Being a robot and lacking a friendly, smiling face, I am very grateful for
the impersonal nature of e-mail. (Just kidding. ...kinda.)
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Stewart McCoy
Sent: Tuesday, December 20,
Or, in my case, Carpe carpio!
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Monica Hall
Sent: Tuesday, November 29, 2011 8:07 AM
To: Eugene C. Braig IV
Cc: Vihuelalist
Subject: [VIHUELA] Re: Guitar bridges
Maybe a lot to ask, but it would be both valuable and interesting, and
certainly is not impossible. As a fan of mandolin going back as far as
there have been instruments to carry related names, one of my favorite
references is:
Morey, Stephen. 1993. Mandolins of the 18th century. Editrice
-Original Message-
From: Monica Hall [mailto:mjlh...@tiscali.co.uk]
Sent: Monday, November 28, 2011 10:32 AM
To: Eugene C. Braig IV
Cc: Vihuelalist
Subject: Re: [VIHUELA] Re: Guitar bridges
Exactly - now who will volunteer to write it.
I would love to... if it weren't
Sounds like a plan. ...If I can convince you to coauthor!
Eugene
-Original Message-
From: Monica Hall [mailto:mjlh...@tiscali.co.uk]
Sent: Monday, November 28, 2011 11:06 AM
To: Eugene C. Braig IV
Cc: Vihuelalist
Subject: Re: [VIHUELA] Re: Guitar bridges
- Original
That image was actually in reference to the supporters/fans/disciples of
Carulli vs. the supporters/fans/disciples of Molino in Paris (i.e., the
Carullists and Molinists). It didn't necessarily have to do with nail
use (I don't know if either expressed preferences for nails). Molino's
technique
Alas, the tyrannical giant Microsoft and its forced default of top-replying
so dominates the universe of electronic communication that I fear there is
no easy way back to a rational conversational civility. This note was typed
using MS Outlook (with a tear in the eye for the memory of Eudora).
attend as an auditor will be $15 at the door. Feel free to reply directly
(off list if you'd like) with any questions you may have.
Best,
Eugene
Eugene C. Braig IV
Artistic Director
Phone: 614-561-9204
The Columbus Guitar Society
Capital University, Conservatory of Music
1 College Main
Columbus
[mailto:a-mah...@bigpond.net.au]
Sent: Thursday, February 10, 2011 5:39 AM
To: 'Vihuelalist'; Eugene C. Braig IV
Subject: Re: [VIHUELA] Re: The stringing of the baroque guitar - again
Dear Eugene,
This is my first post to the list. I was amazed to hear that you are a
biologist in your day
I am a dabbler in early strings. I don't ever intend to be anything but.
However, I am a fan of scholarship (a biologist on the day job) and this
extends to my appreciation of music. I watch this bourdon-vs.-not debate
periodically because both sides tend to have insight that I appreciate. I
on that. In my opinion, there's no logical reason to have a
fully re-entrant 6-course guitar. You end up repeating a note on one
course or the other.
[Eugene C. Braig IV] Indeed, at least relatively speaking. However, the
6-course instrument was largely a quirk of Spanish-speaking places
Russian guitar (supposedly from his period in
Russia between 1804 - 14).
On 03/02/2011 15:49, Monica Hall wrote:
[Eugene C. Braig IV] Indeed, at least relatively speaking. However,
the
6-course instrument was largely a quirk of Spanish-speaking places.
The
rest of Europe seems
guitar (supposedly from his period in
Russia between 1804 - 14).
On 03/02/2011 15:49, Monica Hall wrote:
[Eugene C. Braig IV] Indeed, at least relatively speaking. However,
the
6-course instrument was largely a quirk of Spanish-speaking places.
The
rest of Europe seems to have gone
Thanks for your thoughts, Monica.
Eugene
-Original Message-
From: Monica Hall [mailto:mjlh...@tiscali.co.uk]
Sent: Thursday, February 03, 2011 3:45 PM
To: Eugene C. Braig IV
Cc: Vihuelalist
Subject: Re: [VIHUELA] Re: Baroque guitar, where to start?
