On 03/05/2012 11:51, David van Ooijen wrote:
Napoleon Coste was interested in music by Robert de Visee. See four of
his arrangements here:
[1]http://youtu.be/Ypx1_5daSpQ
David
Very elegant performance and playing. And it's great to hear you (and
Rob on ning) playing early 19th century
On 28/03/2012 18:16, wayne cripps wrote:
Actually I should qualify that by saying that I *believe* it is all by
Mesangeau,
and I believe that it is in his hand, not in a student's hand. One clue is the
squiggle at the end of each piece - it is a stylized M. I don't have my
references with me
Rob arranged some Scottish lute pieces for Baroque guitar a while ago.
Here's a go at an untitled piece, a courante, from Panmure 5.
Guitar made by Bill Samson. The burn is running into Loch Garry.
http://www.youtube.com/watch?v=JIT9JJq_uvk
Stuart
To get on or off this list see list
Here is an attempt at a mazurka by A. Sychra (who is supposed to have
invented the instrument - i.e. the seven strings and the G tuning).
Alexander Batov has kindly translated the title for me: You'd rather be
ready to dance and merry and found the original text/lyrics. It's about
a kozak
On 29/02/2012 13:32, Monica Hall wrote:
- Original Message - From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Sent: Wednesday, February 29, 2012 12:59 PM
Subject: Re: [VIHUELA] Re: 19th century Russian 'romance' for 7-string
guitar
On 29/02/2012 12:47
On 29/02/2012 16:44, Monica Hall wrote:
Quite pleasant to listen to but it sound just like the dreaded
classical
guitar. Excuse my ignorance but in what way are Russian guitars
different from ordinary ones?
I think that that small 19th century guitars sound quite a bit
different
from
that Oleg Timofeyev's PhD is a very interesting
read. You'd never guess it was a boring old PhD thesis!
Stuart
Best,
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Monica Hall
Sent: Wednesday, February 29, 2012 11:44 AM
To: Stuart
Here is an attempt at a mid 19th century Russian guitar arrangement of a
song (a 'romance') - on a mid 19th century Russian guitar. The arranger
is N. Alexandrov and the title is 'Heart' and the composer is A.L. Guriljev.
Many thanks to Alexander Batov for the the translations, the link to
On 10/01/2012 17:41, Chris Despopoulos wrote:
Very nice... I would love to see this ms some day. Your little guitar
sounds very nice.
As for tuning the mandore, I believe the Chancy ms has three different
tunings. His ms seems to be for a plectrum -- well, I was taught that
On 08/01/2012 12:48, Monica Hall wrote:
The Scottish, Skene mandore MS is more well known but the Ulm MS of
French mandore music (of the same time) is very good too. And the
pieces are much more carefully notated.
Here are a couple of courantes and a gavotte - played on a very small
The Scottish, Skene mandore MS is more well known but the Ulm MS of
French mandore music (of the same time) is very good too. And the pieces
are much more carefully notated.
Here are a couple of courantes and a gavotte - played on a very small
guitar with a string length of 37 cms. Perhaps
On 22/12/2011 08:07, David van Ooijen wrote:
Both videos removed by user.
What a pity, I would have loved to see Taro so his strumming.
David
Evidently they were drafts. These link should work.
Corbetta
Geminiani (!)
Ferr[n]andiere
http://www.youtube.com/watch?v=zSWsIH_HyQc
'English
On 22/12/2011 10:32, Stuart Walsh wrote:
On 22/12/2011 08:07, David van Ooijen wrote:
Both videos removed by user.
What a pity, I would have loved to see Taro so his strumming.
David
Evidently they were drafts. These link should work.
Corbetta __SORRY, improvisation
Taro has put up some videos, playing guitar and 18th century cittern.
The first video has extracts of music played on three different guitars
- some Corbetta, something from the second half of the18th century and
something (I think) from the early 19th century.
Taro has developed a striking
On 12/12/2011 17:24, Monica Hall wrote:
Having a quick look at Meucci's article again there are a few other
things which I think need to be clarified.
