the second

[LUTE] Re: help with Spanish translation -- Ay que si por mi dolor

Dear Christopher, If my menory serves me right, these are the first lines form a villancico from the Cancionero de Palacio. I should have to look for my copy and verify. The two verses are a sort of conversation between a lovestruck shepherd and an unidentified companion, and could be

[LUTE] Re: Tablature of Pisador

Dear Stewart and Kate, As Stewart rightly points out, the sign in question is indeed a breve with a fermata (corona or coronado in Spanish, no pun intended) upon it, used normally to indicate the end of a piece. You can find this combination of signs in all of the six vihuela-books published

[LUTE] Re: Modern edition of vihuela songs

Dear all, Monumentos VII is an edition of Mudarra, and we should not forget Charles Jacobs' edition of El Maestro (University Park, Pennsylvania: Pennsylvania State University Press, 1971). Best wishes, ACA - Original Message From: Arthur Ness [EMAIL PROTECTED] To: Roman Turovsky

[LUTE] Re: Pavana

Dear Stephen, As Howard Posner rightly pointed out, Pisador's pavan is based upon La gamba tenor and it is definitely in triple time. This is not the only case where triple-time pieces are notated in what seems to be a duple time notation in Spanish sources, Mudarra's galliard being the first

[LUTE] Re: theorbo in Spain?

Dear Howard, According to Martin McLeish, in his article: An Inventory of Musical Instruments at the Royal Palace, Madrid, in 1602, GSJ, 21, 1968, pp. 108-128, Joan de Rojas Carrión, royal violero compiled an inventory on May 13 1602 (should I wait for the anniversary?) where the theorbos

[LUTE] Re: Francesco and the viola da mano

Dear all, The celebrated maker Lorenzo Gusnasco da Pavia made quite a number of instruments for many Italian nobles, especially for Isabella d'Este, including several viols (whatever this may mean in late 15th-century Italy). A point of interest here is that among her servants we find Giovanni

[LUTE] Re: Dowland song paraphrases

Dear Rob - and David Thanks ever so much for such a nice and though-provoking contribution. As a matter of fact, I've been mulling over the meaning of some of the songs, especially the Darkness ones, and I believe there is much in them that does not not meet the eye. One of the pieces which

[LUTE] Re: Edward Martin/who knows?

Dear friends More about Milan, I don´t recall the exact quote (I´m not at home at the moment to verify the reference), but Milán does state explicitely that the pavans should be played twice. Thus, there is at least some evidence about the use of repeats by Milan. I agree with Ariel, we

[LUTE] Re: Edward Martin/who knows?

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,

[LUTE] Re: Edward Martin/who nose?

- Original Message From: howard posner howardpos...@ca.rr.com To: Lute mailing list lute@cs.dartmouth.edu Sent: Thursday, 27 August, 2009 14:40:11 Subject: [LUTE] Re: Edward Martin/who nose? On Aug 27, 2009, at 12:21 PM, Antonio Corona wrote: They must be played with a somewhat fast air [so much

[LUTE] Re: Edward Marvin/who nose?

lute@cs.dartmouth.edu Sent: Thursday, 27 August, 2009 23:41:07 Subject: [LUTE] Re: Edward Marvin/who nose? 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

[LUTE] Re: Edward Martin/who nose?

Dear friends 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] Dana: well, perhaps the tempo can be varied enough to get that certain peacock and his retinue thru the line as quickly as possible; perhaps

[LUTE] Re: [english 100%] Re: Edward Martin/who knows?

. Eggert karl.l.egg...@t-online.de To: Lute mailing list lute@cs.dartmouth.edu Sent: Friday, 28 August, 2009 7:49:03 Subject: [LUTE] [english 100%] Re: Edward Martin/who knows? Antonio Corona wrote: Dana: Pavanna are dances, they are slow dances with the steps taken on the tactus

[LUTE] Re: Edward Martin/who nose?

- Original Message From: dem...@suffolk.lib.ny.us dem...@suffolk.lib.ny.us To: lute@cs.dartmouth.edu Sent: Friday, 28 August, 2009 16:17:39 Subject: [LUTE] Re: Edward Martin/who nose? On Fri, Aug 28, 2009, Antonio Corona abcor...@yahoo.com said: AC At any rate, we cannote provide

[LUTE] Re: Edward Martin/who nose?

Corona abcor...@yahoo.com Sent: Monday, 31 August, 2009 10:19:00 Subject: Re: [LUTE] Re: Edward Martin/who nose? Antonio! I've been looking for that book for ages. You have read it. Any idea of where I could get hold of the txt? Best Göran - Original Message - From: Antonio Corona abcor

[LUTE] Re: [english 100%] Re: [english 100%] Re: Edward Martin/who knows?

the displacement of accent. Best wishes, Antonio - Original Message From: Karl-L. Eggert karl.l.egg...@t-online.de To: Antonio Corona abcor...@yahoo.com Sent: Wednesday, 9 September, 2009 16:24:38 Subject: Re: [english 100%] [LUTE] Re: [english 100%] Re: Edward Martin/who knows? Dear

[LUTE] Re: Jan Gruter's technique

Dear Howard, What is the source for the theory that in Spain and its areas of influence thumb-out was the norm? As far as I am aware, certain musical sources (such as Venegas de Henestrosa) inform us of the possibility of playing in this manner, besides the thumb-under thechnique which is also

[LUTE] Not that I should want to cry

Dear friends, I am in dire need of two articles by David pinto that appeared in the Lute Society Journal: Dowland's Tears: aspects of Lachrimae (LSJ 37, 1997), and Dowland's True Tears (LSJ 42, 2002) I would be most grateful if some one of you has them in digital format and could graciously

