...@tiscali.co.uk; Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Saturday, November 20, 2010 10:07 PM
Subject: [VIHUELA] Re: guitar publications with harmonics
Hello early guitarists,
I just received a query: “Do you know the earliest publications for lute
Here we go again.
The only person who unequivocally states that his music is for the fully
re-entrant tuning is Valdambrini. (And very few people unequivocally state
that their music is for any other specific tuning).
I don't thank that Murcia's Resumen or Matteis is intended for the fully
...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant
accepted by all?
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Sunday, 21 November, 2010, 11:11
-entrant tuning.
Monica
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Stuart Walsh s.wa...@ntlworld.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, November 21, 2010 12:40 PM
Subject: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant accepted
Thanks to everyone
for introducing b-guitar to a theorbist!
While thinking of b-guitar I had to tube some strumming on b-lute, a
Sarabande by Mercure:
http://www.youtube.com/watch?v=DTZKpXIx1Dg
Arto
To get on or off this list see list information at
Lovely Arto. Nice to know that lutenists do it too.
Monica
- Original Message -
From: wikla wi...@cs.helsinki.fi
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, November 21, 2010 1:21 PM
Subject: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant accepted by
all
wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Valdambrini's evidence
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Friday, 19 November, 2010, 17:28
Dear Monica,
You write: 'I think
To: Martyn Hodgson
Cc: Vihuelalist
Subject: [VIHUELA] Re: Valdambrini's evidence
I can't summarize it in a single sentence but I hope I can explain
briefly.
I think the reason for including alfabeto in these song books is
because
they were
not intended to be
accompanied in the same way
Subject: [VIHUELA] Re: Valdambrini's evidence
Dear Monica,
In response to my scepticism that these books/Ms were primarily aimed
at professional guitar players you write 'In any case the books are
intended primarily for theorbo
and keyboard players.' - but what is your evidence
of ledger lines. But there is still a lot about it
which puzzles me.
Monica
mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Valdambrini's evidence
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela
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
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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
; Martyn Hodgson; Vihuelalist
Subject: [VIHUELA] Re: guitar publications with harmonics
By not much, as you cannot do them on double strings.
RT
From: Stuart Walsh s.wa...@ntlworld.com
On 20/11/2010 22:07, Nelson, Jocelyn wrote:
Hello early guitarists,
I just received a query: “Do you know
with the
help of these books/ms and professional musicians.
rgds
M.
--- On Sat, 20/11/10, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Valdambrini's evidence
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc
--- On Sat, 20/11/10, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant
accepted by all?
To: wikla wi...@cs.helsinki.fi
Cc: vihuela@cs.dartmouth.edu
Date: Saturday, 20
: [VIHUELA] Re: Valdambrini's evidence
Our ready ear is very much influenced/spoiled by functional
harmony,
I'm afraid. I suppose it went wrong so often (then) because the
trick
of finding the appropriate harmonies was to add 'middle voices' to
a
bass and soprano.
I
/11/10, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Valdambrini's evidence
To: Vihuelalist vihuela@cs.dartmouth.edu
Date: Friday, 19 November, 2010, 9:49
Dear Martyn,
you wrote:
However, I don't
The shift had taken place by then. I don't know if you have seen the 1622
edition of Sanseverino's guitar book
but it includes six songs with what are in effect written out guitar
accompaniments. It gives you a clear idea of how he expected the songs
to
be accompanied.
Sanseverino's six
Thanks much...
In practice, I'm moving slowly back in time. I will have to come to
grips with the Renaissance sooner or later, in terms of understanding
and practice. Well, that's the goal, at any rate. You open great
areas to explore. In fact, I'm confronted with choosing which
Sanseverino's six (dance-) songs are accompaniments to well-known
melodies.
Obviously you haven't seen them. (They are not the same songs included in
the 1620 edition). They are songs which were currently in the repertoire at
the time - Rontani's Caldi sospiri to name but one. This had
Them's my sentiments too!!!
Monica
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Vihuela List vihuela@cs.dartmouth.edu; Stewart McCoy
lu...@tiscali.co.uk
Sent: Friday, November 19, 2010 8:42 AM
Subject: [VIHUELA] Re: Valdambrini's evidence
Dear Stewart
I'll let Lex do that first.
Monica
- Original Message -
From: [1]Martyn Hodgson
To: [2]Vihuelalist ; [3]Lex Eisenhardt ; [4]Monica Hall
Sent: Friday, November 19, 2010 10:51 AM
Subject: Re: [VIHUELA] Re: Valdambrini's evidence
Dear Lex,
Well, it just
To answer Martyn's question I can only summarize my position:
I think that it is possible that players ('amateurs' or not) have left out
the fifth course in certain occasions.