Well - yes. A lot
I don't think he is talking about the earliest 16th-c. publications of
guitar music (hopefully), but referring to the semi-obscure,
iconography-based history of things like gittern, citole, etc. The dates he
gives fall in the couple centuries before the music Jocelyn offered us.
Eugene
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.
Marincola, Federico. 1994. Pieces pour Luth/Pieces pour Guitare. Disques
...@gamutstrings.com]
Sent: Friday, July 30, 2010 10:33 AM
To: Eugene C. Braig IV; 'List LUTELIST'; 'Vihuelalist'
Subject: Re: [VIHUELA] Re: Four c. guitar
Eugene,
You apparently can get one in the USA for about $21.
http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dpopularfield
distracting.
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto: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'
Subject: [VIHUELA] Re: Four c. guitar
Eugene C
-
From: Monica Hall mjlh...@tiscali.co.uk
To: Eugene C. Braig IV brai...@osu.edu
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, July 30, 2010 6:50 PM
Subject: [VIHUELA] Re: Four c. guitar
I think you have hit the nail on the head. The problem with the baroque
guitar
The CD is nice too, a tasteful compilation of solo and song:
http://www.cdbaby.com/cd/nelsonbartram
As a fan of La Folia, I'm particularly fond of LeRoy's Mes pas semez.
Best,
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of
Odd. Here are some lute-distant periphera:
I had always known of plane tree as an English term for trees of the same
taxonomic grouping as North American sycamore (i.e., of the genus
*Platanus*). All trees of the genus *Acer* are technically maples, although
common names don't always reflect
I really think that fingering is common to most modern guitarists in most
genres that use the intervals of the current standard tuning, classical
included, and probably has been since the time of alfabeto. A long
tradition indeed.
Eugene
-Original Message-
From:
- and I guess I have much thinner
fingures
than all you gentleman - so thin in fact that I don't find stopping double
courses easy. I keep thinking maybe I should get the spacing reduced
between the strings of each course.
[Eugene C. Braig IV] I think the risk of buzzing is mitigated a bit
Jordan or an emulator. There really is very little left of the original
now.
Best,
Eugene
-Original Message-
From: Garry Bryan [mailto:gar...@netins.net]
Sent: Thursday, October 01, 2009 6:24 PM
To: Eugene C. Braig IV
Subject: Re: [VIHUELA] A new-to-me vihuela
Greetings Eugene
Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Rob MacKillop
Sent: Friday, October 02, 2009 2:15 AM
To: Eugene C. Braig IV
Cc: vl
Subject: [VIHUELA] Re: A new-to-me vihuela
Very good, Eugene. I buy a mandolin, and you buy a vihuela. The world
Greetings fellow punteadophiliacs:
Nothing to tickle your scholarly mental muscles, but I'm a bit excited
so thought I'd share. After years of inaudible unplayability, my
quirky speculative vihuela has returned to me, artfully brought to
functionality by Ohio luthier and
Regarding quills in the style of 18th-c. mandolinists, here's a link to an
image of what I've been using in recent times:
http://cittern.ning.com/photo/bic-synthoquill?context=user
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf
-Original Message-
From: Stuart Walsh [mailto:s.wa...@ntlworld.com]
Sent: Friday, August 28, 2009 3:20 AM
To: Eugene C. Braig IV
Cc: 'Vihuelalist'
Subject: Re: [VIHUELA] Re: Guitarre theorbee
Eugene C. Braig IV wrote:
Oleg is a great scholar and fine player now based in Iowa
I wholeheartedly agree, Martyn. Those pictured at the top of this page are
of that later ilk, as is the link Alexander provided:
http://www.harpguitars.net/history/org/org-form1a.htm
Personally, I like the creator of this page very much, and I certainly
appreciate his knowledge and enthusiasm.
Awesome! I already want that CD on my shelves. Break that proverbial leg.