The first of these is that in Millioni's 1631 book the 4-course
instrument is referred to as
il Chitarrino, overo
On 11/12/2011 16:17, R. Mattes wrote:
Hmm, as if there where a fixed terminology at that time ... Thank's to
those silly humanists writers, from the end of the 15. century on
writers started to use 'chitarra' for all sorts of stinged instuments
(plucked). So we have chitarra for 'lute'
On 11/12/2011 16:54, Lex Eisenhardt wrote:
By its tuning, the chitarrino napolitana from Conserto vago does not
link up with the alfabeto tradition, as does Millioni’s chitarrino
Italiana. If Agazzari had a chitarrino napolitana in mind—hand plucked
or played with a plectrum, then there is
On 11/12/2011 18:39, Roman Turovsky wrote:
Ancient Greek lute, ancestor of Balkan tamburas.
RT
- Original Message - From: Stuart Walsh s.wa...@ntlworld.com
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, December 11, 2011 1:37 PM
, and I don't have the music handy,
but I
enjoyed this. I like your tempo.
Best,
Jocelyn
From: Stuart Walsh [1][1]s.wa...@ntlworld.com
Date: Thu, 8 Dec 2011 20:14:31 +
To: Vihuelalist [2][2]vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Capona
] escribió:
Hi Stuart,
I don't know what capona means, and I don't have the music handy, but I
enjoyed this. I like your tempo.
Best,
Jocelyn
From: Stuart Walsh[1]s.wa...@ntlworld.com
Date: Thu, 8 Dec 2011 20:14:31 +
To: Vihuelalist[2]vihuela@cs.dartmouth.edu
, and I don't have the music handy,
but I
enjoyed this. I like your tempo.
Best,
Jocelyn
From: Stuart Walsh [1][1]s.wa...@ntlworld.com
Date: Thu, 8 Dec 2011 20:14:31 +
To: Vihuelalist [2][2]vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Capona
):
rhythms, instrumentation, topics, maybe even the cultural group the
music originated from?
The eroticised other, indeed.
Yesteryear's hip hop?
Jocelyn
From: Monica Hall[1]mjlh...@tiscali.co.uk
Date: Fri, 9 Dec 2011 21:42:03 +
To: Stuart Walsh[2]s.wa
Timo Peedu has edited some Carbonchi pieces (to be found on his ning
early guitar page). Included are two short and simple but unusual pieces
with the title 'Capona'.
There are a couple of versions of a very fancy Capona by Kapsberger
(including one by Rob Mackillop).
Any ideas what Capona
The piece 'Bobel' is in Princess Anne's 'lute' book and I think it was
Jocelyn Nelson who identified it as the tune Christchurch Bells,
familiar from Playford. Monica transcribed and edited the Playford tunes
in Princess Anne's book and they are downloadable from her ning early
guitar site.
How would a strummer strum chords to these tunes composed (arranged?) by
Gervaise in the 1550s?
http://www.pluckedturkeys.co.uk/Gervaise/
They are strong melodies (Poulenc arranged some Gervaise dances for
piano - but not these particular tunes). Maybe you just strum a chord
according to the
Here is one of Roman's recent lute arrangements of Ukrainian folk melodies:
http://www.torban.org/balli/
which, I think, sounds well on a Baroque guitar:
http://www.youtube.com/watch?v=022QUw5Xz7Y
Stuart
To get on or off this list see list information at
test
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
, Chris Despopoulos despopoulos_chr...@yahoo.com
wrote:
From: Chris Despopoulos despopoulos_chr...@yahoo.com
Subject: [VIHUELA] Re: With/Without Bordones
To: Stuart Walsh s.wa...@ntlworld.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Saturday, 16 April, 2011, 20:19
Hi
Another thing that bothers me in general is the way in which the sound
in many recordings seems to be amplified. Even turning the volume
down doesn't in any way soften the music - it just makes it sound
indistinct and further away. The Foscarini CD e.g. sounded like heavy
metal whereas
It's probably old news but I've just noticed that the B minor Alemanda
on p.10 of Granata's Novi Capricci (guitar part alongside parts for
'violin e viola'= figured bass) is also on p.43 but this time in a
fancier version and here, unquestionably, a solo. Maybe some other
pieces at the
On 16/04/2011 16:56, Chris Despopoulos wrote:
I've recorded a few pieces now with a bordon on the D course -- Suite
by Roncalli, Paracumbe, and Folias by Sanz. These are compared to
similar recordings I did without the bordon. Oddly enough, the earth
did not crack open and
Eduard Agullo very kindly sent me some of his continuo realisations of
these Granata pieces with figured bass. I hope he doesn't mind if I use
one as the basis of a simple lute part for one of the Alemandas.
