Caroline Usher wrote:
I don't know much about musical performance in churches at this time
Does anyone, I wonder? Has anyone here collected references to lutes
and theorbos in church services?
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Donatella wrote:
Has anyone here collected references to lutes
and theorbos in church services?
Pittoni, sonate per organo, ed SPES
What's the church connection, other than the designation sonata de
chiesa?
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[EMAIL PROTECTED] wrote:
Well, they were played together with an organ, it's in the title, so
there must have been in a church...
I don't think organo necessarily meant organ as such. It often
appears to be used in the sense of keyboard or even continuo; e.g.
in Vivaldi's published
Martyn Hodgson wrote:
Many church cantatas (ie to sacred/biblical texts) by Telleman (c.
200) call for Callichon (and cognates)
Leave it to Telemann to write 200 of something. And of course, there
are the Bach passions, though I believe the only other cantatas that
actually specify lute are
On Friday, Jul 28, 2006, at 05:58 America/Los_Angeles, Stewart McCoy
wrote:
In the
past, the lute was played to small audiences - for Mary Burwell that
would be just three or four people. Nowadays we are expected to play
to much larger audiences, and audibility can be a problem.
As it may
Roman Turovsky wrote:
There are some other players that use hybrid single-strung
instruments
that are almost L-F.
Tim Burris uses a single strung lute set up as liuto-forte
http://baroquelute.com/Archives.html
Stubbs, Moreno and some others do something of the sort too.
And Luciano
On Saturday, Jul 29, 2006, at 09:06 America/Los_Angeles, Roman Turovsky
wrote:
This is conceptually different from taking
the concept of the lute and redesigning it to be louder, on the model
of the modifications made to pianos and violins in the 19th century,
which is the idea behind the
On Friday, Aug 4, 2006, at 14:28 America/Los_Angeles, Daniel Josua
Koenig wrote:
I have build a Chitarrone of 14 courses and a stringlengh of 78cm and
160cm.
Now my question is what kind of strings to put them.
Plain gut should work well on the long strings.
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Rebecca Banks wrote:
What do
gut strings sound like?
Rather like nylon.
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Tony Chalkley wrote:
tell as in bank teller means to count - I think it is also the rooot
of
dollar (Taler in German, with Zahl also linked)
I believe dollar comes from thaler which is an abbreviation of
Joachimsthaler, a silver coin originally from Joachimsthal in Bohemia
that became a
On Sunday, Aug 20, 2006, at 14:43 America/Los_Angeles,
[EMAIL PROTECTED] wrote:
Again, just the cultural artifact of
trendy turkism. There must be other referances in
the gallant literature.
There are all kinds of Turkish whatnots in the 17th and 18th centuries,
when the Ottoman Empire
Arne Keller wrote:
I just heard that Pinchas Zuckerman was prohibited from taking his
Strad
along as hand luggage in
an airport in Atlanta, for security reasons: The strings might be used
as
deadly attack weapons.
If so, it would be the first time in a long time that Zuckerman used
his
Any ideas from the Collective Wisdom? Or from
Vasari?
Sorry, I haven't been following closely. Has Sodoma come up?
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Re Sodoma, Roman Turovsky wrote:
As a player of what?
I don't know whether he played the what, since I've never been a big
fan of what-playing, but Vasari reports that Sodoma played a weird,
obscure instrument called the lute.
His manner of life was licentious and dishonourable, and as he
On Sunday, Sep 3, 2006, at 12:38 America/Los_Angeles, LGS-Europe wrote:
So fixed frets would have been fine for most
lutes, actually. Like on citterns and bandoras. And why do these
instruments
have fixed frets? Because they have metal strings?
Guitars, metal frets and all, used gut
Manolo Laguillo wrote:
And I still
remember what a shock it was hearing him play while driving.
Particularly if he were driving a small car with a manual transmission.
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On Wednesday, Sep 13, 2006, at 14:26 America/Los_Angeles,
[EMAIL PROTECTED] wrote:
My first response is usually an awkward silence.
I'm not SURE if the person is joking and so I stand
there with a dumb smile on my face for a moment. Then
I think to myself Oh God, should I correct him/her?
They may seem impractical and silly, but pointed shoes were a mark of
social rank, perhaps because they were so impractical and marked the
wearer as someone who did not work. They were a frequent target of
sumptuary laws, societal dress codes designed to ensure that people
did not dress above
Caroline Usher wrote:
I once got and published in the LSA Newsletter a publicity photograph
of the London Serpent Trio posed in galoshes and sitting ankle-deep in
a little stream. 500 years from now, will someone look at that
picture to determine how the Trio performed in reality?
