Sorry about that - didn't copy right...
Monica
- Original Message -
From: [1]Waling Tiersma
To: [2]Monica Hall
Cc: [3]Lex Eisenhardt ; [4]Vihuelalist
Sent: Wednesday, October 19, 2011 4:09 PM
Subject: Re: [VIHUELA] Bach Chaconne
Hi Monica,
Some
Yes! the recording is a bit rough and You Tube doesn't always do the
music full justice.
M
- Original Message -
From: [1]Chris Despopoulos
To: [2]Monica Hall
Sent: Wednesday, October 19, 2011 4:30 PM
Subject: Re: [VIHUELA] Re: Bach Chaconne
I'll second
I think he means a fully re-entrant tuning although I thought I
detected a high octave string on the third course in one place.
Monica
- Original Message -
From: [1]Martyn Hodgson
To: [2]Monica Hall
Sent: Wednesday, October 19, 2011 6:08 PM
Subject: Re:
Yes, he has an octave on the third course. He told me so. What a
performance! Dominic is amazing. Too bad YouTube limits it to 11
minutes.
On Oct 20, 2011, at 3:11 AM, Monica Hall wrote:
I think he means a fully re-entrant tuning although I thought I
detected a high
Google translates the title as 'Chatter of women'. Is that more or less
correct? I would call that non-PC if there is no 'Chatter of men' piece
to go along with it. Equal rights for men, we chatter too.
Anyway, very attractive music and well played as usual.
On Sep 27, 2011, at
It's safe now to exhale...
I think Lex is trying to argue that the French tuning originated with
Carre and Corbetta just copied it because he thought this would make his
music more acceptable to French players although it wasn't the tuning he
used himself.
Almost. I try to argue that
plagiarism?
That is the most obvious explanation although there could be others. I
think very little of Carre's work is original.
I don't think there is much doubt that Corbetta's book is earlier than
Carre's.
I don't see why we should believe that.
As I have explained several times
There was a market for publishing guitar music in mixed style in Italy,
from 1630 on. Not in France.
How do you know? It may be that due to the economic situation in
France -
especially during the Fronde - that it wasn't practical to print music but
that
doesn't prove that players were
...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Tuesday, 6 September 2011, 13:59
Subject: [VIHUELA] Re: Carre 'Anche' -
February 1671 indeed. We know that the printing of Corbetta's book
was completed 31 October 1671. We don't know what he has changed or
added between
@cs.dartmouth.edu
Sent: Tuesday, September 06, 2011 10:38 AM
Subject: [VIHUELA] Re: Carre 'Anche' - etc.
Hello you two,
I've been away a couple of days: can you kindly remind me of the
principal issue in this latest exchange? It surely can't be that you
aim to base an entire case on Carre's
; Monica Hall
mjlh...@tiscali.co.uk; Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Tuesday, September 06, 2011 3:45 PM
Subject: Re: [VIHUELA] Re: Carre 'Anche' - etc.
Only the European Court at he Hague knows the principal issue here, and it
issued
times in the Gallot ms. and in Elizabeth
Cromwell's book.
Vale
Monica
- Original Message -
From: Martyn Hodgson
To: Monica Hall ; Lex Eisenhardt
Cc: Vihuelalist
Sent: Tuesday, September 06, 2011 3:38 PM
Subject: Re: [VIHUELA] Re: Carre 'Anche' - etc.
Hello you two,
I've
I knew I shouldn't have held my breath
RT
From: Monica Hall mjlh...@tiscali.co.uk
One other small point - I said
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
, 6 September 2011, 17:02
Subject: [VIHUELA] Re: Carre 'Anche' - etc.
I knew I shouldn't have held my breath
RT
From: Monica Hall [1]mjlh...@tiscali.co.uk
One other small point - I said
To get on or off this list see list information at
[2]http://www.cs.dartmouth.edu
Subject: [VIHUELA] Re: Lute 2008 - Carre etc.
