There is an English translation with parallel Spanish text of Book 4 only
which deals with the vihuela in Journal of the Lute Society of America,
Vol.s XXVIII-XXIX,1995-96.
Cheers
Monica
- Original Message -
From: Edward Martin [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Tuesday,
A modern editon has been published in 4 volumes. It forms part of the
series Monumentos de la Musica Espanola, vols. 5 10 edited by Higini
Angles and vols. 14/1 14/2 edited by Jose Figueras.
Monica
- Original Message -
From: Arto Wikla [EMAIL PROTECTED]
To: Roman Turovsky [EMAIL
As Lex has drawn attention to his web site presumably he is inviting comment
upon it.
It is only reasonable to point out that most of what he says is supposition,
unsupported by any evidence and some of it is inaccurate..
1. Very few Italian books give any indication as to whether or not the 4th
I believe Finnish, Hungarian and Turkish are related and not of
Indo-European origin.- they are called something like Turko-Ugrarian. A
Turkic tribe moved westward from Anatolia through Eastern Europe to Finland.
I had a Hungarian friend (sadly now deceased) who explained something like
this to
Nothing to do with the lute, but it seems that there is a group of =
languages known as Ural-Altaic-Kartwelian Dravidian languages of which =
Finnic, Ugrian and Turkic are branches. In the highly colourful diagram =
I found on the internet searching Google under Altaic languages Basque =
appears
Well, in his book on Milan, Luis Gasser suggests that Milan may have been a
Jewish converso.Apparently Jewish converts often chose names of towns as
their surnames. The duchy of Milan in Italy was a Spanish Hapsburg
possession. Also Milah apparently is the Hebrew word for circumcision!
Cheers
Subject: Re: Names of composers (Was: Vihuela)
One additional/interesting/ curious thing - Melchore Barberis' book
printed
in Venice in 1549 includes four pieces for a chitara de sette corde -
i.e.
4 course guitar. These are intabulated with the uppermost line
representing
the highest
- Original Message -
From: Jon Murphy [EMAIL PROTECTED]
To: [EMAIL PROTECTED]; Arto Wikla [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]; [EMAIL PROTECTED]
Sent: Wednesday, December 17, 2003 7:25 AM
Subject: Re: (Was: Vihuela) follow up question
Tablatures for 5-course guitar, both Italian and
It's facinating to know that there are so many variations!
Like you I could read staff notation long before I knew such a thing as
tablature even existed but as I was initially interested in the vihuela I
first learnt Italian tablature. I can't recall that I ever found the fact
that it was
And the baroque guitar - featured in one of his most famous painting which I
regular pay hommage to at Kenwood House in North London. The question is -
were these models actually playing the instruments are are they just props.
The lady playing the guitar is wearing the yellow jacket bordered
Monica,
If you consider the exact (hyperrealist) way that Vermeer paints a
harpsichord or a cittern, don't you feel this baroque guitar as a very
strange model? The plantilla, the details of decoration (especially the
rosette and the pistagne, the black and white border motiv) makes me feel
Now, I'm confused! If what you say is so, and I am sure it is, why would
anyone want to put thick strings on the 1st and 2nd course of their lute and
tune them an octave lower? I was under the impression that this was
something to do with the string length...
Monica
- Original Message
One might say that reports of its death have been greatly exaggerated...
Monica
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: David Rastall [EMAIL PROTECTED]; [EMAIL PROTECTED]
Sent: Saturday, January 10, 2004 12:54 AM
Subject: Re: Clasical Music Recording R.I.P.
The Charles Jacobs Milan edition was published by Pennsylvania State U.P.
in
1971. The Leo Schrade edition of Milan originally published by Breitkopf
Hartel and reprinted by Georg Olms in 1976 (still available I think) does
have both tablature with the voice part in italics and a transcription
- Original Message -
From: Stewart McCoy [EMAIL PROTECTED]
To: Lute Net [EMAIL PROTECTED]
Sent: Wednesday, January 28, 2004 10:35 AM
Subject: Bourdons or diapasons?
