Josh wrote:
afford a Lute but I was able to buy a 36 guitar about the size of an old
Baroque guitar
36inch as about 91cm ?! That's a pretty large string length ...
I have a 52cm 'children's' guitar beside my desk. Low tension strings, no
need to say top three of gut, tuned to g'. For a
Holborne's Last Will and Testament is a good one! As is the Countess of
Pembroke's Funerals.
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: lute
Good tip!
David
- Original Message -
From: Ron Andrico [EMAIL PROTECTED]
To: LGS-Europe [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent: Sunday, August 24, 2008 7:13 PM
Subject: RE: [LUTE] Re: life or death
Dear David:
'O dear life' from Musical Banquet appears in an intabulation
Last year (or was it two years ago?) they filled one of the major football
stadiums in Holland with loads and loads of guitarists, just to play Smoke
on the Water together. Perhaps time to put on my lute repertoire ...
David - smoke on the water, frets on fire
Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Saturday, August 16, 2008 10:57 PM
Subject: [LUTE] Re: When the poor cripple--possibly consort song
Hi Ed
No, the book is in Geman.
David
Is the book in English?
ed
At 02:23 PM 8/15/2008 +0200, you wrote:
I'm sure people will know, but it's just that I didn't and thought it
might be of interest to others, too. There's a nice booklet about the lute
makers in Fuessen with historical and
]
www.davidvanooijen.nl
- Original Message -
From: Henry Villca [EMAIL PROTECTED]
To: Edward Martin [EMAIL PROTECTED]; lute@cs.dartmouth.edu;
LGS-Europe [EMAIL PROTECTED]
Sent: Saturday, August 16, 2008 1:42 PM
Subject: Re: [LUTE] Re: Fuessen lute makers book
Hi
the audience. we should ask captain spock about it
On Aug 16, 2008, at 5:57 PM, LGS-Europe wrote:
John Dowland, A Pilgrimes Solace, nr. 16
Opening measure.
Lute starts on an E, goes down to D, next measure back to E. Makes a
nice line with the upper voice in the lute part.
Now look at the tenor
Herbert,
It's not in Van der Werf, but I found it in a little booklet by Friedrich
Gennrich (Exempla Altfranzoesischer Lyrik, Langen bei Frankfurt, 1965).
Find it attached as pdf.
enjoy
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
, this is the temperament my Korg MT-1200 calls Valotti Young, btw.
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
Best wishes,
Martin
LGS-Europe wrote:
Bruno wrote:
Talking about tuning, my Korg OT-120 has just
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
Best wishes,
Martin
LGS-Europe wrote:
Bruno wrote:
Talking about tuning, my Korg OT-120 has just arrived! Question is:
How do
I tune to meantone temperament? If I want 1/4.1/6 or 1/8 coma tuning
Bruno wrote:
Thanks for the info! Is the book from Ian Spink still availlable? I only
find used ones...
I wouldn't know. I found mine 18 years ago, new, in 'De Slegte', the Dutch
bookshop that stocks what we call shop daughters: remains from normal shops
and publishers that are sold cheaply
tablatures ought not be regarded like modern urtext editions
and that many lutenists, especially professional players,
would have added/arranged the accompaniments to suite their
individual tastes.
MH
--- On Sun, 27/7/08, LGS-Europe
[EMAIL PROTECTED] wrote:
From: LGS-Europe [EMAIL PROTECTED
jejune taste (p. 106)
Many of the contents of [Pilkington's] First Booke of Songs (1605) are
rather turgid (p.33)
And so on. Miserable. Frankly, I would avoid Spink and spend the time on
the music instead.
P
2008/7/27 LGS-Europe [EMAIL PROTECTED]
Bruno wrote:
Thanks for the info
Luthier, Martin Shepherd, has contributed a thought-provoking essay on
Dowland's lutes (which also touches on string lengths, pitches, etc) to
the
John Dowland website. I'm sure Martin would be very happy to answer any
questions you have after reading it. Please use this discussion group for
I couldn't find your scores on your page, just a reference to this email.
Can you tell us where they are?
They were hidden in the middle of my screen ... Sorry, found them.
Looking good, as ever, and lovely music, of course. I prefer the bass to be
under and the vocal part to be on top. Any
How so, Vance? I have a double first course lute too, and don't see the
connection. What's different in first and second or third courses?