[LUTE] Re: Little Lines

Dear Stewart, When it is used for an n, as it is most frequent in Spanish, it is called a nunnation sign (i.e. the sign that indicates the addition of a final n). With all my best wishes , Antonio - Original Message From: Stewart McCoy lu...@tiscali.co.uk To: Lute Net

[LUTE] Re: Lachrimae pavan

All right, I will not ... - Original Message From: Sauvage Valéry sauvag...@orange.fr To: Lute List lute@cs.dartmouth.edu Sent: Sat, 6 March, 2010 4:13:40 Subject: [LUTE] Lachrimae pavan I commit a non-orthodox and non-hip version of Lachrimae Pavan, using the arrangement by

[LUTE] Re: Euonimo and Aristono

Dear Monica, Strabone, probably via Alciato, Rippa and Kirscher. Have a look at: http://www.examenapium.it/kircher/pag/00-01.htm Best regards, Antonio - Original Message From: Monica Hall mjlh...@tiscali.co.uk To: Lutelist lute@cs.dartmouth.edu Sent: Tue, 31 August, 2010 15:59:09

[LUTE] Re: Fuenllana dots

They are just a visual guide to align the numbers with the values above. He does the same (as also the rest of the vihuelists do) in the pieces for six course vihuela (as well as the ones for five-course instrument). Best wishes, Antonio

[LUTE] Re: Bream Collection... I just noticed

, for one, have the deepest admiration for figures such as Dolmetsh or Poulton, and of course Bream, with whom I recognize a debt and who hold my deepest admiration. Antonio Corona (who hasn't played the guitar for more the 20 years) On Sunday, 8 December 2013, 11:06, Dan Winheld dwinh

[LUTE] Re: Seven courses versus eight.

the actual 7 course historical tuning specified for the Vihuela Grande Best wishes to all Antonio On Thursday, 16 October 2014, 8:23, Martin Shepherd mar...@luteshop.co.uk wrote: The version in the Folger MS (the battle gallyard) is written for 7c lute with the

[LUTE] Re: Seven courses versus eight.

the actual 7 course historical tuning specified for the Vihuela Grande Best wishes to all Antonio On Thursday, 16 October 2014, 8:23, Martin Shepherd mar...@luteshop.co.uk wrote: The version in the Folger MS (the battle gallyard) is written for 7c lute with the

[LUTE] Re: Seven course vihuela.

serious vihuela player. Dan On 10/16/2014 7:46 AM, Antonio Corona wrote: the actual 7 course historical tuning specified for the Vihuela Grande Best wishes to all Antonio On Thursday, 16 October 2014, 8:23, Martin Shepherd [1

[LUTE] Re: Narvaez

Just for the record, Narvaez' music appears in lute sources, Cf. Willoughby Lute Music, A Fantaci de Narboyes. And yes itA's for the vihuela, but I'm pretty sure the vihuela repertoire was also played on the lute. There is a book on the subject forthcoming, El laA-od en la EspaA+-a

[LUTE] Re: Narvaez

Oops, that should be Willoughby Lute Book ... __ From: Antonio Corona abcor...@cs.dartmouth.edu To: Monica Hall mjlh...@tiscali.co.uk; sterling price spiffys84...@yahoo.com Cc: Lutelist lute@cs.dartmouth.edu

[LUTE] Re: Spain vs. Italy

Dear friends, Regarding the lute in Spain, Douglas Alton Smith, as Dan points out, supports a myth, albeit a long established one. And I must agree with Monica in that it is indeed a rather silly one. For those who can read Spanish, my book El LaA-od en la EspaA+-a Cristiana (The

[LUTE] Re: Hidalgo Fret pattern

It is an engraving from JosA(c) GarcAa Hidalgo`s Principios para estudiar el nobilAsimo y real arte de la pintura (Madrid, 1693), intending to show in perspective a rule on how to fret instruments (unfortunately the proportions are wrong). There is a modern edition, Valencia,

[LUTE] Re: Earliest printed tablature with ornaments

Dear Rainer Antonio Rotta, Intabolatura de lauto di lo eccelentissimo musicho messer Antonio Rotta di recercari, motetti, balli, ... Libro primo, Venice, 1546. Best wishes, Antonio P.S. Sorry for the reply to all, my old computer is quite temperamental about these matters.

[LUTE] Re: Earliest printed tablature with ornaments

Oops, sorry I misremembered the hold signs. __ From: Rainer To: Lute net Sent: Monday, 6 March 2017, 6:47 Subject: [LUTE] Re: Earliest printed tablature with

[LUTE] Re: another lute nativity - 6 courses in 1475?

Piero della Francesca . __ From: Tristan von Neumann To: lutelist Net Sent: Monday, 30 April 2018, 11:46 Subject: [LUTE] another lute nativity - 6 courses in

[LUTE] Re: Double first courses (chanterelles)

Dear Edward, Despite what the pegs on the vihuelas suggest, I've found plenty of evidence that it was strung with a single first. We need to review our ideas on the subject of vihuela stringing ... Best wishes Antonio

[LUTE] Re: Double first courses (chanterelles)

at the later 6 string guitar, which even had double strung chanterelles for a period in time. G. On Mon, Jan 22, 2018 at 9:29 AM, Antonio Corona <[1][1]abcor...@cs.dartmouth.edu> wrote: Dear Edward, Despite what the pegs on the vihuelas s

[LUTE] Re: Double first courses (chanterelles)

de conocer y agradar a Jesus, Orihuela, 1631). It would be rather heretic to consider the possibility of two virgins ... There are plenty more references and, since there seems to be a general agreement among the writers of the time, who am I to contradict them? Best wishes, Antonio ____

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