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
-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Monica Hall
Sent: Wednesday, February 29, 2012 11:44 AM
To: Stuart Walsh
Cc: Vihuelalist
Subject: [VIHUELA] Re: 19th century Russian 'romance' for 7-string guitar
Here is an attempt at a mid 19th century Russian guitar
arrangement of a song
PM
Subject: [VIHUELA] Re: Adjustable 19th-century guitar necks [was: Russian
'romance' for 7-string guitar]
Again, sorry for MS Outlook's default reply. (if I reply at the bottom,
Outlook does not insert extra -s, so my reply would become
indistinguishable from the last note without manual
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
Walsh
Cc: Vihuelalist
Subject: [VIHUELA] Re: 19th century Russian 'romance' for 7-string guitar
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 please pardon my dyslexic typing fingers.
Eugene
From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of Braig,
Eugene [brai...@osu.edu]
Sent: Saturday, February 11, 2012 10:46 AM
To: Vihuelalist
Subject: [VIHUELA] Barotlotti
Wow! Can't wait to hear it. And I am delighted that according to the
liner notes he is using the French tuning.
Monica
- Original Message -
From: Braig, Eugene brai...@osu.edu
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Saturday, February 11, 2012 3:46 PM
Subject: [VIHUELA]
Congratulations and thank you!
-- R
On Jan 25, 2012, at 6:23 AM, Monica Hall wrote:
I am pleased to be able to announce that I have completed my
tablature transcription of all of Foscarini's music from Li cinque
libri.
It is now on my webpage -
www.monicahall.co.uk
as well as my
I loved doing it. Foscarini is a fascinating character.
Happy New year to everyone.
Monica
- Original Message -
From: [1]Martyn Hodgson
To: [2]Monica Hall
Sent: Wednesday, January 25, 2012 12:27 PM
Subject: Re: [VIHUELA] Foscarini - Li cinque libri
Hi,
This the first time I write the list, but i'm following and would like
to thank you all for sharing interesting points of view.
Harlans question is within my field, so I can say something about that..
It's is an exaggeration to say that maple was standard for necks,
although f. ex.
Sent: Sunday, January 8, 2012 11:12 AM
Subject: [VIHUELA] Re: 3 short pieces from the Ulm MS for mandore
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
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
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, January 08, 2012 4:12 PM
Subject: Re: [VIHUELA] Re: 3 short pieces from the Ulm MS for mandore
On 08/01/2012 12:48, Monica Hall
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Lutelist l...@cs.dartmouth.edu
Sent: Sunday, January 08, 2012 4:30 PM
Subject: Re: [LUTE] Re: 15th century dance: Anello (lute/gittern duo)
On 08/01/2012 12:53, Monica Hall wrote:
I really enjoyed these, Stuart. I'm listening to it for the 3rd time
now; can't help but smile with this music.
Thanks for posting.
Best,
Jocelyn
From: Stuart Walsh [1]s.wa...@ntlworld.com
Date: Sun, 8 Jan 2012 00:06:26 +
To: Vihuelalist [2]vihuela@cs.dartmouth.edu
Both videos removed by user.
What a pity, I would have loved to see Taro so his strumming.
David
Taro has developed a striking way of strumming. He says it has nothing to do
with flamenco.
http://www.youtube.com/watch?v=6r0iO5p0ydUfeature=related
And some 'English guitar' pieces. The last
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 not
Fascinating. I always wanted to see/hear one of these piano guitars and
now I have.
Unfortunately I couldn't get the first part with the 5-course pieces to play
evident even where this
does occur.
regards
Martyn
--- On Mon, 19/12/11, Martin Shepherd mar...@luteshop.co.uk wrote:
From: Martin Shepherd mar...@luteshop.co.uk
Subject: [VIHUELA] Re: Caccini's instrument
To: Vihuela List vihuela@cs.dartmouth.edu
Date: Monday, 19
..
regards
Martyn
--- On Mon, 19/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Strumming as basso continuo
To: Eloy Cruz eloyc...@gmail.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 19 December
__
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Eloy Cruz eloyc...@gmail.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Tuesday, December 20, 2011 4:41 AM
Subject: [VIHUELA] Re: Strumming as basso continuo
Dear Eloy,
I'm very
as they may otherwise overlook the comments.