[1]http://www.youtube.com/watch?v=iJRV33Wi96Y
The piece sounds very
indeed expected to be played as a trio for the best effect.
Martyn
On 4/7/2011 3:36 PM, Stuart Walsh[1]s.wa...@ntlworld.com wrote:
Granata's Novi Capricci Armonici Musicali in vari toni per la chitarra
spagnola, violino and viola concertati et altra sonate per chitarra
Granata's Novi Capricci Armonici Musicali in vari toni per la chitarra
spagnola, violino and viola concertati et altra sonate per chitarra sola
1674 has pieces for solo guitar and, at the beginning, 12 pieces with a
guitar part on the left hand side and then in staff notation (treble and
On 06/03/2011 23:21, Nelson, Jocelyn wrote:
Hi Stuart,
I enjoyed this (what I could; my internet's a little slow tonight); thanks
for posting.
Grove online has Rush as a guitarist and listed in the works section are
several works for gui which I take to mean as an abbreviation for
guitar. Also
The cittern list seems to have withered... Here's a little sonata for
the wire-strung guitar/guittar from c.1765. It's for the guittar but
to be accompanied by another guittar or violin. Guittars and violins
don't have a lot in common but guittar pieces (usually sonatas) with an
that Martin plays is not a strumfest.
Stuart
Monica
regards
Martyn
--- On Fri, 4/3/11, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: Re: [VIHUELA] Re: Renaissance Guitar Podcast
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc
On 04/03/2011 09:14, Martyn Hodgson wrote:
Dear Stuart,
I'm sorry to have to write like this, but did you not follow the
postings I made when this was discussed earlier (months ago)? - I
pointed out some specific strum signs in mid 16th century 4 course
books. Two examples I
On 02/03/2011 19:06, Nelson, Jocelyn wrote:
Dear Early Guitar List,
If you click the link below, you¹re on your way to my 16 minute podcast,
which includes commentary and music from my recent CD, Ma Guiterre je te
chante. A transcript of my commentary is available on the site, as well.
This was
On 03/03/2011 20:18, Monica Hall wrote:
This subject has indeed come up on a number of occasions in the past -
we seem to keep going over and over the same topics.
Well that's alright with me!
What you mean is that there is no actual indication in the surviving
4-course repertoire that
On 20/02/2011 23:00, Chris Despopoulos wrote:
Hi all...
I posted a recording of the Paracumbe por la A from the Libro de
Diferentes Cifras, M/811 (1705). Just another re-entrant entry...
For what it's worth.
cud
--
Where?
Stuart
To get on or off this list see
__
From: Stuart Walsh [2]s.wa...@ntlworld.com
To: Chris Despopoulos [3]despopoulos_chr...@yahoo.com
Cc: Vihuelalist [4]vihuela@cs.dartmouth.edu
Sent: Mon, February 21, 2011 3:18:29 AM
Subject: Re: [VIHUELA] Paracumbe
On 20/02/2011 23:00, Chris Despopoulos wrote:
Hi all
On 18/02/2011 11:52, Monica Hall wrote:
Those of you who belong to the Lute Society will have received the
latest number of Lute News. (Apologies to those of you who aren't
members). This has a reproduction of the portrait of the actress
Dorothy Jordan playing an arch-cittern -
--- On Mon, 7/2/11, Stuart Walsh [1]s.wa...@ntlworld.com wrote:
From: Stuart Walsh [2]s.wa...@ntlworld.com
Subject: [VIHUELA] Re: The stringing of the baroque guitar - again
To: Monica Hall [3]mjlh...@tiscali.co.uk
Cc: Vihuelalist [4]vihuela@cs.dartmouth.edu
Date: Monday
!) of the strummed chords..
