Thank you, Monica!
JN
On 4/20/2011 1:04 PM, Monica Hall mjlh...@tiscali.co.uk wrote:
Just as a matter of interest I have uploaded a couple of other pictures
of guitars with other instruments.
[1]www.earlyguitar.ning.com
One is of the Spanish Gonzales Coques family showing
Thank you, Monica!
JN
Glad you liked them. I have just added a couple more. They don't include
guitars but they do show groups of instrumentalists apparently accompanying
singers.
In the painting by Jan Olis a singer is shown with flute, violin (just
visible) lute and violone.
In
Eisenhardt eisenha...@planet.nl
To: Vihuelalist vihuela@cs.dartmouth.edu; Monica Hall
mjlh...@tiscali.co.uk
Sent: Wednesday, April 20, 2011 3:56 AM
Subject: [VIHUELA] Re: Grenerin
I was under the impression that it was protocol on this list to reply to
person sending the message with a copy to the list
...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: Re: [VIHUELA] Re: Marini - was Grenerin
To: Vihuelalist vihuela@cs.dartmouth.edu, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Date: Thursday, 21 April, 2011, 8:31
Hi Martyn,
Yes the intro
I was under the impression that it was protocol on this list to reply to
person sending the message with a copy to the list, - not just to reply to
the list.
I would plead that it is a minor crime; I was not aware of any protocols.
But it would of course be good if we all conformed here to what
Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Grenerin
To: Vihuelalist vihuela@cs.dartmouth.edu, Monica Hall
mjlh...@tiscali.co.uk
Date: Wednesday, 20 April, 2011, 11:56
I was under the impression that it was protocol on this list to reply
to
person sending
Dear Martyn,
Sorry if that wasn't clear. I think Marini's alfabeto to his songs is really
better than the chords to his op. 22 from 1655. In Il Verno there is a very
interesting example of what I would consider as 'chordal variation' with an
extra L chord in bar 14.
Wouldn't the guitar have
.
---
--
--- On Wed, 20/4/11, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Grenerin
To: Vihuelalist vihuela@cs.dartmouth.edu, Martyn Hodgson
hodgsonmar
/continuo.html
rgds
M
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Grenerin
To: Vihuelalist vihuela@cs.dartmouth.edu, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Date: Wednesday, 20 April, 2011, 14:04
Marini's familiarity with alfabeto is clearly shown
: [VIHUELA] Re: Marini - was Grenerin
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 20 April, 2011, 16:29
Dear Martyn
expertise. Look at the list of printed music with lute, theorbo and
guitar in
[1][1
in when evaluate sources.
rgds
Monica
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Marini - was Grenerin
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 20 April, 2011, 16:29
Dear Martyn
expertise
You seem to be saying that because he doesn't say that the bass viol could
be used instead of the theorbo when playing these pieces - which is true -
the viol was never used to
re-enforce the guitar in any other source. Drawing a sweeping conclusion
from very little evidence.
No, I think
By 'hjistoric' ( a light joke) I meant how letters are/were stored
--- On Mon, 18/4/11, R. Mattes r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: [VIHUELA] Re: list - protocol
To: Monica Hall mjlh...@tiscali.co.uk, Martyn Hodgson
hodgsonmar
As far as unambiguous (17th c) references
to the guitar playing basso continuo together with other bass
instruments
is concerned - is there any unamibiguous evidence that it didn't.
I was under the impression that it was protocol on this list to reply to
person sending the message
Dear List
Thank you all very much for your replies. Yes, I agree that the image
is kind of problematic and romantic. This is just for a course-pack,
but still I will try for the Vermeer; that's always been my favorite.
Best wishes,
Jocelyn
--
Jocelyn Nelson, DMA
Dear Jocelyn,
I've seen this 1847 picture before and, of course, it is not a
representation made during the time the 5 course ('baroque') guitar was
actually played. It's in the faux style beloved of mid-19th century
artosts (and their public) depicting old scenes in what was
...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Strumming techniques - was With/Without
Bordones
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Sunday, 17 April, 2011, 17:07
Well - before we start to discuss this... it might
use of a flamenco strum certainly gave rise to this interesting
exchange.
regards
Martyn
--- On Sun, 17/4/11, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: Re: [VIHUELA] Re: Strumming techniques - was With/Without
started on modern amplification...