1.The reference to the law suit between Carre and Corbetta and the
printer Bonneuil which isn't widely known and does indicate that Corbetta
and Carre were aware of one another's work and probably knew one another.
2.Details of sources
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, September 04, 2011 9:14 PM
Subject: [VIHUELA] Re: 'Anche'
Re reading what I wrote this morning, in a hurry and struggling with a
recalcitrant mail programme, I see
Carre first book is not dedicated to Elizabeth Charlotte. I suggested
this in my introduction after consulting someone in France and
considering the
options.
However subsequently I realized that the Princesse Palatine must
actually
be
Anna Gonzaga, the sister of the Duke of Mantua who
As I have
pointed out music printed in Italy would have been readily available
elsewhere and some Italian books specifically include helpful information
for French and other players. People from England and France regularly
travelled abroad and studied with Italian lutenists/guitarists.
Who
Dear list
Monica's discussion of Corbetta's Italian preface has drawn my
attention to
the Italian word 'anche', which she has left out.
I would translate: 'Take care to put a thin octave string [i.e.
bourdon] on
the second string [i.e. fourth course] which is D sol re, because
Re reading what I wrote this morning, in a hurry and struggling with a
recalcitrant mail programme, I see that the message was perhaps not entirely
clear. Again, in short, I wonder if Corbetta would have known what was in
Carré's 1671 book, before he had his own printed. And if he could have
Well - I hope that when you write your letter you make it clear that Carre
has included a piece by Corbetta in his first book which includes his
observations on stringing. This is from Corbetta's 1648 book and Carre
evidently thought it OK to play it with a fully re-entrant tuning.
You have
1.The reference to the law suit between Carre and Corbetta and the
printer Bonneuil which isn't widely known and does indicate that Corbetta
and Carre were aware of one another's work and probably knew one another.
2.Details of sources from which Castillion has copied information.
Dear list,
I will prepare a Letter to the Editor of The Lute.
Meanwhile it will be clear to you all that Monica and I reach widely
different conclusions, based on more or less the same historic information.
In my article I have indeed surveyed the literature. I don't see what would
be wrong with
I don't want to get into a detailed discussion over this. But I think it
would have been more appropriate of Lex to have raised this with the Lute
Society in the first instance rather than launching an attack on me on this
list.
I will however say that I am sorry that the short article came
, August 30, 2011 6:12 PM
Subject: Re: [VIHUELA] Re: the lute 48
Monica,
I read no attack in Lex's posting.
To me it seems to be a calm response to issues and statements where the
two of you disagree.
I am not a member of the Lute Society, so I cannot comment on any of the
details. But I can
.
But until I have read it all I must reserve judgement.
Monica
- Original Message -
From: [1]Martyn Hodgson
To: [2]Monica Hall
Sent: Tuesday, July 05, 2011 9:11 AM
Subject: Re: [VIHUELA] Re: alfabeto
As you said, I just had to be patient. But at 311
Subject: Re: [VIHUELA] Re: alfabeto
Thanks Monica,
I tried to open it - got to the page - clicked the link and - nothing!
I'll try again later.
I'll be interested to see if she restricts herself to alfabeto or
includes other systems for notating chordal song accompaniment (eg
Roncalli doesn't include a table of alfabeto chords. Presumably they were
so well known by then that he didn't think it necessary.
I think this particular chord is meant to be E = D minor. A D major chord
sounds odd to me. If you look on page 55 (if you can) you can see a
similarly shaped
On Jun 16, 2011, at 10:44 PM, Monica Hall wrote:
I think this particular chord is meant to be E = D minor. A D major
chord
sounds odd to me. If you look on page 55 (if you can) you can see a
similarly shaped E.
I only have pages 25-32.