Dear Tony,
As you know, bourdonner in French means to buzz (of insects), and le
bourdon can be a bumble bee. Why
Is the mandora/mandola the same instrument also called
mandore/mandolino...a tiny lute-like instrument tuned in fourths and fifths?
(the instrument of the Skene MS etc)
No. although I didn't actually refer to it, my observations were based on
Renato Meucci's article Da chitarra Italiana a
Most intriguing is one of Bermudo's guitar tunings: c, e, g, c', e',
g'; he writes, This is a good tuning for a _guitarra grande_ strung
with 6 courses, like a Vihuela, or for a _discante_. (translated
from Bermudo, f. ciiiv). This tuning is, of course, the same as the
tuning of the
I wonder why the King's mistress was playing the lute at all! She is much
more likely to have played the 5-course guitar - as did King Charles
himself.
Another example perhaps of how uninformed film makers are about musical
matters. Everything is authentic to the last detail except the music.
Not sure if I missed the original point of this message, but there is a
plainsong office hymn for the Feast of the Holy Name of Jesus. The Latin
starts Jesu dulcis Memoria. The first verse of the English translation is
Jesu! the very thought is sweet - in that dear name all heart-joys meet.
is not so
unlikely.
The instrument in the Royal College of Music was made by Belchior Dias in
Lisbon, so whatever it is, Dias would probably have called it a viola!
Monica
Alexander
- Original Message -
From: Monica Hall [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Cc: vihuela vihuela
: Monica Hall [EMAIL PROTECTED]
To: Meic Goodyear [EMAIL PROTECTED]
Subject: Reminder
Date: Mon, 26 Sep 2005 13:32:46 +0100
Reviews for the next issue of Lute News are due on 1st. October. Hope
you
have them ready!
Monica
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To get on or off this list see list information at
http
Does Wright ignore the most logical reason for the waist on an instrument,
that is bow accomodation???
I don't think he actually mentions it but the instruments he discusses are
all played with a plectrum. But bowed instruments don't always have
waists..the rebec for example...
Monica
As far as the Quito instrument is concerned, few people have actually seen
it, and as far as I am aware no one has actually been allowed to examine it
thoroughly. Even the string length seems to be in some doubt.
For those who adhere to the Dias' attribution to a guitar, one's got to
reverse
Martyn, I've explained this point already a few times, i.e. why the
original
_thinner_ peg wouldn't cut through the purfling but just be next to it, as
well as why it is not surrounded by the ornamental pattern. Also it is not
unusual for pegs to cut through stripes and purflings of peghead
I don't quite understand why the string length on the Quito instrument
became such an issue. There is a number of surviving early 17th century
Italian guitars with string length between 72 - 73 cm. A rare vaulted-back
guitar by Magno Grail c.1630, for example, was sold recently on one of the
I think you have answered most of my queries very thoroughly!
I've put an image of a lady here who plays a rather large guitar:
www.vihuelademano.com/current/pages/large-guitar.htm
However, whether she was able to play anything meaningful or just posing
is
hardly possible to assess.
It is
What is also interesting - as far as the quality of the photograph
allows -
is that the wear from strings, which is mostly noticeable on the back edge
of the bridge, appears in the areas of the first (single), second, third
and, to a lesser degree, forth courses. There is very little, if any,
- Original Message -
From: Alexander Batov [EMAIL PROTECTED]
To: vihuela@cs.dartmouth.edu
Cc: Monica Hall [EMAIL PROTECTED]
Sent: Thursday, December 29, 2005 4:32 PM
Subject: Re: [VIHUELA] Baroque guitar picture
- Original Message -
From: Monica Hall [EMAIL PROTECTED]
To: vihuela vihuela
Stuart Walsh wrote:
Ive been looking at Dazas fantasias (ed. John Griffiths 1982). El
Parnasso (1576) is the last of the books of tablature for vihuela.