--- On Sun, 17/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Strumming techniques - was With/Without
Bordones
To: Stuart Walsh s.wa...@ntlworld.com
Cc: Vihuelalist
__
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Monica Hall mjlh...@tiscali.co.uk; Stuart Walsh
s.wa...@ntlworld.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Mon, April 18, 2011 3:57:29 AM
Subject: [VIHUELA] Re: Strumming techniques
Despopoulos despopoulos_chr...@yahoo.com
Subject: Re: [VIHUELA] Re: Strumming techniques - was With/Without
Bordones
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Monica Hall
mjlh...@tiscali.co.uk, Stuart Walsh s.wa...@ntlworld.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date
despopoulos_chr...@yahoo.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Mon, April 18, 2011 6:01:50 AM
Subject: [VIHUELA] Re: Strumming techniques - was With/Without Bordones
Dear Chris,
I'm sure it's wise for us all to explore these things further and
with
care
agree on a
simple matter like this.
Monica
- Original Message -
From: [1]Martyn Hodgson
To: [2]Monica Hall
Cc: [3]Vihuelalist
Sent: Monday, April 18, 2011 9:08 AM
Subject: Re: [VIHUELA] Re: Strumming techniques - was With/Without
Bordones
Dear
Hodgson
To: [2]Monica Hall
Cc: [3]Vihuelalist
Sent: Monday, April 18, 2011 8:28 AM
Subject: Re: [VIHUELA] Re: Strumming techniques - was With/Without
Bordones
Many thanks for this Monica,
I'm very grateful for your scholarly translations of these (on which I
hoped I had
, April 18, 2011 11:36 AM
Subject: [VIHUELA] Re: Strumming techniques - was With/Without Bordones
Dear Martyn...
Well, I called this thing a trill -- the term tillo never passed my
lips (or fingers, I guess). I understood it as trill, sitting in a
class given in another language... And my
, Chris Despopoulos despopoulos_chr...@yahoo.com
wrote:
From: Chris Despopoulos despopoulos_chr...@yahoo.com
Subject: Re: [VIHUELA] Re: Strumming techniques - was With/Without
Bordones
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
:30:55 AM
Subject: [VIHUELA] Re: Strumming techniques - was With/Without Bordones
Dear Chris,
I had thought I used Corbetta's own word 'trillo' for the particular
strum with an up and down movement of the index only. And, indeed,
as
you'll see from the below - I did
one is queying/amplifying if the original is long
--- On Mon, 18/4/11, Monica Hall [3]mjlh...@tiscali.co.uk wrote:
From: Monica Hall [4]mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Strumming techniques - was With/Without
Bordones
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
On Mon, 18 Apr 2011 17:42:10 +0100, Monica Hall forwarded
From: [1]Martyn Hodgson
As said, the reply at the top is usual (and historic!) practice. But
it's also always a good idea to cut and paste in the relevant section
one is queying/amplifying if the original is long
This
).
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of R. Mattes
Sent: Monday, April 18, 2011 2:06 PM
To: Monica Hall; Martyn Hodgson
Cc: Vihuelalist
Subject: [VIHUELA] Re: list - protocol
On Mon, 18 Apr 2011 17:42:10 +0100
PM
Subject: [VIHUELA] Re: list - protocol
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
Despopoulos despopoulos_chr...@yahoo.com; Early Guitar Dmth
early-gui...@cs.dartmouth.edu
Sent: Sunday, April 17, 2011 9:57 AM
Subject: [VIHUELA] Re: Strumming techniques - was With/Without Bordones
To Vihuela (early guitar) list:
The aside by Chris on the 'trill' he was taught to execute
Guitar
Dmth
early-gui...@cs.dartmouth.edu
Sent: Sunday, April 17, 2011 9:57 AM
Subject: [VIHUELA] Re: Strumming techniques - was With/Without Bordones
To Vihuela (early guitar) list:
The aside by Chris on the 'trill' he was taught to execute raises an
important issue not, I think, much
I can't say whether it looks like a 5-course instrument -- the image is
too small for me to make out the pegs. But it looks well enough like a
baroque guitar to me. OTOH, I can't say anything about the gentleman's
garb. Is it baroque, or earlier? I just don't know enough about
Another thing that bothers me in general is the way in which the sound
in many recordings seems to be amplified. Even turning the volume
down doesn't in any way soften the music - it just makes it sound
indistinct and further away. The Foscarini CD e.g. sounded like heavy
metal whereas
It´s an engraving from 1847, perhaps not the most reliable source for
a ´proper´ 5-course Baroque guitar. Weird bridge position (and size!),
just for starters.