Of
Here's a link to samples of the Sting Dowland CD:
http://www.wom.de/classic/detail/-/hnum/4504071/rk/classic/rsk/charts
Fascinating stuff. There are spots where I have no idea what language
he's singing in. It kind of gives the impression that every syllable
is a new challenge, encountered
On Saturday, Sep 23, 2006, at 00:21 America/Los_Angeles, LGS-Europe
wrote:
And Taruskin's point was that the hip movement played/plays music as
if were
new, too, applying a modern performance practice philosophy.
If that's Taruskin's point -- and I confess to giving up in frustration
on
Rich Savino wrote:
I find it interesting that some people get so ruffled at the idea that
someone approaches what is beginning to seem like a sacred
repertoire from an
alternative perspective.
Actually there are more posts talking about other posters getting
ruffled than there are posters
[EMAIL PROTECTED] wrote:
Please a last time, what is the advantage of a single strung archlute
A little louder, a little easier to tune.
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David Rastall wrote:
By singing in a normal voice Sting is saying that he does not care
for the operatic catterwauling which, as you well know, Mark, is
totally IN-appropriate to Dowland's lute songs.
Caterwauling operatic countertenors?
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On Thursday, Oct 5, 2006, at 22:21 America/Los_Angeles, LGS-Europe
wrote:
After 1680 the tuning nuveau in Dm spread
with
the Enlightenment movement to include lutes and theorbos played in
northern Europe.
Don't forget the mandora, very nortern Europe, too, that stayed in old
tuning.
On Friday, Oct 6, 2006, at 05:27 America/Los_Angeles, Rob Dorsey wrote:
Actually there is apparently, reading Narvey, considerable evidence
that
English theorbists adopted the Dm tuning despite it being a French
initiative. Go figger' huh?
Mace, writing in 1676, said the theorbo was tuned
On Monday, Oct 9, 2006, at 09:14 America/Los_Angeles, Louis Aull wrote:
Doesn't anyone recall that real HIP playing led to the evolution and
demise
of the lute in it's own time?
And produced the music of Francesco Canova, John Dowland, and Silvius
Leopold Weiss.
To get on or off this
Robert Margo wrote:
Actually, Daniel, what I would like to hear about is the McFarlane
workshop,
which I very much wanted to attend but couldn't get away for.
That's too bad. You missed Ronn and Mick Jagger doing Ferrabosco.
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Those who claim to know what is authentic, and who see themselves
as the sole arbiters of taste in early music, would do well to
consider what happened the last time their oh-so-precious historical
principles were applied for real
What happened was that the lute held a dominant position in
On Tuesday, Oct 10, 2006, at 09:05 America/Los_Angeles, Christopher
Schaub wrote:
Wendy Carlos' Switched on Bach is an amazing recording, not lame,
period. I'll bet very few virtuoso Bach curators/specialists could
pull it
off on a MOOG synthesizer. The MOOG is very primitive by today's
On Tuesday, Oct 10, 2006, at 10:35 America/Los_Angeles, Michael Fink
wrote:
BTW, I am the composer/arranger of Monteverdiana and very honored
that the
LAGQ recorded it during their Delos years. I would like to know which
LP
contains other Monteverdi tracks. I checked the listing for SO-B
Since I seem to have set at least one person searching, I should
correct my earlier post: the Carlos 2nd Brandenburg was on the By
Request album. The Well-Tempered Synthesizer had the 4th
Brandenburg. I know there's also a complete set of Carlos
Brandenburgs, but I don't know if he did them
On Wednesday, Oct 11, 2006, at 07:54 America/Los_Angeles, Roman
Turovsky wrote:
(and the S) fame
???
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The discussion may go off on the wrong track if we assume that the lute
was replaced by the guitar. The lute's function as an ensemble and
accompaniment instrument -- which was always its primary function --
was taken by keyboard instruments in high art music, and this seems to
have been a
On Thursday, Oct 12, 2006, at 01:32 America/Los_Angeles, Markus Lutz
wrote:
This may be (but I'm not sure) true for renaissance lute.
If I understand french lute music correctly, it was concepted as solo
music only - probably they never played d-minor lute in an ensemble.