I think we have to imagine that in the 16th C people used these pieces
in a private, devotional context. Singing the words of the psalms
In my experience this is a problem with plain gut strings too. I am not
very scientifically minded but I think it has something to do with the
accoustical phenomenon whereby the pitch of a note rises slightly as it dies
away. With octave stringing the rate at which the different pitches rise
Dear Bruno
I'm not sure if anyone else has replied to your message.
It seems that guitarists did play with their nails. There is a story about
Corbetta cancelling a concert because he had broken a nail. Also a portrait
of Pellegrini showing him with long nails on the right hand.
Guerau does
Subject: [VIHUELA] Re: tablature, alfabeto and BC
these are my thoughts ...
Lex Eisenhardt [EMAIL PROTECTED] wrote:
There is an interesting parallel to the rapid decline of alfabeto song
after
1630. At about the same time the first instructions appeared for the use
of the guitar in BC
This type of rule of thumb already appeared in the earliest alfabeto
songbooks. Application of these rules leads in many occasions to
completely
wrong harmonies.
It shouldn't do if it is applied correctly.
Already in 1981
Robert Strizich has pointed at harmonic conflicts between the
No- not yet - at least I have not had a copy of it. In the latest Lute News
it just said Chirs hoped to do by Christmas.
Monica
- Original Message -
From: Spring, aus dem, Rainer [EMAIL PROTECTED]
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Wednesday, January 23, 2008
Subject: [LUTE] guitar stringing
It is common practice to string the baroque guitar with the treble strings
of the 4th and 5th courses on the thumb side of the course. This is
because both courses tend to be used primarily as if they were treble
strings and having them this way makes these
Monica,
I asked a few days ago regarding string tensions for baroque guitars. Do
you have any opinions?
Well - I'm not well qualified to comment as I am only an amateur player and
my guitar has a shorter string length than many people seem to think is
appropriate today.
It is based on an
I am pleased to announce that I now have a website of my very own.
It is
www.monicahall.co.uk
It has on it my edition of some pieces for baroque guitar by Francesco
Corbetta which are not included in any of his surviving printed books -
taken from a manuscript copied by Jean-Baptiste de
I was tempted to point out early on in this discussion that skips of a 7th
and 9th in scale passages (known as campanellas) are commonplace in baroque
guitar music and whatever method of stringing is used (short of octave
stringing on all 5 courses which is hardly practical) these can't be
Monica Hall wrote:
I was tempted to point out early on in this discussion that skips
of a 7th and 9th in scale passages (known as campanellas)
Campanellas are not necessarily skips of 7ths and 9ths. That's not
how they're defined.
I didn't say that they are. What I said was
skips
Scale passages are not known as campanellas. I can sing scale
passages. I can't sing campanellas.
Campanellas are a particular kind of scale passage in which each note of the
scale is played on a different string so that the notes overlap creating a
bell like effect. In that context the
What are it's musical advantages? It seems to be
creating rather a
problemSurely it would make more sense from a
musical point of view to
tune the instrument straight down from treble to
bass - like the violin,
harpsichord etc...
There are a number of advantages to having the top two
It has a melody as well as a ground and rhythm, and even lyrics in some
sources.
These do vary.
There is quite a bit about it in Maurices Esses book Dance and instrumental
diferencias in Spain during the 17th and early 18th centuries. Including
one version of the tune.
There must be
Very enjoyable, Rob.
Do you think (Baroque) guitar tombeaux (if that's the plural) have the
same mesmeric effect as the lute ones?
There is a beautiful one in Campion dedicated to M. de Maltot who apparently
passed on to Campion the Rule of octaves.
Monica
Stuart
This one is very
Unfortunately none of the songs on the CD are by women composers although
they deal with women's lot in life (not a happy one).
