Roman,
Kapsperger covers partly your search. Look at L. IV d'intav di chitarrone 1640:
Preludio 5to - e-minor (finalis E-major)
Preludio 6to - e-minor (finalis E-major)
Toccata 3za - e-minor (finalis E-major)
Toccata 4ta - E-major!
Passacaglia on p. 34 - e-minor
Corrente on p. 46 - e-minor
This
I could help but my file with scans of the MS is a little massy, I’d have to
put the pages in order, what I could do this weekend, if you'll not find a
faster solution.
Jerzy
—
> On 22 Mar 2018, at 13:41, Rainer wrote:
>
> Dear lute netters,
>
> I have to check a few concordances in Aegidius
; solely for the use of the individual or entity to whom it is
> addressed.
>If you are not the intended recipient, please delete this email
> and any attachments and contact the sender. (Italian Law 196/2003)
>
>
> Il
Dear All,
Where to get from a working drawing of the Arciliuto by Matteo Sellas, Venezia
1639, Cat. 104 - Inv. 1748?
Thanks in advance,
Jerzy
—
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Rainer,
“Tanec Spolski” could mean “A Dance from Poland”, if understood as if properly
written “Taniec z Polski”. Probably notated phonetically.
That reminds me a couple of dances in Pietro Paolo MELIJ, Intavolatura di Liuto
attiorbato…, libro secondo, Venetia 1614, where one can find even funn
Dear Tomoko,
Try GoogleTranslate. Put your fraze in the space on the left, choose a language
you think it is in, and press the little speaker underneath. Then keep changing
languages until you think it rhymes best with ‘Ave María’. Stupid but works ;)
Jerzy
—
> On 23 Apr 2017, at 17:02, luteni
Dear Danny,
You can contact Magdalena Tomsinska who’s done extensive work on Danzig 4022,
including a long and informative article (unfortunately in Polish only) and a
list of concordaces. I’m not sure if I can post here her private email, but you
can find her on Facebook at https://www.faceboo
Dear Lutelist,
A student of mine is expacting a new 8-ch lute. The maker has little experience
with an instrument of such number of courses. So we all need some advice from
you. We need a typical spacing on both sides of strings, …if there is such
"typical" spacing, of course. Anyway, at least
What is that title meaning, Romcio?
JŻ
---
On 2012-06-14, at 06:17, Roman Turovsky wrote:
> "Trond Bengtson Polska" -
> http://www.polyhymnion.org/swv/music/polska/polska41.mp3
> http://www.polyhymnion.org/swv/music/polska/polska41.pdf
>
> Enjoy.
> Amitiès,
> RT
To get on or off this list
ated, used any primary sources
in tablatuer. I do have Le Pupitre edition (R Strizich) but it was published in
France in 1969. Was there anything earlier in circulation, before the 1960, so
inspiring?
Jerzy Zak
---
To get on or off this list see list information at
http://www.cs.dartmouth.edu
Dear friends,
In the Supplement to LUTE NEWS 99 there is a second part of Bach Suite bwv1006a
intabulated by Wilfred Foxe. It is presented here in a key of D major, quite
unusually. In the Critical Commentary Wilfred Foxe explains:
"The tonality of the original suite is E major, and this has be
> There is an interesting discussion on the Baroque lutelist about modern
> compositions for D-minor lute. Gilbert Isbin has written some pieces for lute
> in G tuning.
>
> Jerzy Zak writes: "Unfortunately, modern music needs playing on the highest
> level, including a well tuned
To All,
and to Anton,
You are very kind and generous man but please do not use the rapidshare.com
service in future, as it is definitely not a free service as it may look. I
have a necessity to use it just few times a year and not by my own choice, so I
don't feel the necessity to pay for it. B
Dear All,
I'm looking for a collection of vocal music with continuo : "Il Curtio
precipitato..." of 1638 by Tarquinio MERULA. Seams that the net is
full of CD recordings but no edition, either modern score or a
facsimile. Do you know where to get it from?
Thanks in advance,
Jurek
___
there is a difference between
the written use of the word an= d the spoken use of
the word, but of course the word mainly appea= rs in printed
material.