The shapes of the letters vary a
-
From: Ed Durbrow edurb...@sea.plala.or.jp
To: Monica Hall mjlh...@tiscali.co.uk; vl vihuela@cs.dartmouth.edu
Sent: Thursday, June 16, 2011 3:32 PM
Subject: [VIHUELA] Re: Roncali chords
On Jun 16, 2011, at 10:44 PM, Monica Hall wrote:
I think this particular chord is meant to be E = D minor
was considered a bit radical in his day.
Best,
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Chris Despopoulos
Sent: Wednesday, May 11, 2011 6:19 PM
To: wikla; Vihuelalist
Subject: [VIHUELA] Re: Baroque guitar culture
Subject: [VIHUELA] Re: Baroque guitar culture and habits?
I'm reminded of the engraving of a riot/melee between those who support
use of the nails and those who do not. Face it... Guitarists are a
weird bunch.
How to you get a guitarists to be quiet? Hand him some sheet music.
What do
. The chord (Alfabeto .C.)
combined with the bass line (alone) is then D7/4 - perfectly
acceptable and then cadencing through D to the tonic G.
M
--- On Wed, 11/5/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Passing
But my dear Arto
- there really is no problem between debating conflicting views and
'friendship' - you can have both. It's only when personal abuse
appears (as it did in some Lute list exchanges a number of years ago)
that we ought to throw in the towel.
However, I do agree
Dear Martyn,
Well, my comment was not about contents but style of writing... And it
really was not so very serious... These conversations sometimes actually
are quite entertaining, too.
All the best,
Arto
On 12/05/11 11:24, Martyn Hodgson wrote:
But my dear Arto
- there really
Dear Monica,
On going through my backlog of messages, I see you sent a couple
further to our discussion Marini's Scherzi 1622 whilst I was away.
In general I think we seem to agree on many points, except:
1. I can find no prohibition to employing an instrument to play the
Well - I'm not sure that there is any point in reviving this discussion -
especially as I disagree with most of what you say. But for what it is
worth...
1. I can find no prohibition to employing an instrument to play the
bass line alone even when the guitar is used to play the alfabeto.
On 11 May 2011 15:49, Monica Hall mjlh...@tiscali.co.uk wrote:
The alfabeto is misleading.
As ever
Which is a good summary of the discussion. ;-)
David
--
***
David van Ooijen
davidvanooi...@gmail.com
www.davidvanooijen.nl
***
To
mjlh...@tiscali.co.uk
Cc: Martyn Hodgson hodgsonmar...@yahoo.co.uk; Vihuelalist
vihuela@cs.dartmouth.edu
Sent: Wednesday, May 11, 2011 3:05 PM
Subject: [VIHUELA] Re: Passing dissonances (was Marini, Granata etc)
On 11 May 2011 15:49, Monica Hall mjlh...@tiscali.co.uk wrote:
The alfabeto
On Wed, 11 May 2011 15:43:48 +0100, Monica Hall wrote
Well - if any one else wants to see my musical example I put it on
my www.earlyguitar.ning.com page with the scores - the first in the
list.
Comments and corrections to the harmony welcome.
Hello,
where do these figurs come from -
Hall mjlh...@tiscali.co.uk; David van Ooijen
davidvanooi...@gmail.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, May 11, 2011 4:51 PM
Subject: [VIHUELA] Re: Passing dissonances (was Marini, Granata etc)
On Wed, 11 May 2011 15:43:48 +0100, Monica Hall wrote
Well - if any one else
...@tiscali.co.uk; David van Ooijen
davidvanooi...@gmail.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, May 11, 2011 4:51 PM
Subject: [VIHUELA] Re: Passing dissonances (was Marini, Granata etc)
On Wed, 11 May 2011 15:43:48 +0100, Monica Hall wrote
Well - if any one else wants
To: Monica Hall mjlh...@tiscali.co.uk; David van Ooijen
davidvanooi...@gmail.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, May 11, 2011 4:51 PM
Subject: [VIHUELA] Re: Passing dissonances (was Marini, Granata etc)
On Wed, 11 May 2011 15:43:48 +0100, Monica Hall wrote
Well - if any
'brightness' might explain this
practice.
regards
Martyn
--- On Mon, 9/5/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Guitar continuo example
To: Rockford Mjos rm...@comcast.net
Cc: Vihuelalist vihuela
--- On Mon, 9/5/11, R. Mattes r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: [VIHUELA] Re: Guitar continuo example
To: Rockford Mjos rm...@comcast.net, Monica Hall
mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 9 May
for
the practice.