David
I will offer my opinion on the right hand. I play a Lute with a doubled
first course. Having the ability to collapse the first joint of the digits
|--
- | / ||
-r ||--
-/ ||
-a-||--
- | a/a|
Mathias
LGS-Europe [EMAIL PROTECTED] schrieb:
Grand staff notation may be useful as far as renaissance music is
concerned, but with baroque lute music
No feathers ruffled here..
What's an EE degree?
Isn't it easier to fit an extra neck on an old guitar, and go for something
like 10 or 12 single strings? Keep it in E, first two strings down an octave
(use a D and an A string) and just use low E strings for the bourdons? You
could use the
this is Lute DSP
DSP? Digital signal processing? Divine sensory perception? DSP, Good
sir, what is that, I pray you tell me. [Did I pick up this thread in
mid flight? (Should that be mid spin?)]
So far I have come up with D Student Programme. Stuck with the D. Dilligent
is good candidate,
Dear Elly
A friend of mine would like to know if anyone knows of an edition of
Handel's /Messiah/ which has the figured bass rather than a
realisation ? He's wanting it for a performance where he'll be
accompanying on theorbo ...
I bought the Baerenreiter pocket score, largely unfigured, but
Figured bass continuo part
http://scores.ccarh.org/handel/messiah/continuo/cont21.pdf
Thank you, Arthur! Much clearer than my copied cello part with pencilled in
figures. I'll use this part next time.
I find Handel confusing at times: easy figures, very predictable, so almost
possible
Daniel wrote:
-- David - has a 61/106cm archlute with single basses
I see we are in the same ballpark. Is yours based on a particular
historical model? Mine was just a salvage operation, (done as a
favor), on an old, small 10 course.
It's a combination of my wishes and the maker's ideas,
I found these pictures and text explaining how to split a feather and make
one of the resulting halves of the tip (the bit stuck into the bird) into
a plectrum, much like a pen, very instructive:
one over 155cm. Size matters in small planes and taxis.
It certainly does. Toy planes are historically incorrect.
ROTFLOL!
Actually, the instrument took shape in my head when I visited the instrument
museum in Paris one fine afternoon before playing an evening concert on the
larger
Next, I appreciate that this piece is for Baroque Lute and that the
tuning is therefore I think different to 8 course, but can it be
transposed to 8 course?
No.
But it can be arranged for 8-course. Question is how well this can be done.
But it won't the same as the original, that's for sure.
I'm just an occasional dabbler in plectrum technique and I'm getting
really confused! Two related things are bothering me - which end of the
damned feather to use, and (difficult to phrase this one), wobbly or
stiff?
A guitar string (or presumably a lute string) or the thin end of a feather
Jolly, indeed.
Btw, what's all the advertisement on the right hand got to do with it, who
thinks these companies, or what they sell, have anything to do with
mandolins?
Trendy tankini of bikini
Extreme Micro Bikinis
Hot Celeb Girl Pics
Badkleding Salty Dog
Free Weekly Horoscope
David -
dt wrote:
I have been using David van Ooijen's system for some time now and it
works perfectly.
Glad it worked for you. Sounds like an advertisement actually, so here's my
part of the commercial: I've updated bit by bit my DIY mean-tone page,
included calculations for 1/6 pythagorean comma
made the remark that not all lute songs are for one to four voices. Point
taken; a few have a fifth part. Dowland's 'Welcome Black Night' comes to
mind.
Cleare or Coudie, also second book.
David
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
Dear Anthony
Forget the details.
If you're happy with your top string a little lower than whatever (i.e. just
below breaking point), but some table (i. e. mine) says that for some
particular flavour
of some particular temperament (i.e. 1/6 meantone) your top string should be
a little higher
Martin Shepherd brought up the subject a while ago, with the
thought-provoking comments by David Hill. Here's an eyes (ear?) wittness
report by someone who should know what lute songs are all about:
... Song was sung by an excellent counter-tenor voice, with rare varietie
of division. (Thomas
Stewart was kind of enough to find no less than nine spelling mistakes and
made the remark that not all lute songs are for one to four voices. Point
taken; a few have a fifth part. Dowland's 'Welcome Black Night' comes to
mind.
David
David van Ooijen
[EMAIL
And a lovely cd it is. Let her bring 10. ;-)
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
- Original Message -
From: Michal Gondko [EMAIL PROTECTED]
To: [LUTE] lute@cs.dartmouth.edu
Sent: Saturday, June
Kremberg comes to mind.