David
On 17 April 2011 19:01, Nelson, Jocelyn nels...@ecu.edu wrote:
Dear List,
Does this look like a 5-course baroque guitar to you?
performing sacred works and it is one of the most satisfying
experiences - but I wld say that.
rgds
M
--- On Fri, 15/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Granata
To: Martyn Hodgson hodgsonmar
.
--- On Sat, 16/4/11, michael.f...@notesinc.com
michael.f...@notesinc.com wrote:
From: michael.f...@notesinc.com michael.f...@notesinc.com
Subject: [VIHUELA] Re: Granata
To: vihuela@cs.dartmouth.edu
Date: Saturday, 16 April, 2011, 0:02
Hello Everyone,
Thanks for so many great
It's probably old news but I've just noticed that the B minor Alemanda
on p.10 of Granata's Novi Capricci (guitar part alongside parts for
'violin e viola'= figured bass) is also on p.43 but this time in a
fancier version and here, unquestionably, a solo. Maybe some other
pieces at the
On 16/04/2011 16:56, Chris Despopoulos wrote:
I've recorded a few pieces now with a bordon on the D course -- Suite
by Roncalli, Paracumbe, and Folias by Sanz. These are compared to
similar recordings I did without the bordon. Oddly enough, the earth
did not crack open and
Thanks for posting, Chris! I'm tending to prefer the re-entrant tuning,
but I like the bourdons--at least in some passages--more than I thought
I would. Most importantly, it's fun to listen and notice the
differences.
Best wishes,
Jocelyn
On 4/16/2011 11:56 AM, Chris
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Saturday, April 16, 2011 6:33 PM
Subject: [VIHUELA] Re: Granata
It's probably old news but I've just noticed that the B minor Alemanda
Hi Stuart... Thanks
The effect on that A (er G) chord was taught to me in a class of
rasgueados for baroque guitar... They called it a trill. Basically,
it's alternating up/down strokes between two fingers. If U is up and D
is down, then the gesture is:
Da, Di, Ua, Ui --
On Fri, 15 Apr 2011 10:12:08 +0100 (BST), Martyn Hodgson wrote
Dear Michael,
With due respect to all concerned in your project, may I say
that it's a mistake not to include the figures in the edition.
If I understand Michael's post, he isn't removing the figures, he just
doesn't
Very good!
Thank you Ralf.
--- On Fri, 15/4/11, R. Mattes r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: Re: [VIHUELA] Re: Granata
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk,
michael.f...@notesinc.com michael.f...@notesinc.com
Cc
Clavicembalo' for the 12 chamber sonatas.
A facsimile (cheap!) of the printed books and the MS are available from
the SPES publishing house.
Martyn
--- On Fri, 15/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re
Granata could even have thought of the chitarra atiorbata for the continuo.
Grenerin is very interesting. In his preface we read something like:
'In this book you'll find some curious French and Italian airs in three or
four parts, with the accompaniment of the guitar. You can use the treble
As far as unambiguous (17th c) references
to the guitar playing basso continuo together with other bass instruments
is concerned - is there any unamibiguous evidence that it didn't. Why
should it not do so? We don't really have any evidence one way or the
other. There seem to me to be
their own
discretion when deciding what to accompany and who else should take part
with them when they did.