I might sound grumpy but this seems to become a unhealthy habbit recently.
Cheers, Ralf Mattes
MH
--- On Mon, 9/5/11, R. Mattes r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: [VIHUELA] Re: Guitar continuo example
To: Rockford Mjos rm
-5graysinnsquare.co.uk/news/index.cfm?id=1391
regards
Martyn
--- On Tue, 10/5/11, R. Mattes r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: Re: [VIHUELA] Re: Guitar continuo example
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Rockford Mjos
rm
On Tue, 10 May 2011 14:37:10 +0100 (BST), Martyn Hodgson wrote
If you're interested in the bacground and legal arguments, there are
summaries of the case, known as Sawkins v Hyperion Records Ltd 2005,
on various sites such as
www.4-5graysinnsquare.co.uk/news/index.cfm?id=1391
Thanks
I believe they (Ex-Cathedra dir. Jeff Skidmore) did use the edition not, of
course, expecting all the subsequent trouble.
Mh
--- On Tue, 10/5/11, R. Mattes r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: Re: [VIHUELA] Re: Guitar continuo example
To: Martyn Hodgson
@cs.dartmouth.edu
Sent: Tuesday, May 10, 2011 10:03 AM
Subject: [VIHUELA] Re: Guitar continuo example
On Tue, 10 May 2011 14:37:10 +0100 (BST), Martyn Hodgson wrote
If you're interested in the bacground and legal arguments, there are
summaries of the case, known as Sawkins v Hyperion
To: [2]Monica Hall
Cc: [3]Vihuelalist
Sent: Tuesday, May 10, 2011 9:20 AM
Subject: Re: [VIHUELA] Re: Guitar continuo example
Hello Monica,
I've just returned from an extended Easter break and am catching up
with emails, but this is more interesting than most
Pitch
Thanks for sharing the info with us. Your delving into this
collection is enormously useful.
It does look as if the guitar is supposed to be playing along with
everyone else. But the list of artists in Albrici's ensemble paid in 1653
includes Bartolotti as the only theorbo player, one
If we are looking for possible guitarists to take that second hand-
plucked part, Reggio comes to mind, though listed in the court
payroll as a bass (singer) [See STMF 1961, p. 308]
Kenneth Sparr had this comment:
During the period 1652-1654 Queen Christine of Sweden had a company
of
Yes - that seems very likely. Singers/players would be listed in
payrolls under just one heading. Multi tasking. Out of 16 people
listed 13 are singers.
Having looked more closely at the guitar part - it doesn't look very
suitable for guitar - it goes down to E below the
Kremberg and others assume a guitar tuned in D so, of course, a
transposing part would mean thinking E-tuned guitar shapes on a D
instrument (for example).
When I play continuo on guitar I transpose out of range bass lines
(in my head) as needed.
I also wonder about the Tacet instructions.
On Mon, 9 May 2011 12:56:20 -0500, Rockford Mjos wrote
Kremberg and others assume a guitar tuned in D so, of course, a
transposing part would mean thinking E-tuned guitar shapes on a D
instrument (for example).
And the spinetta is also a transposing instrument?
Might well be parts written
attempts would be.
__
From: Ed Durbrow edurb...@sea.plala.or.jp
To: Monica Hall mjlh...@tiscali.co.uk; vl vihuela@cs.dartmouth.edu
Sent: Thu, April 28, 2011 10:07:11 PM
Subject: [VIHUELA] Re: Strumming techniques
You should play 4 down/up/down/up strokes on the 1st, 2nd and 3rd
courses and 2 - down/up on the 4th/5th.