Respectfully,
dt
At 01:16 AM 7/10/2009, you wrote:
"Jerzy Zak" schrieb:
= ; > That reminds me the term rather seldom use
lling) bought from him in London?
J
On 2009-07-10, at 16:54, Roman Turovsky wrote:
The englaving is unusually precise. Look for the strange slots cut
in the walls of the pegbox. especially the bass side.
It sure looks like an angelique to me.
RT
- Original Message - From:
__
On 2009-07-10, at 16:54, Roman Turovsky wrote:
The englaving is unusually precise. Look for the strange slots cut
in the walls of the pegbox. especially the bass side.
It sure looks like an angelique to me.
RT
- Original Message - From: "Jerzy Zak"
To: "Karl-L.
rings. It is possible.
Thanks for the observation,
Jurek
On 2009-07-10, at 16:27, Karl-L. Eggert wrote:
J,
if you count the pegs on Adamo´s Lute there will be some more than
13 or 14.
Karl
- Original Message - From: "Jerzy Zak"
To: "lute-cs.dartmouth.edu&
Try to contact Dr Pawel Gancarczyk
pawel.gancarc...@ispan.pl
from IS PAN (The Institute of Art - Polish Academy of Science)
http://www.ispan.pl/eng/instituteofart.htm
In his "choice of publications" (Wybor publikacji) you can find in
English e.g.:
http://www.ispan.pl/stronyprac/ISPAN/gancarcz
On 2009-07-10, at 14:09, David van Ooijen wrote:
On Fri, Jul 10, 2009 at 2:01 PM, Jerzy Zak wrote:
http://tinyurl.com/muyoco
Single stringing is historical ;-)))
As is playing from empty scores. ;-)
David
That's right! I know one wired gamba player and composer(!) who once
has
On 2009-07-10, at 12:11, David Tayler wrote:
The problem here is that single stringing is historical,
..
Yeee...
There are men who loves "chaos", they need it to breath, to florish,
in the best possible terms.
Others cannot live without order, alwaye seeking knowledge and
establishing harm
: "Jerzy Zak"
Oh well, I remember it from my school years, …hm. I thought it was an
eastern/communistic miserable licence for a substitute of harpsichord,
at most good for a cabaret. Now!, I see, it has it's class and
composers. Tomorrow we'll need a true replica ;-))
j
_
On
, at 00:03, Roman Turovsky wrote:
I think it is a contraption that inserts a metal platelet between
hammers and strings, and creates a sort of a "whorehouse harpsichord".
It was much loved by both Dessau and Eisler.
RT (fan of both)
- Original Message ----- From: &q
tiorbato, the arciliuto and
the archlute.
Someone put a language link to it into
http://de.wikipedia.org/wiki/Erzlaute, but that is misleading. The
German term Erzlaute was meant to be generic.
Mathias
"Jerzy Zak" schrieb:
David,
Thanks for that.
Besides, you've writen a very i
David,
Thanks for that.
Besides, you've writen a very interesting comment on the "latest
semiannual online comparison of video hosting sites…". I'm absolutely
not qualified to comment on that, but would love to read other's --
just to remind it's still "untouched" by other pluckers. Perhaps
What is an "Erzlaute"?
The other instruments pecified on the page are "organ, harpsichord,
violins, cello, guitar, theorbE".
jz
___
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Dear Luca,
A short list of them you can see here:
http://www-bnus.u-strasbg.fr/Smt/pl.htm
Jurek
--
Dear Luca,
Wouldn't it be more usefull to get hold of a younger publication?:
Dieter Kursch, Lenz Meierott (ed.) - Berliner Lautentabulaturen in
Krakau, Schott 1992.
Leaving
Dear Luca,
Wouldn't it be more usefull to get hold of a younger publication?:
Dieter Kursch, Lenz Meierott (ed.) - Berliner Lautentabulaturen in
Krakau, Schott 1992.