David
- Original Message -
From: Benjamin Narvey [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Sunday, June 08, 2008 12:09 AM
Subject: [BAROQUE-LUTE] baroque lute song accompaniments
Dear Collected Wisdom,
I'm trying to get my hands on some songs with
David T. wrote:
I take the quill and iron it with a heavy iron, then shape it.
First iron, or first split the feather?
Feather of what bird?
Do you use the tip or the end of the feather? Quill sounds like tip to me.
There are a number of other materials you can use, including thin
strips of
Martin
Thank you for forwarding David Hill's email, it does raise interesting
issues.
Just a few points. You wrote:
I have some reasons to believe that Dowland would have expected to hear his
songs about a tone or perhaps even a minor third below modern pitch
Why?
if we allow a
How do people make their (medieval) plectra? I have chopped up and sanded
down some turkey feathers, different techniques, different
thickness/stiffnes, but I'm only half convinced of the sound.
Advice much appreciated.
David - To be honest, I still like my Fender heavy best, but it looks soo
Me neither, pity indeed. Might have been fun. Like the Finnish cello octet
that plays Metallica. Awsome, as our Americans friends would say. ;-)
David
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
To: LGS-Europe [EMAIL PROTECTED]
Cc: lute@cs.dartmouth.edu
Sent: Thursday
Eugène wrote:
I have used goose quill prepared following this procedure:
http://www.mandolincafe.net/cgi-bin/ikonboard.cgi?s=263874652887a855b1a3a0ff8f6a6f14;act=ST;f=6;t=15088
..
etc. I have found excellent and consistent results using a particular
model of Bic pen:
Speaking of lute songs, does anyone know where to find a renaissance version
of What if a day with tab accompaniment?
You can use version in Poulton's Dowland book to make an accompaniment. It's
also in Valerius as Merck toch hoe Sterck, I'll send you the version I made
for a workshop once.
Bruno
I have many recordings of lute songs, but I don't recall
hearing the shades you mention (next time I'll hear them more carefully).
..
We have to be carefull with recordings because anything is possible in
terms
of blending (just to remember classical guitar and orquestra!), but live
is
''As for the proposed idea of soundboard bars getting loose, there are
some
precautionary measures against this in your guitar - bar end supports. So
with the kind of strumming / hitting that you do the bars should be fine,
unless you hit really hard.''
I should add that I don't actually hit
For the sceptics, those who don't want to do their own math, for the math
challenged, for the kind, and not so kind, messages on- as well as off-list,
in person even (hoi Taco!) but most of all for all of you who, with me,
consider this to be a complicated issue anyway and who welcome every bit
By the way, is it known, in which pitch Vivaldi's orchestra was using?
The short answer is no. To answer the question, we'd have to be sure
where he was when he wrote it (he toured around a great deal)
Search the archives. Last year (?) the collected wisdom answered my queries
about this
Anthony
Susato was born in Cologne
I read he was born is Soest (The Netherlands), hence his name.
We were both right, but I was wrong in assuming Soest in The Netherlands,
there is another Soest. This is what the New Grove has to say:
Susato, Tylman [Tielman]
(b c1510-1515, Soest, nr
Susato, Tielman (c.1500-c.1561): Dances from Danserye (1551),Pavane,
Gaillarde, et Ronde Mille ducas
Grey-bearded windband players are highly familiar with the venerable
Schott edition in two small booklets of this work with small print and
other faults,
Alamire has very affordable facsimiles
Dear Tony
I have the 1996 Minkoff facsimile. In its colofon it says it is printed with
the permission of the Piermont Morgan Library, New York, the owner of the
ms. It also says photocopy prohibited. If your copy has modern folio numbers
on the right hand bottom of every other page, it's a
Hi Anton
I would like to ask you for help. I have been playing
the Chaccone in G by Robert de Visee from the Saizenay
Manuscript. But I hear a much more extended version of
the piece performed by Yasunori Immamura and Jose
Miguel Moreno on thir CDs. It has beautiful minor
section with 16th
Thomas wrote:
You'll find many of his music (and a lot of unpublished and unknown music)
in Frankfurt
http://telemann.info/
http://www.stadtgeschichte-ffm.de/artikel/telemann.html
I regret I don't know if the Cantata in question is in the Frankfurt
collection.