It is quite difficult to keep these discussions completely neutral.
Monica
- Original Message -
From: Ed Durbrow edurb...@sea.plala.or.jp
To: vl vihuela@cs.dartmouth.edu
Sent: Tuesday, December 20, 2011 12:58 PM
Subject: [VIHUELA] Re
.
Monica
- Original Message -
From: Chris Despopoulos despopoulos_chr...@yahoo.com
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Tuesday, December 20, 2011 2:17 PM
Subject: [VIHUELA] Re: Strumming as basso continuo
I just found this -- a thesis by Natasha Frances Miles submitted
On Tue, 20 Dec 2011 06:17:42 -0800 (PST), Chris Despopoulos wrote
I just found this -- a thesis by Natasha Frances Miles submitted
to the University of Birmingham. Time permitting, I intend to
give it a read. I can't imagine the guitar didn't enjoy certain burlesque
qualities from
strumming
c.1600.
regards
Martyn
--- On Tue, 20/12/11, Chris Despopoulos despopoulos_chr...@yahoo.com
wrote:
From: Chris Despopoulos despopoulos_chr...@yahoo.com
Subject: [VIHUELA] Re: Strumming as basso continuo
To: Vihuelalist vihuela@cs.dartmouth.edu
Date: Tuesday
, December 20, 2011 9:41 AM
Subject: [VIHUELA] Re: Strumming as basso continuo
Dear Eloy,
I'm very much with Monica on this: what little evidence we have (such
as Millioni) suggests a certain refinement in strumming (... in this
way the music will be rendered more sweetly
People sometimes complain about links not working. These References
are copies of the links that generally do work, in the first few iterations
of the message, anyways.
Wayne
I also get
rid of this sort of thing:
Ed Durbrow
Saitama, Japan
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,
Just laughing loudly.
Monica
- Original Message -
From: Eugene C. Braig IV brai...@osu.edu
To: 'Vihuela List' vihuela@cs.dartmouth.edu
Sent: Tuesday, December 20, 2011 6:50 PM
Subject: [VIHUELA] Re: Protocol of emails (again...)
Being a robot and lacking a friendly, smiling face, I
Dear Stewart,
We all seem to think that the printed bass line is what should be played
ideally. And probably it was played like it is on the keyboard (which
Caccini was master of). In practice (on his beloved theorbo?) adaptations
would have to be made regarding octaves, and, as an exception,
__
From: Eloy Cruz eloyc...@gmail.com
To: Vihuela List vihuela@cs.dartmouth.edu
Sent: Sunday, December 18, 2011 11:47 PM
Subject: [VIHUELA] Re: Strumming as basso continuo
Dear List
Although the subject of this thread is labeled
Of Martyn Hodgson
Sent: 19 December 2011 09:57
To: Vihuela List
Subject: [VIHUELA] Re: Caccini's instrument
Dear Lex, As you say it does all seem a bit endless..
But might I suggest one reason (amongst others) why it may seem so:
only yesterday I gave a direct quote
Of Monica Hall
Sent: 18 December 2011 21:40
To: Stewart McCoy
Cc: Vihuelalist
Subject: [VIHUELA] Re: Strumming as basso continuo
That's interesting - but surely a competant cittern player
would not play them as writen but would correct them?
The point I was
making is that - yes - the chords have been
: Monday, December 19, 2011 8:28 AM
Subject: [VIHUELA] Re: Caccini's instrument
Dear Stewart,
We all seem to think that the printed bass line is what should be played
ideally. And probably it was played like it is on the keyboard (which
Caccini was master of). In practice (on his beloved theorbo
Subject: [VIHUELA] Re: Strumming as basso continuo
Dear List
Although the subject of this thread is labeled Strumming as basso
continuo, the exchange of different list members has to do with how to
conduct or organize the harmony in the fingerboard, not at all with
strumming.