Monica
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Monica Hall mjlh...@tiscali.co.uk
Sent: Friday, April 15, 2011 6:09 PM
Subject: Re: [VIHUELA] Re: Granata
Eduard Agullo very kindly sent me some of his continuo realisations of
these Granata pieces with figured bass. I hope he doesn't mind if I use
one as the basis of a simple lute part for one of the Alemandas.
[1]http://www.youtube.com/watch?v=iJRV33Wi96Y
The piece sounds very
- Original Message -
From: [1]Stuart Walsh
To: [2]Monica Hall
Sent: Friday, April 15, 2011 8:22 PM
Subject: Re: [VIHUELA] Re: Granata
Eduard Agullo very kindly sent me some of his continuo realisations of
these Granata pieces with figured bass. I hope he doesn't
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Monica Hall
Sent: Friday, April 15, 2011 9:56 AM
To: Martyn Hodgson
Cc: Vihuelalist
Subject: [VIHUELA] Re: Granata
Dear Martin
Unfortunately I am not familiar with any of these sources
answers,
Mike
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu]
On Behalf Of Monica Hall Sent: Friday, April 15, 2011 9:56 AM To:
Martyn Hodgson Cc: Vihuelalist Subject: [VIHUELA] Re: Granata
Dear Martin
Unfortunately I am not familiar with any
I would prefer to see what figures are in he original source -- even
if I were to change/correct some for my taste. In the case of Granata
I could add figures (and the occasional editorial figure) from Boye's
dissertation.
I might try a lute or liuto attiorbato to compete less with the sound
of
...@ecu.edu wrote:
From: Nelson, Jocelyn nels...@ecu.edu
Subject: [VIHUELA] Re: Granata
To: Monica Hall mjlh...@tiscali.co.uk, Vihuelalist
vihuela@cs.dartmouth.edu
Date: Wednesday, 13 April, 2011, 22:26
Hi Martyn and List,
Martyn said:
I think it would
Hi Martyn and List,
Martyn said:
I think it would have been usual to employ a small chamber organ if
any
realisation was thought necessary rather than the bowed bass trying
to
realise the harmonies.
Remember, though, that the early (17th and early 18th c?) cello
--- On Mon, 11/4/11, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: [VIHUELA] Re: a little Granata experiment
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 11 April, 2011, 21:59
Dear Stuart,
I guess there's nothing to stop them being played as solos since the
upper line seems to be doubled and the rest of the guitar part is
pretty typical skeletal harmonies found in numerous guitar sources.
Indeed, if you compare with the pieces in the same collection
On 11/04/2011 09:01, Martyn Hodgson wrote:
Regarding the held notes at the conclusion of each half, I think this
suggests that these pieces were in fact conceived primarily for
performance with the outer bowed instruments mentioned in the title -
so that there would be no need
__
From: Stuart Walsh s.wa...@ntlworld.com
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Mon, April 11, 2011 4:59:06 PM
Subject: [VIHUELA] Re: a little Granata experiment
On 11/04/2011 09:01, Martyn Hodgson wrote
Hi Stuart,
I don't have anything enlightening to say about the publication, but I
wanted to thank you for posting this; I enjoyed the music!
Best,
Jocelyn
On 4/7/2011 3:36 PM, Stuart Walsh s.wa...@ntlworld.com wrote:
Granata's Novi Capricci Armonici Musicali in vari toni per la chitarra
I don't think it's by Losy either: at least it's not amongst the MSs
(ie Praha, Wien, Brno)with pieces ascribed to him (but set by others?).
Also I think the style of composition seems slightly later than Losy's
usual output ie 1720/30s rather than turn of the century. I'd also
Further to this, I suspect that Brno D189 might be for mandora (not
guitar) but have not seen the Ms itself. Has anyone a copy they would
be prepared to share?
MH
--- On Fri, 25/3/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Absolutely...de Gallot was probably a common surname and there may have been
no connection between the guitar Gallots and others.
Monica
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Grzegorz Joachimiak gjoachim...@wp.pl
Cc: l...@cs.dartmouth.edu
Hi Stuart,
I see. Thanks for posting the title pages; that's very informative and
fascinating, too.