No, it is not. But thanks for
LGS-Europe [EMAIL PROTECTED] wrote:
I'm to play the Heinichen concerto in D for flute, oboe, violins, cello,
theorbo and bc (Seibel 226) next month. Anybody ever did this before and
remember what instrument he/she used? It says tiorba in the autograph. The
range is A1 till a'. C and C# are both
I suppose most of us are aware of the Seicento edition of Francesco's
Gesammelte Lautenwerke. The content is a Ness copy, Ness order even, in
french tab only. It's cheap (ring bound) and available.
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
I'm to play the Heinichen concerto in D for flute, oboe, violins, cello,
theorbo and bc (Seibel 226) next month. Anybody ever did this before and
remember what instrument he/she used? It says tiorba in the autograph. The
range is A1 till a'. C and C# are both needed, as are E and E-flat, F and
Arthur wrote:
Separately I sent a reference for the authentic edition of the
Italian anthology (ed. Paton). The one you were looking for.
Yes, a good edition actually. It has the songs from Arie Antiche with good
translations, pronounciation guide, facsimile if available and a more 'hip'
These are the Italian originals Dering added English lyrics to in his
edition of 1620.
I'm interested in the names of the Italian composers. But the concert is in
two hours from now. ;-) Anybody?
David
- Original Message -
From: dc [EMAIL PROTECTED]
To: LGS-Europe [EMAIL PROTECTED
Must have sent too many mails today, as this one never arrived:
Stewart wrote:
The big problem is having a capo which provides enough pressure to hold
all the strings down without buzzing. Modern ones use elastic or a kind
of spring mechanism, but I don't know how feasible that was in the
Thank you, Benjamin, that was helpful in that I now know I'm not the only
one who doesn't know. ;-)
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
*NEWLY IDENTIFIED ITALIAN MADRIGALS *
Copy paste try
with a Japanese
singer with Japanese and Western music. Very intercultural, but basically a
good excuse to eat exclusively Japanese food for two weeks, of course. ;-)
nogmaals bedankt!
David
- Original Message -
From: Jelma van Amersfoort [EMAIL PROTECTED]
To: LGS-Europe [EMAIL
PLEASE look for it, Roman. Are you certain? It's from a dramma
giocoso dated ca. 1747. So in 1747 the accompaniment would
probably be orchestra.
Here's a poor score from those song antholgies:
http://www.el-atril.com/partituras/Pergolesi/Nina.pdf
Thank you, Arthur, but I have that, or its
Tomorrow I'll have a little concert with some three- and four-part songs,
which after a quick internet search I gather were taken taken from Musica
Britannica volume 25. The singers gave me the copies without knowing the
composers. Can someone with the book identify the composers from the
I have to reverse engineer a 'proper' bass line to Nina (canzonetta), long
wrongly attributed to Pergolesi but actually by Legrenzi Ciampi (1719-?).
All I have is the well-known Arie Antique version, but I am hpoing there is
a continuo bass to the original. I know the Arie Antique have a new
Dear all
Ed already mentioned it: Toyohiko Satoh released a new cd with music by Le
Sage de Richee. It's on his all-gut, original Greiff. In May I'll bring more
copies from Japan, but today I received a few already. It's 25 euro
including pp, 20 euro more for each additional cd (e.g.
Muchas Gracias!
David
- Original Message -
From: Arthur Ness [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Thursday, March 06, 2008 9:24 AM
Subject: [LUTE] On-line Spanish Keyboard Music
This multi-volume collection of Spanish keyboard music may be of
interest to some
Are wrote:
Mozart added a lute part to the flute ad libitum in the end: more broken
chords.
I guess this is Mozart's collected output of lute music!?
Three songs with mandolin. Does that qualify?
The LGS (that's us!) has publishged a collection of 21 songs with
accompaniments for 10-course
Mathias wrote:
Measures 5-8 (first solo) I'd feel kinda nude if I was supposed to play
the solo notes only.
[...]
The same applies to measure 10. Okay, I
give in, but then I'd REALLY have to play as LOUD as I can.