Leaving aside all the old legends from the pre-1980's, you'll get from
the book detailed descriptions with incipits of all th
On 2009-02-09, at 16:39, David Rastall wrote:
On Feb 9, 2009, at 5:56 AM, Jean-Marie Poirier wrote:
May I remind all of you interested in that thread on hand position,
that I had put up a couple of web pages with iconographical
evidence about that very same point. You will find it there :
fo
I like your comment very much. I might only add that if the sound
idea is ''before'' the instrument, then in between is the hand. So,
to put it a bit facetiously, if one has a 'heavy hand'', the tension
of strings, and therefore a hand position, is no problem... ;-))
There is of course no l
Anthony,
On 2009-02-08, at 19:16, Anthony Hind wrote:
Indeed, there are signs that there were disagreements, between
lutenists of past times.
About the practice of using Bologna lutes...
Some lutenists like Mace and Jacques Gautier, who seem to...
The description by Mace of J. Gautie
Karamazov and Dilettantism! Really fascinating. Is anybody brave
enough to throw an exegesis on the combination? Is Karamazov a
perversely hidden dilettante dressed up in attributes of great
virtuoso or is he an evangelist of true and clean expression, just
the instrument (a bit moded but s
Anthony,
I'm really fascinted by your detailed analyzis of all technicall
matters concerning lute construction, stringing and playing. I wish I
had such an eye on all this things. But in my experience, after some
40 years of observations of teaching music playing (including my own
regular
Quite funny -- Karamazov (by accident of course!) in context of
dilettantism on the list now...
;-))
J
On 2009-02-07, at 09:55, Jean-Marie Poirier wrote:
;-) Honest, Roman ?
JM
=== 07-02-2009 01:48:26 ===
Musicality.
RT
- Original Message -
From: "Mark Wheeler"
To:
David, you prevailed me, you are a true visionary.
J
__
On 2009-02-05, at 11:30, David Tayler wrote:
"as strong as the rattle of dice in a box" was the way it was
described :)
dt
At 12:23 AM 2/5/2009, you wrote:
On 2009-02-04, at 21:30, David Tayler wrote:
BTW, the tremolo is more
Excuse me, but are we talking about some rare forgotten curiosity of
someones articulation or a term on par with vibrato, considering
modern termonology. Until now I thought 'tremolo' is a fast
repetition of one or two notes, as in scoring (orchestration/
instrumentation) for bowed strings,
On 2009-02-04, at 21:30, David Tayler wrote:
BTW, the tremolo is more interesting than the vibrato in early
recordings. People stopped using it. And it sure sounds better
without it. I'd trade vibrato for tremolo any day. Nobody talks
about that, but it is the biggest single change in perf
Michal,
Welcome to the list!
J
__
On 2009-02-04, at 17:27, Michał Jasionowski wrote:
2009/2/3 <[1]chriswi...@yahoo.com>
Unfortunately for human society, the strongest, best,
most sensible evolutionary advances in any field are
hopelessly pitted against an even more powerf
No
J
_
On 2009-02-04, at 00:18, Edward Martin wrote:
Is there an English translation?
ed
At 11:05 PM 2/3/2009 +0100, Jerzy Zak wrote:
--===AVGMAIL-4988C134===
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
Content-Transfer-Encoding: 7bit
It is
I hope so.
Regards
J
_
On 2009-02-03, at 23:24, Markus Lutz wrote:
Hello Bernd and Jurek,
I only understand: Weiss, Grodkow, Jerzy Zak ...
So Grodkow now finally celebrates Weiss as son of the town, isn't it?
Best regards
Markus
Bernd Haegemann schrieb:
Wow, while we are ta
It is absolutely mad and crazy text, I have never said such
stupidities as the author relates. I see one has to be extremaly
carefull about those gazetteers of popular local papers. But all in
all they generated a positive movement arround Weiss and the lute. Of
course this is the strongest
rns more form one note of a great player than...
and
...music is forever.
But poetry and love are rare today and should be respected.
I appreciate your faith in EM but will stay in my uncertain quest for
another answer.