No more no less
To which I should add however:
that I suppose there have individually different approaches and
Indeed, the Platonic chord..
--- On Fri, 19/11/10, Chris Despopoulos despopoulos_chr...@yahoo.com
wrote:
From: Chris Despopoulos despopoulos_chr...@yahoo.com
Subject: [VIHUELA] Re: Valdambrini's evidence
To: Stewart McCoy lu...@tiscali.co.uk, Vihuela List
: [VIHUELA] Re: Valdambrini's evidence
Dear Stewart,
You write: 'My guess, (and it would be lovely if you could confirm it
to be right),
is that the bourdons were removed for the sake of strumming. Second
inversions were not such a problem per se, especially if there was
another
: 19 November 2010 12:18
To: Stewart McCoy
Cc: Vihuelalist
Subject: [VIHUELA] Re: Valdambrini's evidence
Triads were not new in the 17th century. They had certainly been
around
a lot earlier than that, and were pretty well established by the 15th
century. Composers like Dufay made much use
Sanseverino's six (dance-) songs are accompaniments to well-known
melodies.
Actually, I checked them this morning. Leading Musicologists nowadays
treat such repertoire as dance-songs.
Which Leading Musicologists? Even songs by Rontani connected with the
Florentine school? How could you
Dear Stewart
To this I would ask, why is that guitarists in the 17th century chose
to
string their guitars without bourdons? By doing that, they
drastically
reduce the overall range of the instrument, and different courses end
up
duplicating each other by sounding
You asked me what I thought of Alexander Dean's views, to which I answered
quite seriously.
I think you could have explained it using simpler, more direct language
rather than using wordy acaemicspeak..
My goodness. Apparently you have not understood a word of it. As you seem to
have
You haven't anwered my questions. I will repeat them.
Which Leading Musicologists nowadays treat which songs as dance-repertoire?
Even songs by Rontani connected with the
Florentine school? How could you dance
to Caldi sospiri? Which songs are you referring to? I have even found a
version of
which is where it always
ends up.
Monica
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Vihuelalist vihuela@cs.dartmouth.edu; Lex Eisenhardt
eisenha...@planet.nl; Monica Hall mjlh...@tiscali.co.uk
Sent: Friday, November 19, 2010 10:51 AM
Subject: [VIHUELA] Re
I think you are mistaken here because throughout the 16th century general
practice was to add contrapuntal parts to a tenor voice. The shift to
working from the bass took place at the beginning of the 17th century.
So how about songs from the 1620s and 30s?
Underlying this discussion is
While Sanseverino tells us better not to use the guitar for plucking (in
1620, when alfabeto was the standard notation) we can suppose that he heard
players doing that.
Alfabeto is a form of shorthand. You can't
have a system of shorthand which everyone interprets as they wish.
Chord
often gets the harmonisations 'wrong'
rgds
M.
--- On Wed, 17/11/10, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Valdambrini's evidence
To: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 17
Dear Martyn,
You write '.how can you find the chords to a song if you have no
idea of counterpoint and voice-leading at all...' . Surely this is why
a such a basically simple chordal instrument is so popular even today -
once you've mastered a few chords and have a reasonable
, November 17, 2010 9:42:03 AM
Subject: [VIHUELA] Re: Valdambrini's evidence
Dear Martyn,
You write '.how can you find the chords to a song if you have
no
idea of counterpoint and voice-leading at all...' . Surely this is
why
a such a basically simple chordal instrument
Our ready ear is very much influenced/spoiled by functional harmony,
I'm afraid. I suppose it went wrong so often (then) because the trick
of finding the appropriate harmonies was to add 'middle voices' to a
bass and soprano.
I think you are mistaken here because throughout the 16th
30s. I would prefer to take in account that an experienced
theorbist-guitarist would perhaps have tried to expand the system of
alfabeto from within.
There was no need for them to expand the system of alfabeto from within.
The experienced theorbist-guitarist could use lute tablature for
That is not true. Renaissance bass patterns certainly predate 17th century.