There is however Antonia Bembo from the end of the 17th century - a pupil
of Cavalli who ended up in Paris.. One or two pieces - voice and bass line
are included
Brilliant - and I love the picture too - she's got her little finger stuck
inside the moustache...Who is it by?
Monica
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
To: Vihuela [EMAIL PROTECTED]
Sent: Saturday, February 16, 2008 8:21 AM
Subject: [VIHUELA] Moulinie
The asterisk indicates that the note to which it is attached should be held
or sustained.
Timo and I discussed this.
There is an article in the Lute Society Journal Lute, 1999 by
Jonathan Le Cocq about the notation of the Air de Cour in general and he
says
The star functions as a slash does
Bird perched on a bush
Sing a song
About my life
Then fly
To Marguerite
And tell her of my sorrow.
Tell her first
That I am pining to death
Because I have not seen her
My tears are so sad
That I wish I were in my grave.
Courtesy of Le Poeme harmonique.
Monica
- Original Message -
You mean the one of his playing Murcia with these dancers?
Apparently he replaced someone else at short notice and the costume was too
tight for him and his hands were cold! I asked him what the dancers were
doing and he said he hadn't a clue!
I watched the video several times and I noted
I checked with the secretary of the Lute Society here in England - an there
has been no mention of his demise in the news.
He is however elderly and in poor health - which may account for his house
being on sale.
Monica
- Original Message -
From: Paavo R. Zakin, M.D. [EMAIL
Well
There is some doubt as to whether it would have been practical to put a high
octave string on the 3rd course - tuned a minor 3rd above the 1st - with the
kind of gut strings available in the 17th century.
And without doing a detailed analysis - I guess you could make an equally
Not much - but there are some references to the instrument being used as a
continuo instrument by wealthier establishments.
There is an article on the subject by Francisco Valdivia in the Sociedad de
la Vihuela's journal Hispanica lyre - in Spanish of course.
Monica
- Original Message
Seriously, from what I've gathered from internet info, the machete in
17thC
Madeira might have been wire strung, single strings. One imagines it to
have
been very small (the one in Edinburgh University, for example, looks like
a
soprano ukulele), but there is one Portuguese guitar ms which
Only Craig Russell's work has a staff notation transcription. Lorimer's is
just a facsimile of the tablature.
Monica
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
To: Vihuela [EMAIL PROTECTED]
Sent: Thursday, May 08, 2008 7:36 AM
Subject: [VIHUELA] Saldivar Codex 4 -
Subject: [LUTE] Re: machete
Well, you could start by translating every Portuguese guitar book or
manuscript from the 17th to 19th centuries...Too much to ask? Oh well...
Actually there isn't that much from the 17th century unless it is
lurking unseen in Portuguese libraries.
There
Great stuff!
Monica
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
To: Vihuela [EMAIL PROTECTED]
Sent: Wednesday, May 28, 2008 4:55 PM
Subject: [VIHUELA] Portuguese Baroque Guitar - mp3 files
Dear all,
I've recorded five pieces from the Coimbra manuscript - they can
I suspect the operative words here are in barber style.
Much earlier Italian sources, e.g Millioni indicate that you should strum
between the rose and the neck. To witt
Sonando con la mano destra, però con tre, ò quautro dita, tenendole distinte
al quanto l'una dall' altra, acciò rendino
I don't have a 6-course - but one of the Vargas y Guzman mss. includes some
pieces which are presumably for such.
Monica
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
To: Vihuela [EMAIL PROTECTED]
Sent: Saturday, May 31, 2008 11:50 AM
Subject: [VIHUELA] six-course guitar
Well - they are 6-course with basso continuo. And yes - I have a copy of
them - both a facsimile of the original and a transcription into modern
staff notation.
If you ask me nicely I'll scan one or two for you.
Perhpas what you really need is a 6 pack!
Monica
- Original Message -
Well - Granata was a barber surgeon - so you are in excellent company!