I think the 2 main
Dear Martyn,
I understand that there is a problem with the theorbo in A, in Caccini's
'Reggami.'
According to Alessandro Striggio the elder Caccini could accompany from a
bass on the lute and harpsichord. So, what would be the right
instrument/tuning for this song?
Lex
Other types of
to the
most recent discussion.
Martyn
--- On Sat, 17/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Strumming as basso continuo {was: Return
to earlier question: {was: Agazzari guitar [was Re: Capona
eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela
Despopoulos despopoulos_chr...@yahoo.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, December 18, 2011 1:41 PM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question: {was: Agazzari guitar [was Re: Capona?]}
Dear Chris,
I note Monica's comment below
Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, December 18, 2011 3:33 PM
Subject: [VIHUELA] Re: Caccini's instrument
- Original Message -
From: Monica Hall mjlh...@tiscali.co.uk
You yourself have quoted Campion in your article -
it is not necessary to be preoccupied by the jumping of the bass from
low to high register. It is sufficient that the note is there . Even
on the harpsichord etc
But what Campion doesn't say is whether the bass would rise
On Sun, 18 Dec 2011 14:56:46 -, Monica Hall wrote
What other instrument do you suppose that he had in mind then? The
only instrument with a large enough compass to be able to reproduce
the bass line below the voice part in every set of circumstances
would be a keyboard instrument and
On Sun, 18 Dec 2011 15:33:43 +0100, Lex Eisenhardt wrote
Bass lines may sometimes have been simplified, and thus some of
the problems could be avoided. Occasional voice crossings with the
bass perhaps were sometimes accepted (but probably not by everyone). L
But this isn't the problem at
But this isn't the problem at all! There's nothing wrong with
voice crossings per se, only if the voices involved form a fifth, which
would change into a (frowned upon) forth. I have yet to find one example
where this would happen with a theorbo ...
Cheers, Ralf Mattes
Crossings with the
So far no-one has told me where I can find the song in question.
Monica
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: R. Mattes r...@mh-freiburg.de
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, December 18, 2011 7:51 PM
Subject: [VIHUELA] Re: Caccini's
2011 19:51
To: R. Mattes
Cc: Vihuelalist
Subject: [VIHUELA] Re: Caccini's instrument
But this isn't the problem at all! There's nothing wrong with
voice crossings per se, only if the voices involved form a fifth,
which
would change into a (frowned upon) forth. I have yet to find one
example
: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
Monica, you're absolutely right that by definition it's not
continuous
bass when playing derived harmonies in the alfabeto. I was only
supposing that the harmonies
Thanks Stewart.
It is not that I can't believe that accompanists ever played notes above the
line of solo singers or solo instruments; but I rather doubt if Caccini
would have written bass lines which he could not play as they are, on his
own instrument. Therefore I tried to suggest that he
-
From: Lex Eisenhardt eisenha...@planet.nl
To: Vihuela List vihuela@cs.dartmouth.edu; Stewart McCoy
lu...@tiscali.co.uk
Sent: Sunday, December 18, 2011 9:58 PM
Subject: [VIHUELA] Re: Caccini's instrument
Thanks Stewart.
It is not that I can't believe that accompanists ever played notes above
continue.
cud
__
From: Monica Hall mjlh...@tiscali.co.uk
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, December 18, 2011 8:45 AM
Subject: [VIHUELA] Re: PROTOCOL
Dear List
Although the subject of this thread is labeled Strumming as basso
continuo, the exchange of different list members has to do with how to
conduct or organize the harmony in the fingerboard, not at all with
strumming.