RT
- Original Message -
From: Monica Hall mjlh...@tiscali.co.uk
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, November 17, 2010 12:13 PM
Subject: [VIHUELA
However, Sanseverino tells not to play in lute style because the guitar
would be deprived of its harmony. So it should not be plucked, but
played with full strokes. What exactly are 'botte piene'? I would say
that also the strummed chords of alfabeto falso, or those in tablature
...@tiscali.co.uk
Subject: [VIHUELA] Re: Stefano Landi
To: Lex Eisenhardt [6]eisenha...@planet.nl
Cc: Vihuelalist [7]vihu...@cs.dartmouth.edu
Date: Monday, 15 November, 2010, 8:32
We don't know which tuning predominated in the circles around
Landi
@cs.dartmouth.edu
Sent: Monday, November 15, 2010 5:12 PM
Subject: [VIHUELA] Re: Valdambrini's evidence
Indeed - he is also having his cake and eating it
M
--- On Mon, 15/11/10, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re
Thanks Stewart. That is an excellent summary overall. In this instance it
is the clef (rather than a rubric) which indicates the singer's picth
vi-a-vi the bass line. There was a complicated system of transposing
clefs - described by Ruiz de Ribayaz after a fashion.They are common in 17th
version with the words only
and alfabeto in a manuscript dated 1599 and I want to see if they match up.
So when you put your finger on it..you know where to send the
info.
Regards
Monica
MH
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Stefano
Dear Stewart,
Thank you for your `insightful comments.
Even if we would use guitars in d' or a, so that the alfabeto would
suit the bass, we cannot be certain that the instruments were played
together. It is not unlikely that the 'alfabeto editor' (perhaps Landi
himself) took
Even if we would use guitars in d' or a, so that the alfabeto would
suit the bass, we cannot be certain that the instruments were played
together.
I agree. I think it is more likely to be an either/or situation.
It is not unlikely that the 'alfabeto editor' (perhaps Landi
himself)
: Sunday, November 14, 2010 10:27 AM
Subject: [VIHUELA] Re: Caccini: Amarilli
Many thanks to you - and Waling. The digital age seems to have arrived
as I have been able to download an image straight off.
I seem to recall seeing a contemporary version for 5 course guitar but
can't put my finger
Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Stefano Landi
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Sunday, 14 November, 2010, 14:14
Even if we would use guitars in d
have worked out the correct chords.
--- On Sun, 14/11/10, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Stefano Landi
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Sunday
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Lex Eisenhardt
Sent: 14 November 2010 11:15
To: Vihuelalist
Subject: [VIHUELA] Re: Stefano Landi
Dear Stewart,
Thank you for your `insightful comments.
Even if we would use guitars
Dear Stewart,
in response to yours
In trying to understand what guitarists did in the past, I just
wonder
sometimes if try to pin things down too much. We know that some
guitars
had bourdons, and others didn't. If it really mattered to Landi and
others which
In Stefano Landi's Quinto Libro D'Arie (1637), a song collection with a
basso continuo in staff, inscribed with guitar alfabeto, there are
songs which seem to require guitars tuned to different pitches.
[1]http://imslp.info/files/imglnks/usimg/0/0e/IMSLP31545-PMLP71797-Land
i_Arie.pdf
Perhaps someone can explain to
me why when one includes web addresses they come up like this with a [1]
in
front so that you can't just click on them.
___
Monica,
site addresses often get cut in mails. The [1] is just a reference number
which adds
- once everyone had learned alfabeto in E tuning, it would have been
confusing to have to learn it for D tuning again (hence the transposed
alfabeto).
That would not prevent them from tuning the fifth course down a tone but
it would make it difficult to combine a strummed accompaniment
Many thanks for that.
MOnica
- Original Message -
From: Eloy Cruz eloyc...@gmail.com
To: Monica Hall mjlh...@tiscali.co.uk
Sent: Saturday, November 13, 2010 4:18 PM
Subject: Re: [VIHUELA] Re:
Dear Monica
It's a link to Landi's Quinto libro, in pdf format
The link certainly
In your posting with the subject Monopoly you suggested t, hat I was
abusing my position as a reviewer
for the Lute Society to further a hidden agenda. That is not only
impertinent - it is libelous.
Two points:
1. The VIHUELA list has proven to be a no-go area for me. The reason is that
.
regards,
Martyn
,
--- On Wed, 10/11/10, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Review
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 10
, November 10, 2010 3:54 PM
Subject: [VIHUELA] Re: Review
Dear Monica and Lex,
I've agreed, and disagreed, with both of you over various, and
different, issues in the past and so might claim to be reasonably
even-handed. Before anyone says anything utterly inexcusable
Recently she has indeed
accused me here, of having a double agenda.
I have no idea what you are referring to. When you make accusations like
this you should make it clear what you have in mind.