J
___
On 2009-02-03, at 20:29, David Rastall wrote:
On Feb 3,
David T, David R,
On 2009-02-03, at 17:30, David Rastall wrote:
On Feb 3, 2009, at 1:19 AM, David Tayler wrote:
I'm old fashioned, I guess; I think the old ways are better.
You mean your father and grandfather's or the Bocquet and Mouton way?
As I'd objectively appreciate and trust the
If it's still about ''French trill'', I'd insist -- it's ''ours
trill'', however long would be someone's explanations and
justifications.
Therefore the HIP performance is always ''modern'' or ''currant'' or
''today'' (without going into the present day entangled terminology).
In a way the
Becouse people quite often don't hear while listening. But if you'll
tell them you are playing on gut, then it is entirely different story.
J
___
On 2009-02-02, at 19:28, howard posner wrote:
How do gut strings mask incompetence?
However gut has been used lately to mask various forms/de
OK, then live music is always (?) fresh and ''currant'' (instead of
''modern''), whatever you'd say about its origin or background.
Now, concerning the ''replication of the past'' versus ''continuation
of the school'', don't you think that since long -- perhaps 20 or 30
years -- lutemakers
music", it
is a
great antidote to the recent crisis that the HIP movement received
from
Taruskin's writings.
You can read a few pages here
http://www.amazon.co.uk/End-Early-Music-Performers-Twenty-first/dp/
019518987
6/ref=sr_1_1?ie=UTF8&s=books&qid=1233529394&
Of course, the paradox concernes us, creators and consumers of music
and our vision of the modern phenomenon called ''historical music''.
It is a fancy interplay between science and art, it's a modern thing
in music history -- isn't it?, and in a way quite logically it's
''modern music'' as
a new religion, for
others unacceptable.
These are paradoxes of the so called historical music.
J
___
Andreas
Am 01.02.2009 um 17:52 schrieb Jerzy Zak:
The problem is, it is a long note and a simple ''shake/trill''
concisting of three notes (as one can surmise from Me
The problem is, it is a long note and a simple ''shake/trill''
concisting of three notes (as one can surmise from Mersenne twisting
description) biginning from the main note, is not enough. It is a
long note and long notes invite something extra, something special.
The well known Lacrimae b
Dear Mathias,
On 2009-02-01, at 00:23, Mathias Rösel wrote:
Dear Jerzy,
checking the source would be great, but unfortunately I share your
plight, not owning a copy or facsimile of Vm7 6214. I have to rely on
the CNRS edition.
I wasn't familiar with the dating by Rave. The sisters Bocquet
fl
Dear Mathias,
So lets to the point and your Allemande.
I don't pretend my method is right but if I'd have such a problem for
the first time I'd first chack the source as I do not always trust
the CNRS editions wich I just catched.The volume was published in
1972, the 'Tableau des signes de
tended for the composer's well-ordered French universe.
On Jan 29, 2009, at 2:39 PM, Jerzy Zak wrote:
Some of you may know the famous French work by Jean-Féry Rebel,
namely "Les elemens" and its first part, "Le Cahos". Here you can
clik and listen to the first cho
Mathias,
As you asked David, I'll refrain from answering that particular
questio. But something not so far removed comes to my mind. Some of
you may know the famous French work by Jean-Féry Rebel, namely "Les
elemens" and its first part, "Le Cahos". Here you can clik and listen
to the firs
Dear David and All,
Strange discussion or rather no dscussion...
It's good point about today preference for a short appogiatura among
lutenists playing baroque music. Very often it sounds as if a
luteplayer were playing those small notes in Giuliani or Carulli ;-))
I don't know if it's rel
David,
Can you give the TWV numbers for Telemann, like there are BWV for Bach?
J
___
On 2009-01-24, at 09:33, David Tayler wrote:
My new CD is up on Magnatune--as always, free to listen!
dt
http://magnatune.com/artists/albums/voicesofmusic-bachtelemann/
To get on or off this list see
Timo,
But in case you are looking rather for the J.G. Muffat's beautiful
Passacaglia in A major, the only copy I know of is in A-KR L 83, p.
(or f.) 89.