I think the 2 main features of guitarra española de cinco órdenes are
Martyn
--- On Fri, 16/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar
: [VIHUELA] Re: Strumming as basso continuo {was: Return
to earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Monica Hall mjlh...@tiscali.co.uk, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Saturday, 17 December, 2011, 8:58
-
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Saturday, December 17, 2011 11:47 AM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question: {was: Agazzari guitar [was Re: Capona
when performing them.. or do
you?
As ever
Monica
rgds
M
--- On Sat, 17/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Strumming as basso continuo {was: Return
to earlier question: {was: Agazzari guitar
Ah - I think I know what's happening - you've got the wrong end of the
stick:
I am glad you know what is happening. It all depends on which end of the
stick one has got hold of.
I'm not (and have not as far as I can see) suggesting that an
alfabeto accompaniment necessarily converts
wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Received
: Saturday, December 17, 2011 7:32 AM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
That is all perfectly clear - but has absolutely nothing to do with
playing
an alfabeto accompaniment - because the guitar
performances of his setting of
Missa Ego flos campi.
Perhaps they were commonly employed, but are there any early records of
this?
Martyn
--- On Thu, 15/12/11, Eloy Cruz eloyc...@gmail.com wrote:
From: Eloy Cruz eloyc...@gmail.com
Subject: [VIHUELA] Re: Strumming as basso
for the theorbo also applies
to earlier music (eg Monteverdi et als) as well as Locke and later.
regards
Martyn
--- On Thu, 15/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Strumming as basso continuo
: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, December 16, 2011 3:41 AM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
Thanks Monica,
It is a realisation of the bass line but, because of the requirements
, reflects
Marini's position too.
regards
martyn
--- On Fri, 16/12/11, Chris Despopoulos despopoulos_chr...@yahoo.com
wrote:
From: Chris Despopoulos despopoulos_chr...@yahoo.com
Subject: Re: [VIHUELA] Re: Strumming as basso continuo {was: Return
to earlier question
(either here or on my contact page) and thank
you for your scholarship!
Bud Roach
--- On Fri, 12/16/11, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier
: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Vihuelalist vihuela@cs.dartmouth.edu
Date: Thursday, 15 December, 2011, 19:35
Of course, like you, I doubt whether the Pope would have expected
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Chris Despopoulos despopoulos_chr...@yahoo.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, December 16, 2011 2:17 PM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question
found in some modern performances of solo songs.
Martyn
--- On Wed, 14/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu; Lex Eisenhardt
eisenha...@planet.nl
Sent: Thursday, December 15, 2011 9:13 AM
Subject: [VIHUELA] Re: Strumming as basso continuo
wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Thursday
Of course, like you, I doubt whether the Pope would have expected a
strummed guitar in Palestrina's Messa Papae Marcelli. Indeed, is there
even any evidence for the excessive strumming in some modern
fashionable performances of South American sacred settings?
Probably not as much
Sent: Thursday, December 15, 2011 3:25 PM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question: {was: Agazzari guitar [was Re: Capona?]}
Hmmm... Does a realised bass part always have to contain the bass
exactly as written in the staff notation as its lowest
- Original Message -
From: Eloy Cruz eloyc...@gmail.com
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Thursday, December 15, 2011 7:35 PM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question: {was: Agazzari guitar [was Re: Capona?]}
Probably
Agazzari was working in Rome and Siena, and probably the chitarra
spagnuola was more widely known there around 1600.
But Agazzari's 'Del sonare sopra il basso' is really about figured bass
and counterpoint, and from how he describes the use of the 'ornamental'
instruments it appears that the
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, December 14, 2011 8:51 AM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari guitar
[was Re: Capona
Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 14 December, 2011, 8:51
Agazzari was working in Rome
Thank you - you are either incorrect, mistaken or have misread what I
wrote
MH
--- On Mon, 12/12/11, R. Mattes r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona
Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday
instruments even at such a relatively early date.