(Monica Hall Mon, 06 Sep 2010 07:06:44 -0700):
I am afraid Lex does not know what he is
And if someone is not intimidated by your flood of thoughtless
arguments you start kicking.
And so do you. When it comes to kicking you are right up there with the
best of them.
It's sad
It is indeed.
MH
- Original Message -
From: Monica Hall mjlh...@tiscali.co.uk
To:
At least this impertinent action makes clear that Monica has a
selective memory. After I posted my Bartolotti clips on YouTube she
supposed that the twangy basses were caused by wire wound basses.
I was flattered by the review, and since the criticism in it is
concentrated on
At least this impertinent action makes clear that Monica has a
selective memory. After I posted my Bartolotti clips on YouTube she
supposed that the twangy basses were caused by wire wound basses.
I think it is you that has the selective memory! What I said was ...
I don't know what
: [VIHUELA] Re: OT: Baroque Guitar technique
Amazing - that's a colossal amount of editing! But getting back to
Suzanne's original question:
So my question is this: Is it technically harder for some reason to
play contrapuntal style pieces on Baroque guitar than Ren lute?
I
Gaspar Sanz:
For those who wish to use the guitar to play noisy music, or to
accompany the bass of a tono [a vocal work] or sonada, the guitar is
better strung with bourdons than without them
His examples of basso continuo in tablature are completely without
strumming.
There are
Regrettably no one else is sufficiently interested in the baroque guitar to
want to review them. Think yourself lucky that you have had a lot of free
publicity for your views. I don't think that anything that I have said about
your own recordings was anything other than fair and on the whole
You say that all the time. I do not dislike any particular harmony, I just
don't trust Corbetta's notation. As a performer you can do two things:
play what is written, even if you don't see the logic, or try to find out
what could be wrong.
You seem to trust everyone else's notation
Thanks a lot for that. I think that is what this person is looking
for. He thought it was a printed copy of Amat's book. It does
include extracts from it among other things...
If they have got a printed copy as well - I would love to know.
Greetings from London - where
James was obviously a man of many parts! I just spotted your pictures of
the Guitar player on earlyguitar.ning. Meant to check before and forgot.
Very interesting!
Monica
- Original Message -
From: Peter Forrester peterforres...@waitrose.com
To: vihuela@cs.dartmouth.edu
Sent:
Thank you for the information Monica! Here is a link to the A-R
Publications page:
[1]https://www.areditions.com/rr/rrb/b167.html
Could you tell us if the facsimile pages are at least printed at full
size?
Look forward to reading your review!
Azalais
On Sat, Oct 30, 2010
It looks as if it has been slightly enlarged. The measurements of the
ms. itself are 24cms x 16.5 cms. - oblong I am mystified as to why it
should be so dark. My recollection of the British Library's ms. of
Passacalles y obras is that the paper is off white and the text clearly
...@gmail.com
To: Vihuela list vihuela@cs.dartmouth.edu
Sent: Saturday, October 30, 2010 5:17 PM
Subject: [VIHUELA] Re: Santiago de Murcia
Dear Monica, thanks a lot for the good news.
I wonder why the facsimile is dark; the two pages of the ms reproduced in
Vera's Early Music article are certainly
Dear Edward
Thanks a lot for your words; yes, we had a little American tour with Jordi,
and the people of NPR made this transatlantic interview.
Best
eloy
El 10/30/10 1:11 PM, Edward Martin e...@gamutstrings.com escribió:
Dear Eloy,
I heard you 2 days ago, on National Public Radio, in
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Thursday, October 28, 2010 11:04 PM
Subject: [VIHUELA] Re: Video
On 28/10/2010 21:53, Monica Hall wrote:
Now for something completely
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
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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
@cs.dartmouth.edu
Sent: Tuesday, October 19, 2010 9:56 PM
Subject: [VIHUELA] Re: 50 Standards
I went to the page Monica has linked. In the search box at the top right, I
entered 6396 (the catalog no.), and it took me immediately to the page
where
I could actually order the book. The rest
I went to the page Monica has linked. In the search box at the top right, I
entered 6396 (the catalog no.), and it took me immediately to the page where
I could actually order the book. The rest is history (so to speak).
Mike Fink
-Original Message-
From: lute-...@cs.dartmouth.edu
Subject: [VIHUELA] Re: Pakistani Baroque Guitar?