Best,
Jurek
-
On 2008-11-18, at 18:53, Peedu Timo wrote:
No, it isn't, but thanks for everybody for leading me to very
On 2008-10-25, at 13:57, G. Crona wrote:
- Original Message - From: "Jerzy Zak" <[EMAIL PROTECTED]>
V.A. Coelho, "Authority, Autonomy, and Interpretation in Seventeenth-
Century Italian Music", in: _Performance on the Lute, Guitar and
Vihuela_, ed.
On 2008-10-24, at 23:14, Are Vidar Boye Hansen wrote:
If I remember well, beside of one Pignatelli MS (PL-Kj),
I have never heard about this manuscript. Please, tell me more
about it!
PL-Kj Mus. Ms. 40591
V.A. Coelho, "Authority, Autonomy, and Interpretation in Seventeenth-
Century Itali
wouldn't let anyone see them, a bit like the Chilesotti debacle...
RT
- Original Message - From: "Jerzy Zak" <[EMAIL PROTECTED]>
To: "Lutelist Net"
Sent: Friday, October 24, 2008 3:20 PM
Subject: [LUTE] Re: Reusner and archlute/theorbo
Of course, Orlando Christo
see them, a bit like the Chilesotti debacle...
RT
- Original Message ----- From: "Jerzy Zak" <[EMAIL PROTECTED]>
To: "Lutelist Net"
Sent: Friday, October 24, 2008 3:20 PM
Subject: [LUTE] Re: Reusner and archlute/theorbo
Of course, Orlando Christoforetti in his pre
Of course, Orlando Christoforetti in his preface to Dalla Casa
_Sonate_ gives even more names. Presumably in this respect you could
cite half of the address books from all Italian cities and viliges.
It is as usefull for us as news from the moon, until you'll point out
to the hard copy of t
That's something! A bit more detailes, Roman, please.
J
__
On 2008-10-24, at 20:23, Roman Turovsky wrote:
And in the 18th century-
Antonio Scotti, Melchiorre Chiesa, Antonio Tinazzoli, Giuseppe
Vaccari and Lodovico Fontanelli.
RT
- Original Message - From: "Jean-Marie Poirier"
Of course, Jean-Marie, my to obvious omission, but still, the period
coinsiding with the 11/13-c lute repertoire is extremely unfavorable
for the archlute as the solo instrument. Perhaps Italians were still
playing it, but mostly in Italy - vide Arigoni dynasty (no single
piece of music I k
Obviously, it's good to know about the two or three Losy's pieces and
a couple of Reusner's one transfered to theorbo. But I hope you are
not going to say the d-m lute, after this discovery, is practically
useless and everything can be reintabulated to an archlute now - ?
If I remember well
But I havn't heared any complains when a trio of a singer, lute and
gamba are glorifying the Dowland's name. To be honest, to my ears the
lute is almost inaudible in such setting, and discussions about
poliphony of it's part or consecutive fifths is aimless. Very often
even without gamba.
In fac
st, to my ears the
lute is almost inaudible in such setting, and discussions about
poliphony of it's part or consecutive fifths is aimless. Very often
even without gamba.
J
__
RT
- Original Message - From: "Jerzy Zak" <[EMAIL PROTECTED]>
To: "Lutelist N
To my ears rather naive, harmonically poor, but still nice to play.
Like a tipical Italian Aria, invites meldic or other lute idiomatic
ornamentation. But it's a splendid occasion! Is there a brave one
who'd make an 11-c d-minor lute edition? It can be plain, as is the
original, or ornament
Matthias,
On 2008-10-24, at 12:17, [EMAIL PROTECTED] wrote:
> > I do like accompanying a singer though.
> > RT
>
> Here you are, though you don't like it: H Albert, G Voigtländer,
J.H.
> Schein, H. Schütz, Ch Bernhard, A. Krieger, J. Rist, T Selle, A
> Hammerschmidt, J Nauwach, C Ch Dedekind
Mathias,
My post was only techincally glued to your reply, I know you are into
the baroque lute.