Thanks for semi-clearing this up. Well, at least the down/up part makes
sense and that was the way I was doing it. It is often confusing in
these old sources as to what
On Apr 29, 2011, at 9:19 PM, Monica Hall wrote:
You should play 4 down/up/down/up strokes on the 1st, 2nd and 3rd
courses and 2 - down/up on the 4th/5th.
Thanks for semi-clearing this up. Well, at least the down/up part
makes
sense and that was the way I
If you look at the example on p.177 of James Tyler's book - the first
two bars are incorrect because he misunderstood the Italian. It's the
top courses first then the bottom ones. The next long bar is correct.
Which book is that? My copy of _The Early Guitar A History and
Handbook_
Stephen Stubbs, while we were playing through some Kapsberger songs,
suggested that these dissonances were meant to be. The one I recall the
most was a G major in the alfabeto against a g minor in the written
continuo.
Well - I think he is wrong!!! Simply - whoever added the alfabeto did so
chord)
yrs ttcod
Martyn
--- On Wed, 27/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Passing dissonances (was Marini, Granata etc)
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela
...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Passing dissonances (was Marini, Granata etc)
To: Dominic Robillard ubaldrosa...@hotmail.de
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Thursday, 28 April, 2011, 10:46
Stephen Stubbs
On Apr 25, 2011, at 10:47 PM, Monica Hall wrote:
You should play 4 down/up/down/up strokes on the 1st, 2nd and 3rd
courses and 2 - down/up on the 4th/5th.
That's assuming that Corbetta himself has not got in a muddle.
Hope
that helps.
Thanks for
after the preceding two notes if at the upper
octave - as Vn part).
regards
Martyn
--- On Mon, 25/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century
Incidentally, I'm not suggesting bowed bass for the songs if the
theorbo is present - only if the guitar is used without the theorbo.
And if the guitar and theorbo were both present then the theorbo need
only play the bass line - a mode which is documented. Indeed to avoid
too much
you believe?
regards
Martyn
--- On Tue, 26/4/11, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Martyn Hodgson hodgsonmar
--- On Mon, 25/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist
Dear Martyn
My observations were withing the context of songs with an independent
basso part in addition to the guitar alfabeto, such as the Marini 1622
collection. Clearly, if only the alfabeto were present then I'd
generally expect only the guitar. I'd be very grateful if you'd read
Subject: [VIHUELA] Re: Composition of short songs in early 17th century
Italy - was Marini - was Grenerin
Dear Both of You
I have no idea what they believe, but in their (and others') writings I
see no word about having found references to the guitar + bowed string,
and I suppose anyone
the composer's intentions.
regards
Martyn
--- On Tue, 26/4/11, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
the revolver?.
--- On Tue, 26/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Lex Eisenhardt eisenha...@planet.nl
time
Regards with a smile
Monica
--- On Tue, 26/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Martyn Hodgson
with anything other than complete
acceptance of this nice anticipatory bass line.
regards
Martyn
--- On Sun, 24/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy
...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Vihuela Dmth vihuela@cs.dartmouth.edu, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Date: Sunday, 24
to you
Martyn
--- On Sun, 24/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Lex Eisenhardt eisenha...@planet.nl
Cc
player in an established ensemble (both incidentally also academic
musicologists!)
And this is supposed to be a recommendation ... ?
;-)
David - sorry, couldn't resist
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
When you've time and the personnel to hand (mezzo and a bowed bass)
might I suggest you try the piece exactly as written.
I thought you were suggesting voice, guitar and theorbo.
Do you think the combination of guitar and bowed bass would be a better
option in this repertoire?
best,
I can mail you a scan privately if you want.