Eugene
-Original Message-
From: Rob MacKillop [mailto:luteplay...@googlemail.com]
Sent: Thursday, February 12, 2009 3:58 AM
To: Vihuela
Subject: [VIHUELA] CD recording today
I'm just about to leave
...And, especially after this description, I can't wait for release!
Eugene
___
From: Rob MacKillop [mailto:luteplay...@googlemail.com]
Sent: Thursday, February 12, 2009 1:27 PM
To: Eugene C. Braig IV
Cc
..And where can this spectacle be seen? I have been known to play Legnani
on original 19th-c. guitars, but am not so good at walking on stage. I thus
favor café, soirée, or living room performance.
Best,
Eugene
-Original Message-
From: Jelma van Amersfoort [mailto:jel...@gmail.com]
Funktastic!
Eugene
-Original Message-
From: David van Ooijen [mailto:davidvanooi...@gmail.com]
Sent: Monday, December 29, 2008 3:01 AM
To: Vihuela List
Subject: [VIHUELA] b-guitar hero
Slightly OT.
Yesterday I was playing baroque guitar in he opening choir of the
fifth cantata
That would seem a perfectly logical argument to capo at II, which I don't
believe I've ever seen in approaching vihuela music on modern guitar.
Best,
Eugene
-Original Message-
From: Daniel F Heiman [mailto:heiman.dan...@juno.com]
Sent: Thursday, December 11, 2008 8:41 PM
To:
At 10:35 AM 12/11/2008, Joshua Horn wrote:
I was under the assumption that putting a capo on the third fret would
place a standard tuned Guitar into Lute or Vihulea G tuning. Yes,
solo work. =)
My first bit of advice would be to get rid of the capo unless you
need to adjust pitch for
There's nothing at all wrong with a capo. I own several and actually use
them (albeit rarely). When I do, however, I use the capo as a transposition
tool. I personally don't see much use for transposition in playing
unaccompanied solos. I also don't entirely buy into efforts to emulate a
less
At 04:37 PM 10/4/2008, Rob MacKillop wrote:
Bravo, Monica. Excellent stuff, as usual. Makes me want to play
Bartolotti. Thanksalotti...
Rob MacKillop
Me too!
Eugene
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Indeed. It makes me wonder why Sanz is so popular amongst modern guitarists.
Best,
Eugene
At 07:57 AM 9/29/2008, Monica Hall wrote:
Sorry Gary
Wires have got crossed here I think!
What I said (I hope!) was that Guerau's music doesn't work very well
without low octave strings or bordones on
At 11:12 AM 9/29/2008, Fred wrote:
It makes me wonder why Sanz is so popular amongst modern guitarists.
Could it be that the modern guitarists who are creating the current
popularity (which is a good thing, mind you) are simply unaware of the
sounds created whilst playing the music on an
At 12:09 PM 9/25/2008, Fred wrote:
Dear List,
To those whose time I've wasted whilst contemplating my previous message,
I am truly sorry. I have thoroughly scolded myself for putting fingers to
keyboard before putting mind into action. I am unquestionably guilty of
thinking without an
At 03:57 AM 9/24/2008, Josh Horn wrote:
To all,
For those whom I might of offended with my demonstration tuning video, I
apologize. That was not my intention. I have been and always will be an
improvisor and an inventor always trying new things. Sorry for the
confusion or anything that might
At 03:42 PM 9/23/2008, Eleanor Smith wrote:
Thought this had better go to the list as a whole...
These pieces are all available on the Fires of Love CD that's
advertised at the beginning of the videos ... it's a mix of pieces
from the time of Adrien le Roy. I don't think Gordon currently has any
These are all excellent reasons why the concept of lineage doesn't work
beyond very superficial analogy regarding instrumental organology. Systems
of nomenclature, standard tunings, functional construction features,
decorative conventions, etc. all interact in musical instruments and can be
At 10:35 AM 9/22/2008, Michael Gillespie wrote:
Friends,
I read somwthere that the tuning pattern is more important than the
shape (of the instrument), like the theorboed guitar - lute shaped,
guitar tuned. Just a thought.