Martyn
--- On Mon, 7/2/11, Stuart Walsh [1][1]s.wa...@ntlworld.com wrote:
From: Stuart Walsh [2][2]s.wa...@ntlworld.com
Subject: [VIHUELA] Re: The stringing of the baroque guitar - again
To: Monica Hall [3][3]mjlh
On 07/02/2011 08:50, Martyn Hodgson wrote:
Isn't Corrette's guitar disposed like other second half 18th century
French guitars? ie basses on the thumb side like a lute. And the style
is now much simpler and with arppegios and the like
. M
There's a late 18th century diagram
On 06/02/2011 09:26, Monica Hall wrote:
Rafael Andia on his recording of de Visee's music has the bordon on
the thumb side and this doesn't seem to have an appreciable effect on
the music.
How interesting! I thought there was a sort of 'universal assent' (of
our times) on this - the
On 21/01/2011 11:52, Roman Turovsky wrote:
Entrada do Mrqs.Pombal by Paulo Galvão
is finally on Youtube
http://www.youtube.com/watch?v=GOtqXai7HXE
!!!
RT
A very assured performance and presentation. I tried to find out
something about Marco Meloni but there are many people with that name,
On 21/01/2011 22:32, Roman Turovsky wrote:
Well, on one hand there is a hierarchy of models to be emulated. And
Bartlotti is a bit uneven.
On the other hand Paulo had Iberian keyboard music in the back of his
mind, certainly not JSB.
RT
It was the Allemande from a 'lute' suite in G minor
On 12/01/2011 16:35, Nelson, Jocelyn wrote:
Certainly nothing wrong with dances and ballad tunes, as you demonstrate.
Is the tuning similar to the 4-course?
I'm not familiar with mandore literature, and now I'm looking forward to
learning more about it.
JN
Jean-Marie Poirier has a site
__
From: Stuart Walsh [2]s.wa...@ntlworld.com
To: Nelson, Jocelyn [3]nels...@ecu.edu
Cc: Vihuelalist [4]vihuela@cs.dartmouth.edu; Chris Despopoulos
[5]despopoulos_chr...@yahoo.com
Sent: Wed, January 12, 2011 11:52:10 AM
Subject: [VIHUELA] Re: some Ulm mandore pieces
On 12/01
On 11/01/2011 01:48, Nelson, Jocelyn wrote:
I really enjoyed this, Stuart. Thanks for posting!
Best,
Jocelyn
Thanks!
I have only one section of the Ulm collection and in that there are 123
pieces for five-course mandore (fingerstyle or mixed plectrum and
fingers) and a small number for
Thanks Chris
I should have said I'm not playing these pieces on a mandore, but on a
small, single-strung instrument, tuned like a mandore. My instrument has
a string length of 37cms and so is larger (and, no doubt, easier to
play) than a typical four-course, four-string mandore. On the other
On 25/11/2010 19:37, Nelson, Jocelyn wrote:
Dear Early Guitar List,
I’m very sad to report that James Tyler has passed away. I don’t know any
details; I have recently corresponded with him, and yesterday morning I
received this heartbreaking email from Joyce Tyler, sent from his own email
On 24/11/2010 12:54, Monica Hall wrote:
Rather surprisingly the one 17th century mention of this practice
[having the low note on the thumb side] is in Ruiz
de Ribayaz's Luz y norte musical.
It's astonishing really. Hundreds of guitar publications and MSS in the
seventeenth century and
On 23/11/2010 22:08, Alexander Batov wrote:
I quite agree with Martyn that the use of an octave on the third
course is a bit of an overkill with all-gut stringing, whatever SL is
there.
And lets not forget that the main purpose of octave stringing in olden
times was to enhance the sound
On 21/11/2010 09:45, Lex Eisenhardt wrote:
Even Carre has mentioned the 4th course bourdon, halfway his book.
Some have taken this as an indication that he wanted French tuning for accompani
ment
(compare Sanz). We can't be sure.