Another seller of this, as it seems, with some added bits of
information
[1][1]http://dulcimershofar.com/Baroque-Guitar-Sellas-5-course-Taylor-p
-30
16.html
Franz
of this Baroque guitar, I
think you could find a student model...
cud
__
From: Luca Manassero l...@manassero.net
To: vihuela vihuela@cs.dartmouth.edu
Sent: Fri, October 15, 2010 4:40:26 AM
Subject: [VIHUELA] Re
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
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Chris Despopoulos despopoulos_chr...@yahoo.com
Cc: Luca Manassero l...@manassero.net; vihuela
vihuela@cs.dartmouth.edu
Sent: Friday, October 15, 2010 11:40 AM
Subject: [VIHUELA] Re: Pakistani Baroque Guitar?
Could
Thanks for this. It may be a good opportunity for students to get into
it. Anyone tried them yet?
Ralph
- Original Message -
From: Luca Manassero l...@manassero.net
Date: Thursday, October 14, 2010 3:45 pm
Subject: [VIHUELA] Pakistani Baroque Guitar?
To:
RALPH MAIER
Gesendet: Fr 15/10/2010 01:05
An: Luca Manassero
Cc: vihuela@cs.dartmouth.edu
Betreff: [VIHUELA] Re: Pakistani Baroque Guitar?
Thanks for this. It may be a good opportunity for students to get
into
it. Anyone tried them yet?
Ralph
- Original
Dear List,
I’d like to follow up on this to say that this is a wonderful book; my students
and I are thrilled with it. Monica is one of the translators, so of course the
extensive commentary is a great asset.
Jocelyn
Jocelyn Nelson, DMA
Teaching Assistant Professor
506 School of Music
East
Walsh [1]s.wa...@ntlworld.com
Date: Thu, 16 Sep 2010 17:03:57 -0400
To: Nelson, Jocelyn [2]nels...@ecu.edu
Cc: Vihuelalist [3]vihu...@cs.dartmouth.edu
Subject: [VIHUELA] Re: Domingo Prat's Diccionario de Guitarristas
On 16/09/2010 21:54, Nelson, Jocelyn wrote:
Hi Everyone
This video has been removed by the user.
Ah shucks.
On Sep 18, 2010, at 8:57 AM, Stuart Walsh wrote:
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
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 thanks,
Jocelyn
--
Jocelyn Nelson, DMA
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
Subject: Re: [VIHUELA] Re: Why two notations for the same play?
Thanks for this Stuart.
I was rather surprised by Monica; particularly since I've frequently
praised her work and we were, so I thought, simply seeking a
scholarly
explanation to fit all the principal evidence
him to insert another stroke/slash for the single
note.
All good stuff - I'm enjoying playing him
Martyn
--- On Wed, 8/9/10, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: [VIHUELA] Re: [Vihuela]Foscarini's notation
, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: [Vihuela]Foscarini's notation
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 8 September, 2010, 15:43
octave doubling was
acceptable in the 16th and 17th century.
Regards
Monica
- Original Message - From: Martin Shepherd
[1]mar...@luteshop.co.uk
To: Vihuelalist [2]vihu...@cs.dartmouth.edu
Sent: Wednesday, September 01, 2010 2:53 PM
Subject: [VIHUELA] Re: Unisons
, is it?
Stuart
--- On Mon, 6/9/10, Monica Hallmjlh...@tiscali.co.uk wrote:
From: Monica Hallmjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Partial strums in Foscarini (was
Foscarini/Gallot)
To: Martyn Hodgsonhodgsonmar...@yahoo.co.uk
Cc: Vihuelalistvihuela
: [VIHUELA] Re: Why two notations for the same play?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Monica Hall mjlh...@tiscali.co.uk, Vihuelalist
vihuela@cs.dartmouth.edu
Date: Tuesday, 7 September, 2010, 10:52
On 07/09/2010 08:33, Martyn Hodgson wrote:
Hmmm
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
If you are saying that as a general principal you might not always include
all 5 courses in a chord when repeating it on the upstroke then I have no
problem with that. However when Foscarini puts a stroke mark under a
single figure following a chord or in between two chords I
think he has
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Monday, September 06, 2010 4:00 PM
Subject: [VIHUELA] Re: Partial strums in Foscarini (was Foscarini/Gallot)
Well You've given
Well, it was said rather tongue in cheek - sorry it wasn't more
obvious. But as a theorbo player myself (most of my professional
engagements are with theorbo) I think I can see both sides of
Castaldi's comment..
What I don't understand is your comment about 'personal fights
...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: stringing and performance
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Friday, 3 September, 2010, 12:23
The strict application of Foscarini's fourth
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