You think nobody
On Thursday, Oct 12, 2006, at 07:51 America/Los_Angeles, David Rastall
wrote:
Okay, here's what we have so far in a nutshell to account for the
demise of the lute:
The lute died:
1. Because it wasn't able to maintain its primary function as an
accompaniment instrument due to the decline
On Friday, Oct 13, 2006, at 07:52 America/Los_Angeles, Martyn Hodgson
wrote:
Setting the top one or two courses of the theorbo an octave down has
nothing whatsoever to do with the diameter of the string
Nothing whatsoever?
Thus for two strings of the same material and length, the
On Friday, Oct 13, 2006, at 10:08 America/Los_Angeles, Craig Allen
wrote:
There seems to be a strong division over the reasons why theorbos are
tuned re-entrantly. One side says it has to do with string tension,
string length, and breakage, while the other school maintains it is
for
Americans might be interested in seeing the Sting/Karamazov segment on
NBC's Studio 60 on the Sunset Strip (whatever that is) Monday night.
Ron Fletcher wrote:
It is out there making big bucks! We cannot change anything. Except
maybe
the minds of a few other people that discover this list
On Tuesday, Oct 17, 2006, at 07:02 America/Los_Angeles, Are Vidar Boye
Hansen wrote:
I have read somewhere that the pieces in Kapsperger's 1611 book
actually
are for an 11-course instrument, probably a liuto attiorbato. Can any
of
you verify this?
It's for ten courses. You may be
On Tuesday, Oct 17, 2006, at 10:17 America/Los_Angeles, EUGENE BRAIG IV
wrote:
Could you imagine Paul O'Dette
accompanying another star, AND staying in the
background?
..As in Hargis O'Dette?
To say nothing of O'Dette and Nigel Rogers.
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On Tuesday, Oct 17, 2006, at 11:28 America/Los_Angeles, Stewart McCoy
wrote:
Dear Alfonso,
If what you say is true, there must be something wrong with how they
assess lutenists at the Conservatorium van Amsterdam. I have
listened to Sting's CD, and I have to say I am impressed with what
On Tuesday, Oct 17, 2006, at 14:20 America/Los_Angeles, [EMAIL PROTECTED]
wrote:
So in the end all of Stings talk about the text being important is
just PR.
I'm sure Sting was sincere about it, and intended the words --and their
contextual sense--to be as clear as the words in Fortress
On Wednesday, Oct 18, 2006, at 13:21 America/Los_Angeles, Stewart McCoy
wrote:
A transcription involves copying music from one notation
note-for-note to another, for example, re-writing lute tablature as
staff notation. For the most part, it is a mechanical job, because
the notes stay the
On Wednesday, Oct 18, 2006, at 13:17 America/Los_Angeles, Stewart McCoy
wrote:
What troubles me, is the view that there is only one way to perform
Dowland.
And who here has expressed such a view?
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On Thursday, Oct 19, 2006, at 18:31 America/Los_Angeles, Bruno Fournier
wrote:
nope don't work here
anyone having the problem ?
will try from work tomorow...
Roman sometimes sends links to the list without spacing after the link,
so his salutation or initials get included in the
it, but I'm hoping to get some
balance despite this.
I can't guarantee that anything submitted will actually run, and if I
get a good number of submissions I'm likely to select excerpts.
You can just send them as emails to me.
Thanks in advance
Howard Posner
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On Tuesday, Oct 24, 2006, at 12:13 America/Los_Angeles, Joseph Mayes
wrote:
We can't seem to let the Sting matter rest. Is there some engaging
reason?
Yes. It may be the most important event to occur in the modern lute
revival.
HP
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Denys Stephens wrote:
Questions like this send me off to my shelf in
search of my copy of Dowland's translation of the
'Micrologus'
My estimation of Dowland's savvy as a musician really increased when I
learned that he was prescient enough to write songs for Sting.
To get on or off
Ah, the passive voice...
On Saturday, Oct 28, 2006, at 08:24 America/Los_Angeles, Roman Turovsky
wrote:
ALK is
not exactly known for depth of musical understanding
There's a long list of prominent performers who know him for precisely
that. Start with Paul O'Dette and Ellen Hargis. You
On Sunday, Oct 29, 2006, at 08:43 America/Los_Angeles, [EMAIL PROTECTED]
wrote:
Someone told me once that Paul O'Dette original name was Paul Audet.