I only know the first publication of Carré. At the end of the
On 20/11/2010 22:07, Nelson, Jocelyn wrote:
Hello early guitarists,
I just received a query: “Do you know the earliest publications for lute and/or
guitar in which harmonics were used?”
Any thoughts?
Thanks,
Jocelyn
According to Oleg Timofeyev:
[Semion Aksionov] apparently invented the
Dear flat-back lutenists,
is there any repertoire/composer of baroque guitar that/who without any
modern disagreement definitely used the double re-entrant tuning - the
5th and 4th having only in the upper octaves? De Visee perhaps?
An interesting question. I'd like to see a list too. And a
On 28/10/2010 21:53, Monica Hall wrote:
Now for something completely different. Check this out now.
Apparently dates from 1972 when we were all young and innocent.
http://www.youtube.com/watch?v=sZgCpx8BN78
Monica
It says 1979. So perhaps 'we' were starting to get old and jaded by
Could be Vietnamese rather than Pakistani. Last June Jelma Almersfoot
gave a link to somewhere here in Britain selling these instruments but
the link is now broken.
I contacted the company and several phone calls and eleven emails
followed. I got the impression that the company (mainly
A short piece by the illustrious Joachim Peter Sautscheck (fl 18th
century) lovingly transcribed for five-course guitar by the equally
illustrious Antonio da Costa (very probably a relative of Pereyra da
Costa, Mestre Da Capella da se do Funchal)
http://www.youtube.com/watch?v=xtC9xDSYGf4
On 16/09/2010 21:54, Nelson, Jocelyn wrote:
Hi Everyone,
My music librarian is pondering whether to buy this, after receiving a
gift copy of the index. I haven't worked with this, but it looks like
it would be a good resource.
Do others on this list have an opinion?
Many
On 07/09/2010 08:33, Martyn Hodgson wrote:
Hmmm..
Well you may not read this Monica but someone might who can enlighten
us as to why Foscarini in particular uses two distinct notations for IN
THE SAME PIECE if they are to be played in precisely the same way! And
no, you
Subject: [VIHUELA] Re: Why two notations for the same play?
To: Stuart Walsh [5]s.wa...@ntlworld.com, Martyn Hodgson
[6]hodgsonmar...@yahoo.co.uk
Cc: Monica Hall [7]mjlh...@tiscali.co.uk, Vihuelalist
[8]vihuela@cs.dartmouth.edu
Date: Tuesday, 7 September, 2010, 13:37
The whole concert by Private Musicke (and brief description of it) can
be heard here.
The songs and pieces were played uninterrupted in each half. This,
presumably, is the Foscarini:
http://www.pluckedturkeys.co.uk/Ff.mp3
Stuart
To get on or off this list see list information at
Alfonso Marin wrote:
Dear all,
I have come across some beautiful Youtube videos of Lex Eisenhardt (my former
guitar teacher at the Conservatory of Amsterdam before I studied the lute) that
I well worth watching:
http://www.youtube.com/user/secondolibro
I hope you enjoy them!
Greetings,
a microcosm of the
work as a whole). Nevertheless the Toccata, Corrente and Sarabanda are
great little pieces (most of all the Sarabanda).
Stuart
Monica
- Original Message - From: Stuart Walsh s.wa...@ntlworld.com
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, August 13
I found this scordatura tuning very refreshing (and fresh sounding -
especially the chords) when I had a go at the pieces in it, a while
ago. I seem to remember you saying that you found it rather depressing.
Stuart
I think the music sounds rather sinister - if not funebre - especially
Here's 'Les Buffons' as in the Phalèse edition of 1570 and in Geisbert's
1969 trancription. Giesbert has added fingering and strumming symbols
that are not in the original.
http://www.pluckedturkeys.co.uk/PhaleseBouffons.jpg
Now some people, like (I hope I'm right in this) Monica and Martyn
. All are clearly intended to be strummed.
Printed sources are constrained by what is practical. They certainly
don't give us the whole picture!