Best,
Jocelyn
--
Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
336 Fletcher Music Center
School of Music
East Carolina
On 06/03/2011 23:21, Nelson, Jocelyn wrote:
Hi Stuart,
I enjoyed this (what I could; my internet's a little slow tonight); thanks
for posting.
Grove online has Rush as a guitarist and listed in the works section are
several works for gui which I take to mean as an abbreviation for
guitar. Also
Thanks so much, Monica!
Best,
Jocelyn
On 3/3/2011 10:56 AM, Monica Hall mjlh...@tiscali.co.uk wrote:
Finally managed to listen. Very interesting and enjoyable. Hope there
will be some more.
Monica
- Original Message -
From: Nelson, Jocelyn nels...@ecu.edu
To: Vihuelalist
Dear Stuart,
Thanks for your kind words about my podcast.
And thanks also for your thought-provoking comments. I do think that
before the mid-16^th century publishing spree the guitar was--and has
been continuously ever since--a popular instrument that was mostly
played as an
Hi Stuart,
I enjoyed this (what I could; my internet's a little slow tonight); thanks
for posting.
Grove online has Rush as a guitarist and listed in the works section are
several works for gui which I take to mean as an abbreviation for
guitar. Also Elegant Extracts for Guitar. Ronald R. Kidd
that Martin plays is not a strumfest.
Stuart
Monica
regards
Martyn
--- On Fri, 4/3/11, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: Re: [VIHUELA] Re: Renaissance Guitar Podcast
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc
brought up on the modern guitar but seems to have
been generally used as a special effect ( 'arpege', 'separe') in this
period.
Martyn
--- On Sat, 5/3/11, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: Re: [VIHUELA] Re: Renaissance
as a special effect ( 'arpege', 'separe') in this
period.
Martyn
--- On Sat, 5/3/11, Stuart Walshs.wa...@ntlworld.com wrote:
From: Stuart Walshs.wa...@ntlworld.com
Subject: Re: [VIHUELA] Re: Renaissance Guitar Podcast
To: Monica Hallmjlh...@tiscali.co.uk
Cc: Martyn
...@luteshop.co.uk
Subject: [VIHUELA] Re: Playing full chords on the lute
wasRenaissance Guitar Podcast
To: Lute List l...@cs.dartmouth.edu, Vihuelalist
vihuela@cs.dartmouth.edu
Date: Saturday, 5 March, 2011, 12:58
Dear All,
Sorry to disappoint but I'm not sure what I
But surely this is conjecture? Is there any actual evidence that
four-course guitarists strummed? How do we know that publishers/scribes
didn't need to indicate a technique that we don't actually know they had?
It's not possible to argue that it is simply a limitation of printing
techniques of
--- On Thu, 3/3/11, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: [VIHUELA] Re: Renaissance Guitar Podcast
To: Nelson, Jocelyn nels...@ecu.edu
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Thursday, 3 March, 2011, 18:50
On 02/03/2011 19
(for those who missed my
earlier see for example page 53 penultimate system bars 1 to 4)
regards
Martyn
--- On Thu, 3/3/11, Stuart Walshs.wa...@ntlworld.com wrote:
From: Stuart Walshs.wa...@ntlworld.com
Subject: [VIHUELA] Re: Renaissance Guitar Podcast
To: Nelson
Subject: Re: [VIHUELA] Re: Renaissance Guitar Podcast
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: JocelynNelson nels...@ecu.edu, Vihuelalist
vihuela@cs.dartmouth.edu
Date: Friday, 4 March, 2011, 10:56
On 04/03/2011 09:14, Martyn Hodgson wrote:
Dear Stuart
:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: Re: [VIHUELA] Re: Renaissance Guitar Podcast
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: JocelynNelson nels...@ecu.edu, Vihuelalist
vihuela@cs.dartmouth.edu
Date: Friday, 4 March, 2011, 10:56
On 04/03/2011 09:14, Martyn
On 2 March 2011 20:06, Nelson, Jocelyn nels...@ecu.edu wrote:
If you click the link below, youąre on your way to my 16 minute podcast,
http://www.ecu.edu/cs-admin/mktg/treasured_tunes_jocelyn_nelson_podcast.cfm
That was nice! Thank you for sharing.