Why? The lute is solo but for the soft complaining flute. But, sure,
continuo
Rob wrote:
I've just been thinking about Bach's bass lines (not the lute/violin/cello
suites) and the impossibility of playing them as written on either a
baroque
lute (either swan or bass rider), an Italian theorbo or a German Continuo
theorbo - only the Gallichon seems capable, and even
I bought the Grove 1911 from NPC. Or, actually, received it as a free gift
when I bought the complete digital Bach I think. Anyway, some two-in-one
offer a while ago.
David T. is right: it is both entertaining and edifying to read the old
editions. But think of it: when new information is
Martyn wrote:
If you have anything like the Praetorius, Mace, Picinni, Talbot evidence on
large theorbos but clearly relating to smalI instruments in this tuning, I'd
like to see it please.
So far we have seen evidence of reentrant tuning for large theorbos, thank
you for the references.
Martin
I liked the ones without reverb, by far. The reverb sounds like you're in a
big room but play behind a screen: all muffled and shy, not at all like the
room acoustics would invite you to play!
Just my two eurocents (which many shops already don't accept anymore,
anyway).
David
FWIW, I play Pittoni with first two courses down, but refinger some passages
to make 'more sense' in a melodic way. I'm aware that it is my sense, not
Pittoni's, that I'm adjusting the music to. Here I am reminded of a wise
lesson of Bob Spencer: Any alteration you make in an original, you
To the benefit of those not interested in a peeing contest but in theories
on theorbo stringing, as I am, and not in the happy possesion of a list of
historical theorbos stating string length and setup, here's what the guys
are talking about (info taken from one of the Pohlmanns lying around
instrument, it works with your strings and
your instrument. There will be a working range of tunings, d and a included.
Anyway, nominal tunings are just naming conventions in a transposing world,
with a floating pitch on top of that!
David
MH
LGS-Europe [EMAIL PROTECTED] wrote
sure.
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
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
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 arguments against it. It would work in d too, I'm sure.
David
I understand you, David, very well, I've also got older living for
Lost in cybervoid. So her once more:
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 arguments against it. It would work in d too, I'm sure.
David
I understand you, David, very
The complete Bach-Gesellschaft Edition (1851-1900) has been for some time
in
the public domain.
I believe he rather wants to learn about safe sources of pirated music.
Mustafa,
this is not the place to ask for such things.
No, indeed, there are those among us that publish music and
Rocky
Your score has given me the idea to try your method, but making a font
with no noteheads for quarter note, eighth, etc., but to keep the half
and whole as they are.
Mass Mover = Utilities = Change = Noteheads = Selected Notehead
Here you can change black notehead to no notehead
They seem to harvest from publicly available material. I find myself in a
few clips taken from my site.
David
- Original Message -
From: G. Crona [EMAIL PROTECTED]
To: Lute@cs.dartmouth.edu
Sent: Tuesday, January 29, 2008 12:04 AM
Subject: [LUTE] Siting
OK, I'll join in after all. I already send my stringing off-list to Ed, but
as people seem to be just as shy, or confused about it as I am, here goes
nothing:
I have a 68cm Sellas model made by Stephen Barber. It's in 440, 415 or
whatever needed.
This is what's on it (all plain gut),
I have some of the discs from this box. The chamber music and a few
cantatas. Quite all right if you want it all, and want it cheap. Some is
really good, some is passable. Some are old recordings, some are purpose
made for the box. I think I'm in the cantatas. These cds are sold under the
Hi Rocky
Long time no see, great to hear you're playing.
I have used Finale for years (for music notation and tabs) and it
..
I also have created custom fonts to make some notation challenges easier.
I'm a heavy Finale user too, including tabs, especially since that has
become a lot
let's get two lutes? The Fasch conerto as well
as the Trauerode don't have really independant parts, so much doubling. Not
much musical need for two pluckers. So, anybody with more than a wild guess?
David
LGS-Europe [EMAIL PROTECTED] wrote:
Rather OT on the Karamazov list, but I'll give
Stephen
gimped basses from Gamut. I used an Edirol R-1 24-bit recorder, an M-Audio
Duo preamp, and an NTK Rode NTK microphone (something the guy in the guitar
shop sold me before I read David Taylor's advice)
FWIW, I am satisfied with my Rodes microphones, value for money I'd say. A
bit of
I have the Brussells MS of mandora music
Conservatoire Royal de Musique de Bruxelles MS 5.619
Beautiful and affordable facsimile from Editions Culture et Civilisation
(Bruxelles, 1979).