I believe Paul's grandfather changed the name because he was tired of
hearing it pronounced Ah-day. Paul has actually used the old
spelling
On Sunday, Oct 29, 2006, at 08:28 America/Los_Angeles, Roman Turovsky
wrote:
There's a long list of prominent performers who know him for
precisely that. Start with Paul O'Dette and Ellen Hargis. You can
start trashing them as well, of course, but I'd suggest not going
there.
I have
David Rastall wrote:
My attempts to teach myself continuo continue...
I'm looking at a sonata by Corelli: two instrumental parts plus
basso continuo. Under the bass notes are lots of indications for
dominant 7th and 9th chords
probably not all dominants, to be nitpicky...
, at places
On Sunday, Oct 29, 2006, at 14:28 America/Los_Angeles,
[EMAIL PROTECTED] wrote:
I am writing an undergraduate paper for a music literature class on
Italian and
French baroque styles in Weiss's works. I am aware of Dr. Douglas
Alton
Smith's doctoral dissertation on Weiss's late sonatas
On Monday, Oct 30, 2006, at 06:43 America/Los_Angeles, David Rastall
wrote:
Minor seventh chords?- I thought they would have been rarely used back
then.- I was assuming that a chord with a seventh added should take a
major third.
A dominant seventh is, strictly speaking, a seventh chord
On Monday, Oct 30, 2006, at 11:07 America/Los_Angeles, Mathias Rösel
wrote:
fewer figures don't mean you must omit the sevenths and
ninths
Depends on the date of the music, I'd say. I for one can't imagine
chords like (or progressions of, for that matter) 7/9-dominants or
On Sunday, Nov 12, 2006, at 21:05 America/Los_Angeles, David Rastall
wrote:
This is a lengthy post that has nothing to do with lute playing at
all.
It has a lot to do with lute playing, as your post makes clear.
I can see that certain things are obvious: ascending lines
representing
Sorry to commandeer the list. I don't know if my emails to
[EMAIL PROTECTED] are getting through. Perhaps Chris can contact me.
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Jim Abraham wrote:
The thing I really don't like about tablature is that it's hard to
measure
intervals and in general to get a spatial sense of the music by
looking at
it.
That just means you're note experienced enough with tablature. If you
were new to staff notation, you'd have the
On Thursday, Nov 23, 2006, at 06:53 America/Los_Angeles, Roman Turovsky
wrote:
Or did Sting want to sing Have
you seen
the THE white in the opening line. It has a sort of hip-hop scratching
effect. They should maybe have listened to the CD before they pressed
it,
but maybe
should not be
I just looked at the Wikipedia entries on Pianca and Karamazov and
didn't see any obviously denigrating comments about Sting, or anyone
else. The Pianca entry has:
Since 2001 he has also collaborated with a contemporary
lutenist-composer Roman Turovsky-Savchuk, whose works he premiered at
Roman Turovsky wrote:
The vandalized versions get repaired fairly quickly.
You would have to look into each article's history.
I did, hence my remark about All versions of the Edin Karamazov
articles in the last few weeks. I looked at every Karamazov article
since the first one that
Hmm...
The link Roman sent was to the November 24 15:47 version of the Luca
Pianca article, which contained this:
(his specialty is single strung archlute. This is a modern
developement of the 20th century and has no historical background. It
allows Luca to use a modern classical guitar
I wrote:
The link Roman sent was to the November 24 15:47 version of the Luca
Pianca article, which contained this:
(his specialty is single strung archlute. This is a modern
developement of the 20th century and has no historical background. It
allows Luca to use a modern classical guitar
On Saturday, Nov 25, 2006, at 15:52 America/Los_Angeles,
[EMAIL PROTECTED] wrote:
The whole discussion has been played out here a thousand times and
nobody has given one piece of evidence for single strung archlutes.
You seem to think that the subject is exhausted once you've made that
Mark Wheeler wrote:
Roman has carved his latest piece of dogma onto the wikipedia site.
The most important living archlute players are Edin Karamazov and
Luca
Pianca (the founder of Il Giardino Armonico), who predominantly play
archlutes, and Paolo Cherici, Massimo Lonardi, Luciano
On Sunday, Nov 26, 2006, at 18:13 America/Los_Angeles, Roman Turovsky
wrote:
The criteria used was the prominence given to the instrument in
performance
and recording.
By whom? The individual players themselves?