I would say it depends. That would make the modern
At 01:49 PM 9/22/2008, Eugene C. Braig IV wrote:
At 11:05 AM 9/22/2008, Fred wrote:
This is precisely what I'm suggesting. The modern guitar is linked to the
renaissance vihuela _only_ by way of its relation to the renaissance lute,
which is the ancestor of the theorbo/chitar...rone (stress
At 02:40 PM 9/22/2008, Fred wrote:
Personally, I think a body of dedicated repertoire naming an instrument
type is one of the most useful tools for tracking instrument development
through time.
If one were to perform five-course repertoire from the original tablature
sources, particularly
I'd love to see it too.
Eugene
At 09:14 AM 9/10/2008, Monica Hall wrote:
Well - if you find it - do let us know!
Monica
- Original Message - From: Martyn Hodgson
[EMAIL PROTECTED]
To: Monica Hall [EMAIL PROTECTED]
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, September 10,
At 09:41 PM 6/5/2008, Alexander Batov wrote:
howard posner wrote:
Does dyeing? The question, if I am again unmistaken, was whether a
process used for dyeing might incidentally increase the density/ weight
of a string. As far as I can see, adding anything to the
string's innards is going to
At 07:33 AM 4/25/2008, Monica Hall wrote:
The reason why I get into scraps with people is because they think that
they can prove categorically that the way they want to play the music
themselves must be the way which the composer himself intended it to be
played - and that everyone who plays it
At 08:07 AM 4/24/2008, Alexander Batov wrote:
Well, even down to listing yew as rib material of those awful lutes they
don't seem to have a clue. Not violin dealer's business perhaps ... I
wonder who on earth is going to buy all that Franciolini's stuff?
Not me!
To get on or off this list
Tremendous, and thank you.
Eugene
At 08:24 AM 4/24/2008, Rob MacKillop wrote:
I've decided to put all my mp3 sound files on a dedicated website called
Song Of The Rose (www.songoftherose.co.uk). I have no interest anymore in
making CDs, so all my future solo files will be placed here. It
Marvelous. Thanks for this.
Eugene
At 07:14 AM 4/13/2008, Peter Forrester wrote:
Please excuse me if I have missed something, having only been thinking about
citterns recently, but..
Rasguedo or, more properly? strummed music does seem to exist for the 4c
guitar from England. See John M.
At 05:25 AM 4/11/2008, Arto Wikla wrote:
Is this acceptable or horrible insult to the holy instruments? ;-)
Whatever. It looks like you had fun, and I'm all for that.
The mandora here means the tiny soprano lute, perhaps it should be
called mandolino?
Depends, but in this case, it definitely
At 05:20 AM 4/9/2008, Monica Hall wrote:
Well - I'd agree with most of what you say.
But actually no-one has mentioned vihuela music which can be played on the
classical guitar just as it is if you tune the 3rd string down to F#.
But perhaps someone did before I joined this discussion.
At 12:45 PM 4/8/2008, Monica Hall wrote:
Subject: [VIHUELA] Re: 4c music... is there any?!
Check out this little page from Appalachian State University (Dr. Douglas
James' program):
http://www.library.appstate.edu/music/lute/gtrlst.html
Which is a bit inaccurate. The music in Barberiis is not
At 01:17 PM 4/8/2008, Monica Hall wrote:
The moral of this tale - never rely on what anyone else says - always
check the original - if you can.
Always seems prudent. This kind of stuff makes me glad I'm a biologist on
the day job.
Eugene
To get on or off this list see list information at
At 02:45 PM 4/8/2008, Stuart Walsh wrote:
Lots of music was published for for the five-course guitar. There is a
fair amount online too. Wouldn't a five-course be more promising than a
four-course guitar?
Bear in mind that the little four-course guitar is very unlike a modern
classical guitar.
At 04:09 PM 4/8/2008, Monica Hall wrote:
Didn't get Stuart's message.
But most 5-course music isn't suitable for classical guitar because of the
octave stringing and re-entrant tuning - at least as notated.