Monica
- Original Message -
From: Rob MacKillop
To: Monica Hall
Cc: Vihuelalist
Sent: Saturday, May 31, 2008 7:00 PM
Subject: Re: [VIHUELA] strumming near the bridge
Well, of course, Monica
MacKillop
To: Monica Hall
Cc: Vihuelalist
Sent: Saturday, May 31, 2008 8:02 PM
Subject: Re: [VIHUELA] strumming near the bridge
Barber surgeon? What an interesting combination!
Rob
2008/5/31 Monica Hall [EMAIL PROTECTED]:
Well - Granata was a barber surgeon - so you
The most recent one I have for him is
[EMAIL PROTECTED]
but the last time I contacted him I had not reply.
Monica
- Original Message -
From: Stewart McCoy [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Friday, June 20, 2008 11:20 PM
Subject: [LUTE] Alain Veylitt
I
So, it appears, Orff had no reference to any of the staffless neumes in
the
original ms.
He probably wouldn't have been able to understand them if he did!
As a side note, in 1981, Telefunken released an LP of music
from the ms. Not being a medievalist, I have no idea how the performers
were
The last one I received (in England) was February.
Monica
- Original Message -
From: Davide Bioccoli [EMAIL PROTECTED]
To: Lute list lute@cs.dartmouth.edu
Sent: Friday, June 27, 2008 6:57 PM
Subject: [LUTE] LSA journal
Hi all,
does anyone know if the LSA quarterly has already been
Thanks for replying! At least I'm not the only person at sea over these
things. I can't see the point of the second group of syllables at all!
Monica
- Original Message -
From: Rob MacKillop
To: Monica Hall
Sent: Saturday, July 26, 2008 10:00 AM
Subject: Re: [VIHUELA
According to Douglas Alton's Smith's A history of the lute this is a
manuscript Intabolatura of 1567 preserved in the Bavarian State Library
and possibly a copy of a lost printed work.
It constitutes a cycle of 48 pieces in 2 modes on all twelve scale degrees
starting with G gamut. Each set
the Passeo and Vacas
in 12 dfferent keys.
Monica
- Original Message -
From: Andreas Schlegel
To: Monica Hall
Sent: Monday, August 04, 2008 4:03 PM
Subject: Re: [LUTE] Re: Giacomo Gorzanis' musical circle?
Dear Monica
Which guitar books do you mean?
In other words
Interesting theory which I hadn't heard before!
Kapsberger did actually have 2 guitar books printed and plagiarism being the
sincerest form of flattery I suppose Valdambrini may well have borrowed from
them...
Monica
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
- Original Message -
From: [1]Rob MacKillop
To: [2]Monica Hall
Cc: [3]Stuart Walsh ; [4]Vihuelalist
Sent: Saturday, August 16, 2008 9:41 PM
Subject: Re: [VIHUELA] Re: alternative tunings for Baroque guitar
And the suite by de Visee in his first guitar book, page 50.
Rob
Well - I have the Granata book and Gallot and so could send you some of the
pieces if you haven't got these. The Gallot has the strings on the
fingerboard tuned to a major major common chord rather than the usual guitar
intervals.
I am bit curious about this though because according to Gary
on the part of the engraver.
I might E-mail him and ask him again.
Monica
- Original Message -
From: [1]Rob MacKillop
To: [2]Monica Hall
Cc: [3]Vihuelalist
Sent: Sunday, August 24, 2008 7:43 AM
Subject: Re: [VIHUELA] Chitarrone Francese
Thanks, Monica. I
If I may add to that - I prepared a printed collection of easy pieces for
the Lute Society.
This is 19 Easy to Intermediate Pieces for baroque guitar from French and
Iberian Manuscripts. It has pieces in French and Italian tablature and
all of them are reasonably easy, although you need to
The relevant paragraphs of Chapter xxxii on f.28v translate roughly as
follows...
The compass of the open courses of the banduria is an octave. It has three
strings called third, second and first. This instrument also has different
tunings (like the guitar). The commonest has a 4th
on...