Alexis Blumberg
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Ed Durbrow
Sent: maandag 25 april 2011 2:59
To: ROMAN TUROVSKY; vl
Subject: [VIHUELA] La Cocq Chaccone
Man, I thought the
, David van Ooijen davidvanooi...@gmail.com wrote:
From: David van Ooijen davidvanooi...@gmail.com
Subject: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 25 April, 2011
of another plucker I'm certainly not going to put the guitar down and
pick up the theorbo inbetween each song verse.
rgds
M
--- On Mon, 25/4/11, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: Re: [VIHUELA] Re
On the face of it chitarrone/theorbo might seem appropriate for M's
songs (since, of course, it is mentioned on the title page either with
guitar or as the [preferred?] alternative)
I was thinking of the theorbo playing a harmony on G while the guitar would
be doing an F major at the
--- On Mon, 25/4/11, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Vihuela Dmth vihuela@cs.dartmouth.edu, Martyn Hodgson
Dear Martyn
No real disagreement with what you say in the first part of your
mailing below since we've secured general agreement that no one
believes the melodies were created from the alfabeto chord sequences.
Sorry - but I think you have misunderstood some of what I am saying. Some
On Apr 18, 2011, at 1:07 AM, Monica Hall wrote:
In another chaconne [p.75] there is another batterie which I have
printed
previously (desia). etc.
I don't quite understand this. At another point in the instructions,
doesn't he state that stems going down are downstrokes
I was thinking of the theorbo playing a harmony on G while the guitar
would be doing an F major at the same moment.
If we are still talking about Marini surely the theorbo and guitar are not
meant to be playing together. It's either or - or have I lost the plot
completely? Are you not
...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 25 April, 2011, 14:40
Dear Martyn
No real
...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu, Martyn Hodgson
Re the second half of M's Il Verno - I think you're wrong and are
imposing a retrospective modern judgement on an earlier style.
Meanwhile - happy to say that I have come up with the perfect solution for
me at least.
On F you play iib7
On G you play V7/4 i.e. the F and the C in the
carefully worked out and am rather proud of!. (See my last message).
Rgds
M
.
--- On Mon, 25/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini
: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 25 April, 2011, 15:40
Re the second half of M's Il Verno - I think you're
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 25 April, 2011, 15:40
Re the second half of M's Il Verno - I think you're
Are you sure? The rhythm of the bass is not hemiolic, and the F major
harmony (or rather D minor, as you remarked earlier) is implied for one
beat only. The F major is somewhat ambiguous indeed, with the melody note
d'.
May be I missed something here - but I did a quick transcription. Are
, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu, Martyn
Subject: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Vihuela Dmth vihuela@cs.dartmouth.edu, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Date: Sunday, 24 April, 2011, 10:55
Dear Martyn,
I feel the confusion was mainly
Dear Martyn,
thanks for your patience
Your response seemed, to me, to say that you did indeed think that an
alfabeto asequence was created to which tunes (and bass) were later
added. If I now understand you, yopu do not think this was the case and
agree with me that in these light airs
Dear Both of You
A couple of points
Your response seemed, to me, to say that you did indeed think that an
alfabeto asequence was created to which tunes (and bass) were later
added.
I think the point is not that alfabeto sequences were created out of the
blue and then melodies added to
hodgsonmar...@yahoo.co.uk
Sent: Friday, April 22, 2011 1:52 AM
Subject: [VIHUELA] Re: Marini - was Grenerin
I didn't mean to accuse anyone of being theorbocentric
To begin with the dry statistics:
- there were hundreds--if not thousands--players of the guitar in Italy.
Probably many more than
From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk
Subject: Re: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Lex Eisenhardt eisenha...@planet.nl
Date: Saturday, 23 April, 2011, 9:57
Thank you for this Lex,
I think we
This message is long. If you don't like tedious messages, please press
'delete' immediately
Even if you had not found a single source which specifically
mentioned the guitar as one of the possible instruments to use for the
accompaniment you still can't prove that the guitar was never used
601 - 700 of 2733 matches
Mail list logo