Martyn
--- On Mon, 12/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
To: Vihuelalist vihuela
Dear Martyn
But before getting too bogged down, the earlier question was whether
the chitarra spagnola might be included as a continuo instrument, even
by Agazzari. You'll know 'Le stravaganze d'amore' of Corradi (Venice
1616). This is an early 17thcentury source from a Northern
From: Monica Hall mjlh...@tiscali.co.uk
To: Lex Eisenhardt eisenha...@planet.nl
Sent: Tuesday, December 13, 2011 2:14 PM
Subject: Re: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
Maybe my comments were a bit cryptic.
Yes - I see what you mean now
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Vihuelalist vihuela@cs.dartmouth.edu; Monica Hall
mjlh...@tiscali.co.uk
Sent: Tuesday, December 13, 2011 10:18 AM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari guitar
[was Re: Capona?]}
But why you suppose
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Vihuelalist vihuela@cs.dartmouth.edu; Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Sent: Tuesday, December 13, 2011 10:53 AM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari guitar
[was Re: Capona
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, December 04, 2011 9:07 PM
Subject: [VIHUELA] Gloomy day, nice sunset, 17th century minimalism,
Playford tune
The piece 'Bobel' is in Princess Anne's 'lute' book and I
, 12/12/11, eisen...@planet.nl eisen...@planet.nl wrote:
From: eisen...@planet.nl eisen...@planet.nl
Subject: RE: Return to earlier question: {was Re: [VIHUELA] Re:
Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Vihuelalist
vihuela
...@planet.nl eisen...@planet.nl
Subject: RE: Return to earlier question: {was Re: [VIHUELA] Re:
Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Vihuelalist
vihuela@cs.dartmouth.edu
Date: Monday, 12 December, 2011, 9:55
Hi,
I'm
r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Vihuelalist
vihuela@cs.dartmouth.edu, eisen...@planet.nl
Date
it as a guitar at all. It was surely a small
lute?
Monica
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Vihuelalist vihuela@cs.dartmouth.edu; eisen...@planet.nl; R.
Mattes r...@mh-freiburg.de
Sent: Monday, December 12, 2011 12:02 PM
Subject: [VIHUELA] Re: Return
at the moment - can
you?
Martyn
--- On Mon, 12/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar
Indeed - this supplements what I wrote below - thank you.
Presumably after 1589 the guitar (5 course alla spagnola) became better
known in the North.
MH
From: Eloy Cruz eloyc...@gmail.com
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar
:02 PM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar
[was Re: Capona?]}
a small 4 course guitar (as described by Cerreto in his 1601
depictions of the 'pandurina'?
Stuart
Original Message -
From: Monica Hall[1]mjlh...@tiscali.co.uk
To: Martyn Hodgson[2]hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist[3]vihuela@cs.dartmouth.edu
Sent: Monday, December 12, 2011 4:02 PM
Subject: [VIHUELA] Re
The first of these is that in Millioni's 1631 book the 4-course
instrument is referred to as
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
Subject: Re: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
Sent: Monday, December 12, 2011 7:58 PM
Subject: Re: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
Very interesting, Monica. Is Meucci's article readily available anywhere?
More to the point, is it in in English? And better still is there a good
summary
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
nuevo'.
That's what it is. That is what Cerreto's instrument is and it has a
re-entrant tuning.
I don't think groups these recordings really have any insight into the
sensibilities of 17th century players.
Perhaps you know Agostino Agazzari article 'Del sonare sopra il basso',
published in 1607? It among other interesting matters makes it very clear
that the orchestration could be _very_
at
the same time!
MH
--- On Sun, 11/12/11, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Capona?
To: Vihuelalist vihuela@cs.dartmouth.edu
Date: Sunday, 11 December, 2011, 9:24
I don't think groups
I suppose it could be said that the guitar would be covered by his
etc...
Also note he only mentions the 'chitarrino' (small 4 course
instrument?) in his list of embellishing instruments and omits
the larger (5 course) guitar. This, I suggest, implies that the guitar
does indeed
, violin, pandora, and the
like.
--- On Sun, 11/12/11, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Capona?
To: Vihuelalist vihuela@cs.dartmouth.edu, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Date
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