Monica
- Original Message -
From: Christopher Stetson [EMAIL PROTECTED]
To: Andreas Schlegel [EMAIL PROTECTED]; Monica Hall
[EMAIL PROTECTED]
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Saturday, September 06, 2008 1:53 AM
Subject: [**spam**] [LUTE] Re: Mandore / Bandurri Bermudo
Hi, all
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Cc: Vihuela [EMAIL PROTECTED]
Sent: Tuesday, September 09, 2008 3:07 PM
Subject: [VIHUELA] Re: arch-guitar
The string length of the basses is c.116cms. I say 'circa' because I
couldn't find a tape
) are an optional extra.
Incidentaly Fuenllana's 5-course vihuela has the same interval pattern as
the baroque guitar and the classical guitar without a 6th string.
Monica
Gary
- Original Message -
From: Monica Hall [EMAIL PROTECTED]
To: Joshua Horn [EMAIL PROTECTED]
Cc: Vihuelalist
Please does anyone have an E-mail address for Jeffrey George.
Monica
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To get on or off this list see list information at
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Dear List
I now have on my web page a study of Bartolotti similar to the one I
have done on Foscarini. You will find this at
[1]www.monicahall.co.uk
It includes an English translation of the prefaces to both his books
with comments on how these relate to the way that the
I thought about this when you first posted the message. If you mean
literally tuned to the same intervals as the lute there may be not answer to
this. Although there are illustrations and references to musical
instruments in medieval sources they aren't usually detailed enough to know
exactly
I would say that I was at the meeting when these were presented and this
list is really not intended to be definitive.
Monica
- Original Message -
From: Leonard Williams arc...@verizon.net
To: Lute List lute@cs.dartmouth.edu
Sent: Tuesday, January 13, 2009 1:01 AM
Subject: [LUTE] Re:
I wouldn't claim to be an expert, but according to my medical dictionary
mercury poisoning was common in some trades in the past - in particular in
the preparation of felt used in hats. That is where the expression mad as
a hatter comes from.
This may be a silly question because I have been
strings and that colouring them
may have been a way of hiding blemishes. I haven't actually read the whole
article yet - only a summary. I wondered whether anyone else had?
Monica
- Original Message -
From: alexander voka...@verizon.net
To: Monica Hall mjlh...@tiscali.co.uk
Cc
Does anyone know if there is/was an earlier version of Hippolyte et
Aricie i.e. before Rameau's opera with this title? Either as an
opera or ballet?
The large French ms. of baroque guitar music F:PnMs.Res.F844 includes a
piece on p.263 with the title Entree dAricie.
Curiously
Thanks - Howard. So it could be Lully's Theseus. Must check that.
Monica
- Original Message -
From: [1]howard posner
To: [2]Monica Hall
Cc: [3]Lutelist
Sent: Monday, March 30, 2009 5:33 PM
Subject: Re: Hippolyte et Aricie
On Mar 30, 2009, at 9:01 AM
Many thanks - that is another possibility. I wonder whether the score
is even available.
Monica
- Original Message -
From: [1]hodgsonmar...@yahoo.co.uk
To: [2]Lutelist ; [3]Monica Hall
Sent: Tuesday, March 31, 2009 9:04 AM
Subject: Re: [LUTE] Hippolyte et
:45:33 ==
Many thanks - that is another possibility. I wonder whether the
score
is even available.
Monica
- Original Message -
From: [1]hodgsonmar...@yahoo.co.uk
To: [2]Lutelist ; [3]Monica Hall
Sent: Tuesday, March 31, 2009 9:04 AM
Subject: Re: [LUTE
I am pleased to announce that I have revised my pieces by Foscarini on
my [1]www.earlyguitar.ning.com site. I have added an introduction
and five more pieces.
Rocky has very kindly combined the separate PDFs for me so special
thanks to Rocky.
I may also put them on in French
Does anyone know whether Anne Burns still deals with the LSAs
collection of microfilms.