Monica
- Original Message - From: Stuart Walsh s.wa...@ntlworld.com
To: Eugene C. Braig IV brai...@osu.edu
Cc: 'List LUTELIST' l
Eugene C. Braig IV wrote:
Craddock's recording is now super-hard to find. I would love to have a
copy, but can't seem to track one down at a reasonable price.
Also look into:
Lonardi, Massimo. 2006. Comiença la Musica para Guitarra. Stradivarius.
Massimo plays very well indeed but for
, but is sometimes a
bit
distracting.
Eugene
-Original Message-
From: [1]lute-...@cs.dartmouth.edu
[mailto:[2]lute-...@cs.dartmouth.edu] On
Behalf Of Stuart Walsh
Sent: Friday, July 30, 2010 11:20 AM
To: Eugene C. Braig IV
Cc: 'List LUTELIST'; 'Vihuelalist
. And so the chore in
front of me now is to learn more about those functions.
cud
*From:* Stuart Walsh s.wa...@ntlworld.com
*To:* Eugene C. Braig IV brai...@osu.edu
*Cc:* List LUTELIST l...@cs.dartmouth.edu; Vihuelalist
Here's one of Monica's transcriptions/reconstructions of Foscarini.
Decently played on a decent instrument, I'm sure it would make an
attractive, calm, easy-going amble.
http://www.youtube.com/watch?v=8AasnlO4d9c
Stuart
To get on or off this list see list information at
Monica Hall wrote:
Don't know whether the rest of you have already noticed this but Carpe
Diem have recently released a beautiful recording of music from
Corbetta's 1671 Guitarre royale played by Rosario Conte - the best
recording available now Antonio Ligios recording is no longer
Monica Hall wrote:
Don't know whether the rest of you have already noticed this but Carpe
Diem have recently released a beautiful recording of music from
Corbetta's 1671 Guitarre royale played by Rosario Conte - the best
recording available now Antonio Ligios recording is no longer
'The Lute' 47 (2007) has just appeared, devoted to the five course
guitar. Articles on tuning/stringing and notational matters, by Monica
Hall and by yours truly. It will be available from the Lute Society
webshop.
rgds, Lex
Fascinating reading. I'm enjoying all articles.
Stuart
To
are the two corrente (Fosco and Granata)
http://www.pluckedturkeys.co.uk/FoscoGran.jpg
(I hope I haven't made them too small). They are not the same - but very
similar - especially when you play them.
Stuart
- Original Message - From: Stuart Walsh s.wa...@ntlworld.com
To: Vihuelalist
From 24 Russian and Ukrainian songs arranged for 'Russian'
seven-string guitar by V.Morkov (1840-ish?). Some of these melodies had
already been set by Sychra, sometimes with fancy variations. Morkov's
version of 'Go home my [dear] cow is really quite different from
Sychra's melody.
Monica Hall wrote:
I have now added a big chunk of new stuff on my web page -
[1]www.monicahall.co.uk
It all forms part of my project with the title The baroque guitar made
simple
I'll certainly be reading it all. When you say baroque guitar made
simple, do you mean 'the
stuff is
extremely meticulously notated but maybe I was taking the notation too
literally.
And, perhaps we just need one lutelist.
Stuart
- Original Message - From: Stuart Walsh s.wa...@ntlworld.com
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, March 07, 2010 10:02 PM
bill kilpatrick wrote:
la folia gioventu - re-working of an original song with the trad. la
folia chord progression. duo recording with mandolin and as close as
i'll ever get to a vihuela or baroque guitar:
http://www.youtube.com/watch?v=kBqH--FsygY
- bill
Very attractive
Monica Hall wrote:
I have just added 3 more pieces to my Foscarini opus on my
[1]www.earlyguitar.ning.com
site - the ones in E major on p.117. They are right at the end. For
the time being I will put all new pieces at the end rather than stick
to page order of the book to
: Stuart Walsh s.wa...@ntlworld.com
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, January 03, 2010 11:02 AM
Subject: [VIHUELA] Foscarini Passacaglio
On the ning site Monica wrote: 'Passacalles literally means pass
through
the streets.' Interesting. And so you could be passing through
Stuart Walsh wrote:
Dear list members,
For those of you who are interested in the vihuela, I have just
published a new bilingual internet version of my 2003 book Tañer
vihuela según Juan Bermudo. It is a method of learning to play the
vihuela based on the pedagogical principles elaborated
Monica Hall wrote:
There is a very amusing cartoon about the re-entrant tuning in the
latest issue of Early Music Review. I hope I am not infringing their
copyright! But I have put it on my [1]www.earlyguitar.ning.com page
for the benefit of people who don't see this particular
Monica Hall wrote:
Fifty!