Of course, I wouldn't want to imply otherwise, although much 5-course music
is workable
At 12:01 PM 4/6/2008, Stuart Walsh wrote:
Eugene, did you see the photos of this mandolin?
http://www.pluckedturkeys.co.uk/mandopics/
I have now. thanks for the reference.
Do you think this mando could be a de Meglio (or imitator)? This
particular mandolin didn't really strike me as a good
At 01:00 PM 2/22/2008, bill kilpatrick wrote:
interesting curio:
http://www.youtube.com/watch?v=3dvnteWmVLowatch_response
Looks like a weird amateur effort to re-concoct the arepggione of the early
1800s from something that was built with the intent to be something
else. My sense of
baroque. frankenstein was looking for the secret of life and his
monster did, indeed, experience soul. perhaps these deviants will find
themselves sailing into bleak and desolate arctic wastes and end their
wretched existence on a lost and lonely ice flow ...
Eugene C. Braig IV [EMAIL PROTECTED
At 02:56 PM 2/17/2008, bill kilpatrick wrote:
i would imagine you already know about these but if not:
http://www.youtube.com/user/PujolDisciple
Thanks, Bill. I, for one, did not know of these and really enjoyed
them. Of course, Pujol was instrumental in bringing the great vihuela
books to
At 02:44 PM 2/12/2008, Monica Hall wrote:
Very enjoyable, Rob.
Do you think (Baroque) guitar tombeaux (if that's the plural) have the
same mesmeric effect as the lute ones?
There is a beautiful one in Campion dedicated to M. de Maltot who
apparently passed on to Campion the Rule of octaves.
At 04:47 PM 12/14/2007, Stuart Walsh wrote:
I' not sure what a 'mandola' is. Tyler refers to this genre as mandolino/
mandore/mandola. Does 'mandola', as you understand it, mean something other?
Mandora/mandore was similar but usually referred to something a bit
different with a different
..And without attachments as they appear to be stalling the post to the list:
At 05:36 PM 12/14/2007, Eugene C. Braig IV wrote:
At 04:47 PM 12/14/2007, Stuart Walsh wrote:
I' not sure what a 'mandola' is. Tyler refers to this genre as mandolino/
mandore/mandola. Does 'mandola', as you
At 05:25 AM 10/30/2007, bill kilpatrick wrote:
not sure what the difference is between tremolo and
dedillo...
Depending, both techniques can coincide. Dedillo is striking the string
with both the up and downstroke, or both the contraction and extension, of
a finger. Tremolo is the rapid
At 07:00 PM 10/30/2007, Stuart Walsh wrote:
Is the vihuela the only instrument that uses this technique? I don't
think there is anything like it in 4 or 5 course guitar, or any kind of
lute, technique. There couldn't be anything in the construction of the
instrument that makes this a more
Personally, I tend to prefer to not alter the configuration of my
instruments. I like them to function as there builders made them. I
prefer to buy the instruments that already function as I'd like. That
said, I take absolutely no issue at all with anybody else who would like to
tinker ad
At 08:41 AM 10/17/2007, Monica Hall wrote:
Even when played as guitar solos they can sound a bit odd. From my
extensive collection...Rafael Bonavita on the Enchiriadis label doesn't
need the kitchen sink - he can make all the noise off by himself. William
Waters has made a solo recording -
At 03:33 PM 10/13/2007, Monica Hall wrote:
(I don't know if any of our modern virtuosi have revived these passacalles
with bongo drums, samples, nyckelharpa etc)
Well they have certainly revived Santiago de Murcia's music with
everything
including the kitchen sink...but Guerau has escaped their
I get frightfully frustrated by nebulous, non-specific octaves in listing
tuning schemes, especially tuning schemes involving reentrant tunings
and/or courses in octaves. Given string diameters and scale length, I
suspect the below is parallel to typical 5-course guitar tuning, low to
high:
At 04:50 PM 7/12/2007, Monica Hall wrote:
I get frightfully frustrated by nebulous, non-specific octaves in listing
tuning schemes, especially tuning schemes involving reentrant tunings
and/or courses in octaves. Given string diameters and scale length, I
suspect the below is parallel to
At 09:16 AM 7/9/2007, bill kilpatrick wrote:
here it is:
http://www.charangobolivia.org/museodeinstrumentos/index.htm
in looking through the photos i see there's a violin
in the collection, the sound chamber of which is made
from a large, tubular section of bamboo - 4 tuning
pegs; more or less
At 03:15 PM 7/9/2007, bill kilpatrick wrote:
--- Eugene C. Braig IV [EMAIL PROTECTED] wrote:
I still have real difficulty understanding the why
of your tireless
campaign, Bill.