On 2008-10-24, at 12:12, [EMAIL PROTECTED] wrote:
One can buy Weiss or Logi on an archlute if it's for fun or pleasure.
Equally well one can try Pulenc on theorbo or Kapsperger on modern
harp, or
On 2008-10-24, at 03:49, Roman Turovsky wrote:
From: "Jerzy Zak" <[EMAIL PROTECTED]>
doesn't happen to often, I'm afraid). But why the real baroque
lute is such a black sheep, why such a distaste, reluctance or
even aversion? Why the few maniacs only use b
Weiss and Logy on archlute! Well, of course, everything is
explanable, I can understand any individual approach. In the end
music as an art or entertainment is 'free'. Also history is a very
plastic phenomenon, what endless discussions at least on this list
only testify. But why there is su
Diana Poulton, at whose house in London I leved for almost two years,
instructed me Dowland should be prnunced like Poland. How she's got
that knowledge I don't know.
Jurek
___
On 2008-10-02, at 14:53, dc wrote:
I suppose this question has already been asked umpteen times, but
here goe
But he is a regular guitarist, with all its goods and bads… Probably
thinks we are silly fools ;-))
But the video is OK, if you like anything played efficiently.
J
___
On 2008-09-29, at 14:35, Stephan Olbertz wrote:
Does anyone know what this exactly is?
http://de.youtube.com/watch?v=u0dH
Roman,
Aren't there some problems with your email account?
jz
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
from ca. 1760’s, as probably the latest.
Here follow extracted fragments, but you are invited to see the
original web page given above.
Jurek (Jerzy Zak)
Ladies and Gentlemen,
Summer Music Academy will celebrate its first jubilee. It is with
pleasure
Dear Diego,
On 2008-02-05, at 21:51, Diego Cantalupi wrote:
Changing instrumentation in music of the time is as natural as
breathing.
Almost all title pages of printed music testify to it.
Not so easy... it's very difficult, if not impossible, to find any
music for
theorbo
in mensural
Tremendous thanks for this, Diego. Transcibing such in an old and
foreign language text from an original would be a nightmare for me.
Jurek
_
On 2008-02-05, at 21:56, Diego Cantalupi wrote:
That's the (difficult) text.
I'll try to upload he page later
ALLA NOBILE, SPLENDIDA E VIR
I couldn't quickly find a fitting example of a XVIth c. pair pavan-
galliard, but I have at hand Terzi's 1st book of tab. and their on p.
115-117: Ballo Tedesco… / Il Saltarello del prescrito ballo. They are
closly related thematically and it immadiately appeares that one bar/
measure of th
Original Message-
From: Jerzy Zak [mailto:[EMAIL PROTECTED]
Sent: Tuesday, February 05, 2008 6:31 PM
To: lute
Subject: [LUTE] Re: Playing in time
Thank you Jean-Marie,
After reading you and looking again to the Arthur's exemples, I
should have written:
1 galliard measure (one beat) = 1/
On 2008-02-05, at 14:21, tiorba wrote:
In fact my first performance of Castaldi's Capricci (in the same
programma with Pittoni) was with the tiorbino part played on
harpsichord - as it now appeares not to far from historical
practice. Very interesting, thanks, Rob.
Jurek
It's indeed ve
Thank you Jean-Marie,
After reading you and looking again to the Arthur's exemples, I
should have written:
1 galliard measure (one beat) = 1/2 of a pavan measure (one beat)
and in an original mensural notation would be:
3 half notes of a galliard (one beat to a measure) = 1 whole note of
a
On 2008-02-05, at 17:33, LGS-Europe wrote:
Recorder and viol players are often shocked at the slowness of
speeds requested by lutenists for broken consort music (Morley 1599
et al), and a compromise has to be reached.
<<
One of the top lute players once confessed to me why he is no longe
On 2008-02-05, at 15:15, Arthur Ness wrote:
http://memory.loc.gov/ammem/dihtml/divideos.html
Thank you, Arthur,
Then it is 1 galliard measure = 1/4 of a pavan measure.