Monica
I can't access your ning page... it's just a blank. Is it because you
have been winding up the lute list?
Stuart
- Original Message - From: s.wa...@ntlworld.com
To: Vihuelalist vihuela@cs.dartmouth.edu; Monica Hall
mjlh...@tiscali.co.uk
Sent:
thing.
Stuart
- Original Message - From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, September 11, 2009 7:07 PM
Subject: [VIHUELA] Re: Foscarini
Monica Hall wrote:
Fifty!
Monica
I can't access
Ed Durbrow wrote:
Crawford Young said he has tried nearly every kind of plectrum and has
settled on the narrow end of an eagle feather stripped down. In fact,
he was using a nylon guitar string as a plectrum when I saw his concert
and all during the seminar I attended.
Yes, that
The topic of plectrums comes up every so often and I was really
surprised that for medieval (or early renaissance) music, some people
use the other end of the quill - not the bit you might use as a pen. So
I've having a go. I'm left-handed playing right-handedly so any kind of
plectrum is a
Monica Hall wrote:
Granata has not clearly indicated in any of his books that he favoured
one
method of stringing the 5-course guitar over another. It is
therefore an
open question.
I see - I understand what you are saying.
There is just one further aspect which I haven't explored.
for Russian guitars with
extra basses.
Stuart
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Stuart Walsh
Sent: Thursday, August 27, 2009 5:02 PM
To: Monica Hall
Cc: Vihuelalist
Subject: [VIHUELA] Re: Guitarre theorbee
Monica Hall wrote
- From: Stuart Walsh
I've just spent a few days away and wanted to take a small instrument
which was not too precious. I've just got 108 pieces pour
renaissance guitare arranged by Pascale Boquet (Vol 18 of Le Secret
des Muses) published by the French Lute Society. I haven't got a
four-course
.
Stuart
- Original Message - From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, May 29, 2009 4:58 PM
Subject: Re: [VIHUELA] Foscaring
Monica Hall wrote:
Just for the record - I have added 4 more pieces
Monica Hall wrote:
Just for the record - I have added 4 more pieces to my Foscarini
edition on [1]www.earlyguitar.ning.com
2 from Book 3 and 2 from Book 5.
I will probably give it a rest now for the time being. It's fun doing
them - but it's not great music.
From the Buxheim Orgelbuch (= plucked duo, as well as organ?). Some
technical issues - but anyway, here's 'Ein buer gein holtze' by Jacobus
Viletti (yes, him) - a singer in the chapel at Naples in 1480. The
melody has an unusually busy 'accompaniment' - which seems to be
happening
Monica Hall wrote:
i?
That's very brave of you. I started to read it a few years ago and
gave up. It's sitting looking reproachfully at me on the shelf!
Monica
- Original Message -
From: [1]Nelson, Jocelyn
To: [2]Eloy Cruz ; [3]Vihuela list ; [4]John
Rob MacKillop wrote:
I've uploaded four of Valderrabano's 'primero grado' sonetos:
[1]http://www.vihuela.eu/study.htm really excellent fantasias and
nowhere near as difficult as those by Fuenllana, Narvaez, Mudarra, etc.
Rob
--
I've been trying to play them on a lute.
marked as 'simple' only looked
simple in that they didn't use high positions.)
Anyway, Rob, I've attached an effort. I think it should be several
notches faster...and so, quite a tricky piece. Just my opinion, of
course, and open to debate on the matter!
Stuart
Rob
2009/5/23 Stuart Walsh [1
1 - 100 of 200 matches
Mail list logo