Also good if you want to play some easy baroque music on guitar (for
yourself or your guitar pupils!).
Oops, sorry to Pietro and David - I hope you are not offended by my
comment.
It did bring a broad smile to my face, though, which is not such a bad
thing
these days.
Rob
I was laughing out loud the full week of receiving the music, chuckling
during rehearsals and smiling during the concert.
is easier for G+, but
sounds not well for E+.
bast wishes
Pietro
-Messaggio originale-
Da: LGS-Europe [mailto:[EMAIL PROTECTED]
Inviato: lunedì 21 gennaio 2008 10.36
A: lute@cs.dartmouth.edu
Oggetto: [LUTE] Re: Albrechtsberger
Oops, sorry to Pietro and David - I hope you
Is this for real? The funniest baroque music I've ever heard:
http://www.amazon.co.uk/Albrechtsberger-Concertos-Jews-Harp-Mandora/dp/B
05975/ref=sr_1_1?ie=UTF8
It's for real. In 2006 I had the pleasure of playing one of
Albrechtsberger's concerto's for Jew's harp and Mandora. this is
Unfortunately my work it's in Italian only. It was written 12 years ago
and I'm now working again on it, for a printed version.
What you read is just a draft copy.
Pretty good for a draft copy, I'd say. Thank you for sharing this with us.
David
David van Ooijen
Well done. Nice playing in the piece from the Lochamer Liederbuch. And a
nice piece it is! Is the book available somewhere?
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
- Original Message -
From: wolfgang
Schuetz has already been mentioned, there's an a cappella Passion by him
that is great, but his smaller works give much to choose that you might
like. Praetorius has lots of 1/2/3/4/5/6 part music also very suitable for
making your own suite or 'passion' music. Four singers and a lute are
Welcome, Howard, and thank you for bringing this to our attention. I have
tuning forks in 415, 430 and 440, three tuners (the first, a programmable
second, a tiny clip-on third), tell myself I should only tune by ear, but am
sorely tempted by this new gadget ...
David
- Original Message
Rob
What a work, especially when you could also spend your time playing your new
lute...
Just some thoughts:
- Alfabetto is not always in agreement with the suggested harmony (or even
figures when printed) in bass and melody.
- There are more ways of figuring a Kapsberger song, so writing
As said: I don't really see why I should go to the considerable trouble
of listing the many scholarly papers and books which have dealt with this
In some usages Rome pitch was considerably higher than current A440
I wrote:
This is tantalizing (assuming you're talking about 17th-century
Dear Arto
I find my older lutes still improving, like good wines. The young ones still
have much to learn and need to grow. So don't sell your older Barbers yet,
if only because they might fetch a higher price when still older! ;-)
David
- Original Message -
From: [EMAIL
think more or less in d'). When it's really tricky I write out a
transposed bass, though. Still a lot to learn, then.
David - tired and cold, but happy, after a rehearsal of Bach's Magnificat.
To Andreas: I could play all!
More on this appears in the archives of FoMRHI Quarterly.
MH
LGS
It's not exactly what you're looking for, but comes close.
Fuzea Editions of France has a (cheap at 17,50 euros) edition of 50
Standards of the Renaisance and Baroque eras. Theme + bass and figures.
Variations of the themes and variations on the themes. Some in different
keys. Very convenient
Rather OT, but does anybody have for me the full text to 'Ave, ancilla
trinitatis'?
I have seen references to an antiphon, Ave Maria, Ancilla Trinitatis, if
the same you have more hits to peruse.
Dear Dana
It's almost the same, but not quite. It does help, though. Thanks. And I
found a
In case someone doesn't know it, there's an enjoyable paper by Ross
Duffin online:
Why I hate Valotti (or is it Young?):
http://music.cwru.edu/duffin/
Regards, Stephan
How nice to be validated! Thank you so much for the above reference-
great article. When I was actively messing around with
to
tune to your chaotic fretting).
MH
LGS-Europe [EMAIL PROTECTED] wrote:
Sorry, this mail went to Martyn only. I always try to keep sending just
one
copy, and to the list. Wrong button.
Martyn wrote in responce (I didn't find that mail in my Lute List folder
either)
As I originally
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
MH
LGS-Europe [EMAIL PROTECTED] wrote:
I don't yet see how the second fret can be minus 7 for B and plus 7
for G but once I try it perhaps I will see.
Deviations from ET
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