In mensural notation (not modern, often changing values) it might be:
3 half notes of a galliard (one measure) = 1 half note
In fact my first performance of Castaldi's Capricci (in the same
programma with Pittoni) was with the tiorbino part played on
harpsichord - as it now appeares not to far from historical practice.
Very interesting, thanks, Rob.
Jurek
___
On 2008-02-05, at 10:55, Rob Lute wrote:
I ha
e on
the same course (3rd at fret 7) and then plays the same note on
course 2 (fret1) to start the next short phrase. This, I suggest,
shows he made a concious choice to start the next phrase at the
lower octave - in short double reentrant.
Personally, I rather like the octave leap at the
Martyn,
All this is very persuasive, but what about the story of a double re-
entrant instrument with double strings and the second course in
octaves, in G or A?
From my sketchy calculations it appeares it must be an instrument of
about 74 cm (stopped), considering on one side the breaking
Dear Stewart and Jaroslaw,
In a way you are both right advocating legitimate interpretations,
theoretically opposite. But they overlap and that common region is in
much degree subjective, depending on context, historicall or personal
styles, even some national propensities (compare the Ital
On 2008-02-01, at 11:26, Ron Fletcher wrote:
Hi Jerzy,
Your message has arrived on the list, so it should work in reverse.
Check your Junk-Mail folder. List messages to you could be treated
as spam.
You may need to re-set your spam-filter to allow these messages to
reach
your Inbox.
Ron (U
Strange,
I'm not receiving messages I am sending to the Liste - Am I doing
something wrog?
Jurek
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On 2008-01-31, at 20:42, Are Vidar Boye Hansen wrote:
A small price to pay for being able to play a three-note chord over
middle C in first position?
That's the point and the most promising bit. However the price
seems to me not small, indeed, and therefore my quest for someone
maybe expe
On 2008-01-31, at 20:15, Bernd Haegemann wrote:
Are these markings in historical tabulatures too? I do not
remember i
saw one.
I was thinking of the French ornamentation markings: offhand the
only one I can think of without searching through the music is a
slanted line separating vertical
Dear Howard,
On 2008-01-31, at 18:59, howard posner wrote:
On Jan 31, 2008, at 8:56 AM, Jerzy Zak wrote:
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I'm not sure what the "it" in your question is.
Martyn Hodgson in
On 2008-01-31, at 18:20, LGS-Europe wrote:
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I don't. I keep mine (76cm) in a, first two courses down. All gut,
415 to 466 tested. I don't see the point why not. I haven't seen
valid and or historical argum
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
Jurek
___
On 2008-01-31, at 17:25, LGS-Europe wrote:
I've already very clearly explained how small theorboes (ie up to
low 80s) were tuned (and even given sources for tablature) and
genera
Dear List,
No browser can open an address beginning with: ed2k://
like in this:
ed2k://|file|hurel.zip|32417611|382
This is taken from page:
http://luthlibrairie.free.fr/?Baroque:Fran%26ccedil%3Baise
somewhere under:
Fac simile disponible en P2P
Jurek
To get on or o
Dear List,
I know, the Christian MEYER catalogue of sources, both on paper and on
the net is a splendid tool for searching through music in tablature,
..but it doesn't mention (the www part) what is for lute and what is
for a theorbo. In case of Italian chitarrone music there is Kevin Mason
b
For me the simple answer is:
-- three quick note / one long / three quick note / one long / etc...
Unless sombody knows another source with a more precise notation of the
piece, there is no authoritative solution to the question. To my
knowledge that generation of lutenists had no way to notate
tried the note on my 'Edlinger' and must say all
the discussion on temperament not long ago on the Lute-Liste in this
case would have to be put into fairy-tales.
Jurek
___
- Original Message
From: Jerzy Zak <[EMAIL PROTECTED]>
To: Barocklautenliste Luteli
May be the other contrepartie has been ''(re)constructed'' ;-)) ?
Jurek
On 2007-11-26, at 18:08, Arthur Ness wrote:
Only two Visee contreparties are in Paris sources.
There is the wonderful finding tool that Christian Meyer
and his associates are making for our use. It is a
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