sallying forth, probing the defensives for any signs
of weakness ...
.. folk violin was a welcome bit mush
At 02:02 PM 6/27/2007, bill kilpatrick wrote:
please check out this video:
http://www.youtube.com/watch?v=zgaSQUQaQBk
.. excellent music apart (all played by the same guy)
about halfway through the video there's a detail of a
rose which features - if i'm not mistaken - a figure
holding a
At 10:59 AM 6/19/2007, bill kilpatrick wrote:
open mic' here at the vihuela bargrill appears to
have become dusty of late ... so i'd thought i'd
dredge up a fave'-rave', golden oldie and bring it up
to date:
a review of the book the black swan: impact of the
highly improbable in a recent edition
At 01:21 PM 6/19/2007, Roman Turovsky wrote:
From: Eugene C. Braig IV [EMAIL PROTECTED]
In most cases outside mathematics, I don't believe in proof. Much of
western science is built on the notion of disproof leaving evidence for
whatever is left standing; I like that system. Accepting
At 03:37 PM 6/19/2007, bill kilpatrick wrote:
what intrigured me about this review - the book, i
confess, will not be bought - was the idea that
certain passions attract certain types of intellect
and that what's acceptable in general terms by some
may be rejected by others because of specifics.
At 02:39 PM 6/1/2007, Alexander Batov wrote:
I wonder how did you do that? I tried to search in the way Eloy has
suggested earlier:
I followed Bill's advice and uploaded the mexican instruments pictures to
http://www.flickr.com
Where you can see them under my name, Eloy Cruz
.. but no
At 01:27 PM 4/12/2007, bill kilpatrick wrote:
i'm aware of what a 5c. instrument with re-entrant
tuning can do but don't know enough about the
structure of music to judge properly what it can't do.
recently i've learned of composers who have written
for the charango but i have no idea what
At 05:36 PM 3/29/2007, bill kilpatrick wrote:
not wishing to try your collective patience, i'd very
much appreciate comment on the manner in which this
piece is performed:
http://www.youtube.com/profile?user=danensago
seems to be one musician, multi-tracking - is his
performance in accord with
It seems to me that Howard did recognize the instruments and family
relationships and even gave it more credence than I would in drawing
analogy to primates (which is a real cladistically justifiable family and
not a loose conglomeration of plastic, human-made, cross-fertilized
I think this rather nice essay is as appropriate to this list as any other
under the Dartmouth early-pluck umbrella. Its paragraphs on vihuela and
5-course guitar ancestry seem pretty a pretty fair summary.
Eugene
Date: Tue, 16 Jan 2007 17:14:37 + (GMT)
From: bill kilpatrick [EMAIL
At 08:19 AM 12/18/2006, Alexander Batov wrote:
There is also this very sensible performance of Robert de Visee's
allemande in A. I'd wish he played the whole suite!
http://www.youtube.com/watch?v=uz87wCk4tfwmode=relatedsearch
I always find Andia's intonation a little odd. Several years old
I have done a little at the Met and have some notes and photos on the
mandolin relatives and (to a much lesser extent) the guitars in their
collection. When I'm home from the office, I'll check this catalogue
number against my notes, but I suspect this was not an instrument I
inspected or
At 05:50 PM 12/13/2006, Eloy Cruz wrote:
Dear Stuart and List
Doc Rossi is right, the catalog entry he copies is for an instrument with
Museum No.: 224-1882, but the note next to the instrument calls it a cittern
and has the Spanish virtuosi story. I saw the instrument in december 2002. I
think I
Greetings Roger (et al.),
I don't think we disagree at all other than on a relatively trivial
semantic level.
