Dom7th was attached to the sentence before, where it said 2nd line
bar 2. (p.69)
On Oct 24, 2006, at 2:30 AM, Monica Hall wrote:
>> 2nd line bar 2 works perfectly this way,
>>> making a dom7th. 5th line bar 3, it looks like a dot eliminating the
>>> first course which I would guess applies to t
Subject: [VIHUELA] Re: Why re-entrant tunings?
I
> > know it is a 6/4 chord but that wouldn't worry me.
>
> (p.69, line 5, bar 2. Last beat). Only that the low d on the 4th course,
> sounding under the bass g, is not going anywhere. (In re-entrant tuning
this
> problem would not exist...)
This
> The second bar on the 5th line seems unproblematic to me. I would play
the
> open 3rd and 4th courses. The c is just an ascending appogiatura to the
d.
> The chord progression is Ib IV(c) V I. The bass line goes F# G A D.
I
> know it is a 6/4 chord but that wouldn't worry me.
(p.69, line
Subject: *** SPAM *** [VIHUELA] Re: Why re-entrant tunings?
> 2nd line bar 2 works perfectly this way,
> > making a dom7th. 5th line bar 3, it looks like a dot eliminating the
> > first course which I would guess applies to the last eighth strum
> > too.
It's not a dominant 7th. It's a G major
Subject: Re: [VIHUELA] Re: Why re-entrant tunings?
> It should be p. 69, 2nd line, bar 2 (the note in the tablature system
> indicates the strum) and 5th line, bar 2 (idem, the last beat).
Of
course! I see what you mean. (I play this piece - I should be so dumb!).
The second bar on the 5th li
I find it a very natural technique to rest my thumb on
> the fifth course when I make a strum with two or three fingers. I
> wonder if Corbetta did that.
We don't really know. I would say that if any finger (or thumb) is supposed
to be on a string somewhere, there should be an indication in the t
On Oct 23, 2006, at 6:52 PM, Lex Eisenhardt wrote:
>
>>> Let me give just two
>> examples
>>> that can cause headaches: p.69 2nd line, bar 2 and, more painful,
>>> 5th
>> line,
>>> bar 3 (last beat). What to do with open courses? I can come up with
>> several
>>> solutions, but essentially it i
That is Corbetta's privilege granted on 21st September 1670. At the end it
should say Finally printed last day of October 1671.
Monica
- Original Message -
From: "Ed Durbrow" <[EMAIL PROTECTED]>
To: "Lex Eisenhardt" <[EMAIL PROTECTED]>; "vl"
Sent: Monday, October 23, 2006 1:21 PM
Subjec
>> So do you have a MIDI file you could upload somewhere? I'd be
>> interested in hearing it.
>>
>
> I'm afraid not. It is a Django file which I could send you if if
> you have
> the Django program but I can't convert them to PDF files.
>
On Oct 23, 2006, at 7:53 PM, Craig Allen wrote:
> You c
Okay we must be talking about different books. The last page in my
copy is written in French and says Septembre 1670 on the second line.
Pity. I'd like to see what you are talking about.
How many books did Corbetta publish? I have 1643, 1648 and La
Guitarre Royalle 1670.
On Oct 23, 2006, at
Monica wrote:
>
>> So do you have a MIDI file you could upload somewhere? I'd be
>> interested in hearing it.
>
>I'm afraid not. It is a Django file which I could send you if if you have
>the Django program but I can't convert them to PDF files.
Monica,
You can output any file to a Postscript pr
On Oct 22, 2006, at 5:45 PM, Monica Hall wrote:
> In fact I was thinking of the ones where he doubles the suspended
> 4th on the
> 3rd and 5th courses and then resolves it on the 3rd course but not
> the 5th.
> An example of this in the Passacaille is on line 3, 2nd bar. The
> notation
> im
> > Let me give just two
> examples
> > that can cause headaches: p.69 2nd line, bar 2 and, more painful, 5th
> line,
> > bar 3 (last beat). What to do with open courses? I can come up with
> several
> > solutions, but essentially it is unclear.
> Sorry - I'm a bit confused but I think you can't
Hi Lex
>
> I think it is not always easy to decide which open courses should be
> included in the strum when the tablature doesn't give information (for
> example when dots are missing, with Corbetta). Let me give just two
examples
> that can cause headaches: p.69 2nd line, bar 2 and, more painful,
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