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Before we pole-vault to conclusions, we might ask:
Why would Mount Parnassus (Apollo's sacred mountain) and the Muses have
seemed antique to Caesar or Cleopatra? Why would Handel, who worked
in an operatic world in which the gods, Muses and characters like
Virtue routinely walked and sang on
On Wednesday, Jan 31, 2007, at 12:42 America/Los_Angeles, Arto Wikla
wrote:
The burden of the proof is on the one who claims something.
(I am sure there is also an _English_ idiom of saying that... ;-)
The English idiom is pretty much what you wrote.
To get on or off this list see
On Friday, Feb 2, 2007, at 12:52 America/Los_Angeles, David Rastall
wrote:
Define other than continuo
Perhaps this will help:
I shall not today attempt further to define the kinds of material I
understand to be embraced within that shorthand description; and
perhaps I could never succeed in
[EMAIL PROTECTED] wrote:
What do you think the string instrument is that the player on the
right is
playing with his back to us?
Judging from the small number of pegs, it can only be a single-strung
archlute.
H
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Does anyone know where I can find three or four of Vincenzo Galilei's
simpler, more tuneful pieces, a la Polimnia, in some easy-to-access
(perhaps digital downloadable emailable) form. I agreed to play some
of these and was surprised at how hard they were to find on short
notice. I already
On Sunday, Feb 4, 2007, at 16:08 America/Los_Angeles, Roman Turovsky
wrote:
Ivano Zanenghi e' visibile a destra
Only when those bloody fiddlers don't hog the camera. Giuliano
Carmignola must think he's a soloist or something.
Does anyone know who's playing theorbo in L'Ensemble Amarillis
Thanks to everyone for the avalanche of responses to my query. I now
have what I need.
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On Thursday, Feb 8, 2007, at 09:34 America/Los_Angeles, Anthony Hind
wrote:
One person thought that it was not possible to use a gut lute string
over 114 cms. Obviously, this must depend on diameter, but would you
know whether there is any such limit?
What would be the longest useable gut
Anthony Hind wrote:
The person I quoted realised they had made a mistake, but my question
coming from that was, does length play any role in the breaking point
of a string, or is it simply tension, thickness and the material it is
made from?
Again the answer is probably obvious and a
On Friday, Feb 9, 2007, at 10:58 America/Los_Angeles, [EMAIL PROTECTED]
wrote:
Hello, I have looked everywhere for an
arrangement of Bachs Chaconne BWV 1004 for 11 or 13 stringed lute.
Gusta Goldschmidt did a 13-course version of all the violin sonatas and
partitas, published in 1983 by
On Saturday, Feb 10, 2007, at 07:16 America/Los_Angeles, Daniel Shoskes
wrote:
My Italian is rusty, but I think she is yelling at the archlute
player (Luca Pianca?) to re-string completely in gut.
Well, she was singing in Latin, so your translation's a bit suspect...
I found I could listen
On Saturday, Feb 10, 2007, at 09:27 America/Los_Angeles, Anthony Hind
wrote:
Looks like a case for Peter Schickele, the arclute feller's there and
right up front, but blowed of I can hear him, because it kinda looks
nice ?( www.schickele.com/).
However, best not to judge from a YouTube
Daniel Shoskes wrote:
Since based on the evidence of her recordings and performances we
know that she actually CAN sing in tune, I'm giving her the benefit
of the doubt on this one that she was singing this way intentionally
for dramatic effect.
Giving her the same benefit of the doubt, she
after that grand tour, which I'm sure is wrong.
Howard Posner
--
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On Wednesday, Feb 28, 2007, at 09:28 America/Los_Angeles, Ed Durbrow
wrote:
Perfect pitch is a form of memory. Some percentage of people are born
with a capacity for extraordinary memory. Why would it have been
different then?
I think Dan asked the question because people with absolute
On Friday, Mar 2, 2007, at 13:26 America/Los_Angeles, Gordon Callon
wrote:
I can find no particular reference to Saul in this article.
Nor is there a mention of 1739. Burrows says there are no records
between 1720 and 1753.
HP
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Neill Vanhinsberg wrote:
It's a viol. Descended from the violone.
The double bass section of a modern orchestra is something of a racial
melting pot. Some instruments have violin bodies while others have the
slope-shouldered viol form. Post-baroque basses have historically
taken a number
From: Alice Renken [EMAIL PROTECTED]
The root word here is viola. The diminutive
ending is ino, giving violino, little viola.
Meaning small viol, of course.
ello is an aggrandizing ending, so violoncello is big viola.