I have E-mailed her three times in the last 4 weeks and only had an
automatic reply saying she doesn't work full time for the LSA.
I deperately want to borrow a film in the next three months.
...@symbol4.de
To: Monica Hall mjlh...@tiscali.co.uk
Sent: Saturday, April 25, 2009 2:40 PM
Subject: Re: [LUTE] Anne Burns
I deperately want to borrow a film in the next three months.
May I ask what you are looking for?
best wishes
Bernd
To get on or off this list see list information
To: Lutelist lute@cs.dartmouth.edu
Sent: Saturday, April 25, 2009 3:05 PM
Subject: [LUTE] Re: Anne Burns
On Sat, Apr 25, 2009, Monica Hall mjlh...@tiscali.co.uk said:
Does anyone know whether Anne Burns still deals with the LSAs
collection of microfilms.
yes, but, as the automatic reply indicated
I sent this message to the Lyte Society by mistake!
Monica
Sent: Friday, July 10, 2009 5:13 PM
Subject: Re: [LUTE] Re: octave stringing - historical references ?
I think your 16th century Spanish source may be Bermudo who says that
guitars usually have four strings and that the lowest is
Does anyone know what is happening wiht Django as the last I heard Alain
Veylit's site had been closed down.
Is the program and any updates still available?
Monca
- Original Message -
From: TonyChalkley anthony.chalk...@orange.fr
To: List LUTELIST lute@cs.dartmouth.edu; Bruno
There is a passage in Campion's Traite d'
accompangement (p.19) which reads
Elle (the guitar) a par dessus les autres la facilite du transport du
toucher, par-dessus le Theorbe, les Parties d'accompagnement non
renversees, par consequent plus chantantes.
which I would
My congratulations too!
Best wishes
Monica
- Original Message -
From: David van Ooijen davidvanooi...@gmail.com
To: Ron Andrico praelu...@hotmail.com
Cc: lute@cs.dartmouth.edu
Sent: Tuesday, September 01, 2009 4:22 PM
Subject: [LUTE] Re: A win for us all
Congratulations! Well-done.
It is indeed a sad story. I suspect this is also the case in the classical
guitar world which may have a knock on effect. It's still a man's world.
Monica
- Original Message -
From: David Tayler vidan...@sbcglobal.net
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent:
compose played and to experiment which you can't do at
home.
Monica
- Original Message -
From: gonzornumpl...@roadrunner.com
To: David Tayler vidan...@sbcglobal.net; Monica Hall
mjlh...@tiscali.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Thursday, September 10, 2009 1:39 PM
Subject
Of Monica Hall
Sent: 10 September 2009 13:17
To: David Tayler
Cc: Lutelist
Subject: [LUTE] Re: Imbalance
It is indeed a sad story. I suspect this is also the case in the
classical
guitar world which may have a knock on effect. It's still a man's
world.
Monica
- Original Message -
From
Not sure whether this is relevant as have not been following the thread
closely but apparently the earliest surviving clavier is a
clavicytherium in the collection of the Royal College of Music (London).
The instrument can have wire or gut strings.
Monica
- Original Message -
From:
Very nice - thanks for posting them!
monica
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
Cc: lute@cs.dartmouth.edu
Sent: Saturday, November 14, 2009 5:35 PM
Subject: [LUTE] Re: Greenwich festival -quick snaps and atmos
Here are some quick photos (forgot even to
What an odd picure - but where did you come across it?
Monica
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Lute Net lute@cs.dartmouth.edu
Sent: Saturday, November 21, 2009 8:37 PM
Subject: [LUTE] Double headed lute pic?
I came across this image recently -
Well - he's not playing a theorbo - and the theorbo is not trying to be a
guitar!!! These Art Historians really need to be educated!
At a guess I would say it is meant to be an archlute but however good the
artist may be a painting satin he seems to have got in a twist with the peg
boxes!!
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