At 11:30 PM 10/10/2006, Roger E. Blumberg wrote:
I guess I do prefer to unify, when, as you say, there's something grossly
obvious about it (or should be), a unity who's name and
I still get a little squeamish regarding concepts of ancestry and evolution
(even of families other than the grossly obvious) in musical
organology. The process of instrument development is much more plastic and
can borrow from any inspiration at whim. That said, of course it's all
At 07:36 PM 6/5/2006, Rob MacKillop wrote:
I offer this without comment:
http://www.youtube.com/watch?v=bUEe2TpCBlksearch=vihuela
Here's my comment: H...he should stick to proper guitars a la Smallman.
To get on or off this list see list information at
At 07:52 PM 6/5/2006, Roman Turovsky wrote:
http://www.youtube.com/watch?v=UKh6o8ZkF6osearch=lute
RT
Hmmm...he should stick to high-speed progressive rock wankery in
accompanying yodelers.
To get on or off this list see list information at
At 08:17 PM 4/15/2006, Bruno Correia wrote:
I keep shortish nails myself, tapered down on the attack side. I prepare
the stroke and use a combination of flesh and nail. When playing early
thingies with courses of paired strings, I approach at an angle to
incorporate less nail and more
At 02:19 AM 3/29/2006, LGS-Europe wrote:
Again, you seem to be mixing theory (it is impossible to tune a guitar or
lute in an unequal temperament) with practice (we have to play together with
Werckmeister harpsichords)...
In near as well as remote keys in unequal temperaments, if there are notes I
At 01:20 PM 3/27/2006, [EMAIL PROTECTED] wrote:
Of course. The thing is that not all equal temperaments are equal,
Of course indeed.
...so citing from historic sources proofes nothing as long as the
mathematical stuff is included.
I'm not certain what you mean here.
Best,
Eugene
To get
At 01:00 PM 3/23/2006, Monica Hall wrote:
I don't know whether there is still anyone on this list - but if there is
perhaps they can tell me what they know about Mean Tone Temperament on
plucked stringed instruments, especially the baroque guitar...
Of all places, this is receiving some
At 07:44 AM 12/6/2005, Roger E. Blumberg wrote:
The implications of this seem clear to me. Calling charango a vihuela,
and
recognizing it as being in the vihuela/guitarra family, a descendant and
offspring of, as it clearly is, seems fair game. There is more than
enough
precedence, and
At 03:02 AM 11/9/2005, Rob MacKillop wrote:
All this talk of charangos and single-strung vihuelas is making me ill. It
has also reminded me of my very first instrument: a ukelele, which my
grandfather sent me from America. It came with a Mel Bay tutor which
contained what must be the most bizarre
At 03:35 AM 11/2/2005, bill kilpatrick wrote:
it would seem that the line separating vihuela from
guitar becomes more indistinct with each quoted,
historical source. tunings are adaptable to both; the
repertoire is easily shared; number of courses during
its development are variable; decorative
At 10:33 AM 11/2/2005, Roman Turovsky wrote:
and don't necessarily have anything at all to do with willful efforts to
perpetuate an ugly, elitist Eurocentric bias.
Are you trying to say that american farmed catfish is philosophically
equal to mediterranean red mullet??
It's all a matter of
At 12:23 PM 11/2/2005, bill kilpatrick wrote:
as with the europeans in south america who referred to
their instruments as vihuelas. on what basis do
musicologists today justify their reclassification of
the instrument and say they - the south americans -
were wrong?
I'm not sure what you mean
At 01:40 PM 11/2/2005, bill kilpatrick wrote:
outside of honolulu, is there a recognized repertoire
for the renaissance guitar?
Mudarra, Morlaye, Le Roy, etc.
Eugene
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