This is a bit backward. Ello is a diminutive, and a violoncello is
a
On Friday, Mar 16, 2007, at 10:35 America/Los_Angeles, Arthur Ness
wrote:
And do bows get larger as the instrument for which they
are intended get larger? Why not?
At least with modern orchestral bows, for each larger instrument the
diameter of the stick increases but its length decreases
. You could check with Michael Miranda
[EMAIL PROTECTED]
or Howard Posner
[EMAIL PROTECTED]
Both are on the Lute Society of America board and will know who is
possible.
The closest read luthier I know is Ken Brodkey a bit of a drive
North in Watsonville. His email is
[EMAIL PROTECTED]
I
Carlin wrote:
There might be some guitar builders in the LA area who could do
this, but I don't know any. You could check with Michael Miranda
[EMAIL PROTECTED]
or Howard Posner
[EMAIL PROTECTED]
Both are on the Lute Society of America board and will know who is
possible.
To get on or off
an album
of Luzzasco Luzzaschi's music composed for the Three Ladies of Ferrara.
On Sunday, Apr 1, 2007, at 08:27 America/Los_Angeles, Howard Posner
wrote:
I just wanted to remark that I
haven't been on the LSA Board of Directors for a while now. As most of
you know, I was hounded off
On Tuesday, Apr 10, 2007, at 04:46 America/Los_Angeles, Daniel Shoskes
wrote:
I don't have access to the liner notes online. Is there any
historical precedent for a lute/mandolin pairing in the Baroque?
I have the LSA Quarterly review copy, and the liner notes say little
more than that
On Tuesday, Apr 10, 2007, at 15:53 America/Los_Angeles, Denys Stephens
wrote:
I have a lot of sympathy with your view that
art belongs to everyone,and in that sense we
shouldn't have to pay for it.
But Alfonso didn't say that. He said these books belong to humanity.
But if that's
totally
On Wednesday, Apr 11, 2007, at 08:40 America/Los_Angeles, Narada wrote:
Mind you if someone could up with a
'light' version of 'Stairway to Heaven' they could be on a winner.sorry
I thought of it first, my idea,
Not so, I'm afraid.
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On Wednesday, Apr 11, 2007, at 09:43 America/Los_Angeles,
[EMAIL PROTECTED] wrote:
Consider this: how many of us would be driving cars if
getting a limited one-month licence from the
government cost $200 each time we needed it?
And with that, we've solved the global warming problem...
To
On Tuesday, May 1, 2007, at 03:19 America/Los_Angeles, John Scott wrote:
do any of the sources give a reason for this kind
of thumb technique, or is it just some odd quirk in the evolution of
playing?
I don't know if the sources say why, but it would have been obvious to
a renaissance-era
On Tuesday, May 1, 2007, at 09:04 America/Los_Angeles, Joseph Mayes
wrote:
2. ...bend your wrist too much like playing the classical guitar I
have
heard, and continue to hear this stated - it ain't so! Classical
guitarists
do not - repeat do not - bend their wrists. Playing perpendicular
The operative phrase in Joseph's statement was Classical guitarists
do not - repeat do not - bend their wrists.
Ah... I should have known that Playing perpendicular to the strings is
a sure way to produce a thin, naily tone was an inoperative statement.
Thanks.
Cordially,
Ronald
On Tuesday, May 1, 2007, at 12:26 America/Los_Angeles, EUGENE BRAIG IV
wrote:
Even if rather small, I'd wager the fingers will be at enough of an
angle to incorporate some flesh in the stroke.
You seem a bit defensive about your lack of size...
To get on or off this list see list
Some time ago (don't ask me when) Arthur Ness gave us lengthy post on
diplomatic spellings that dealt with Kapsberger and his twin brother
Kapsperger. Maybe someone can scrounge it up.
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On Thursday, May 31, 2007, at 13:55 America/Los_Angeles, Ron Fletcher
wrote:
In my opinion lute-tablature can only be written by someone who can
play the
lute.
Probably true, but that doesn't stop a lute-illiterate from being the
author of lute music. Thomas Morley said he couldn't play
On Tuesday, Jun 12, 2007, at 13:24 America/Los_Angeles, Gordon Callon
wrote:
If I remember correctly, this is taken from the 1966 film by the
National Film Board of Canada, about Igor Stravinsky travelling to
North America, and conducting the CBC Symphony Orchestra in a
recording of his
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