And an interesting fretting scheme you have:
On 02/03/2011 19:06, Nelson, Jocelyn wrote:
Dear Early Guitar List,
If you click the link below, you¹re on your way to my 16 minute podcast,
which includes commentary and music from my recent CD, Ma Guiterre je te
chante. A transcript of my commentary is available on the site, as well.
This was
Monica and Rob and others have suggested that strumming is very old -
older than the four-course repertoire as it appears in the mid 16th
century. But there is no explicit strumming at all in the four-course
repertoire.
The Braye MS has some pieces with sequences of block chords
which could
On 03/03/2011 20:18, Monica Hall wrote:
This subject has indeed come up on a number of occasions in the past -
we seem to keep going over and over the same topics.
Well that's alright with me!
What you mean is that there is no actual indication in the surviving
4-course repertoire that
On 20/02/2011 23:00, Chris Despopoulos wrote:
Hi all...
I posted a recording of the Paracumbe por la A from the Libro de
Diferentes Cifras, M/811 (1705). Just another re-entrant entry...
For what it's worth.
cud
--
Where?
Stuart
To get on or off this list see
Oops... It was late last night.
[1]http://cudspan.net/baroque/
Look in the first playlist. I burried it in the middle. Note that it
has warts. Also, I assume this is one of those New World dances that
has some African influence... Courtly fun taking a cue from the slave
the editor off!
Monica
- Original Message -
From: A. J. Ness arthurjn...@verizon.net
To: Monica Hall mjlh...@tiscali.co.uk
Sent: Sunday, February 20, 2011 8:33 PM
Subject: Re: [VIHUELA] Re: Arch-cittern
It's so unusual that if you ever see the notation F#F#F# - CC - BbBbBb
you'll
21, 2011 9:43:03 AM
Subject: Re: [VIHUELA] Re: Paracumbe
Those of you who are familiar with Murcia's well known Cumbees will
recognise the opening bars and one or two of the variations are similar
as well. Alejandro Vera seems to think it may be by Murcia - who would
have been about
Good!
- Original Message -
From: Chris Despopoulos despopoulos_chr...@yahoo.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Monday, February 21, 2011 3:09 PM
Subject: [VIHUELA] Re: Paracumbe
No octave strings on my guitar (for now, anyway
: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Monday, February 21, 2011 9:34 AM
Subject: [VIHUELA] Re: Arch-cittern
The system which Grove On Line uses has a lower case c' for middle c and c
for the octave below - which as far as I know is standard and known as
Helmholtz notation. It is the one which
On 21/02/2011 09:16, Chris Despopoulos wrote:
Oops... It was late last night.
[1]http://cudspan.net/baroque/
Look in the first playlist. I burried it in the middle. Note that it
has warts. Also, I assume this is one of those New World dances that
has some African
Dear Monica,
There are many schemes for designating the various octaves of musical
pitch.
See _New_HDM_, page 640, bottom of the first column.
CC indicates the C with two ledger lines below the bass clef, C the C
in the
bass clef and c as middle C, octave above that c', then c
Dear Monica,
Yes - I suspect it's a misprint. C below the bass clef is quite low
enough for gut strings of such modest length.
I also don't think it right to call it an arch-cittern: Jordan probably
called it a lute (she is described playing 'the lute' in contemporary
reports
On 18/02/2011 11:52, Monica Hall wrote:
Those of you who belong to the Lute Society will have received the
latest number of Lute News. (Apologies to those of you who aren't
members). This has a reproduction of the portrait of the actress
Dorothy Jordan playing an arch-cittern -
2:43 PM
Subject: [VIHUELA] Re: Arch-cittern or rather Lute-guitar
Dear Monica,
Yes - I suspect it's a misprint. C below the bass clef is quite low
enough for gut strings of such modest length.
I also don't think it right to call it an arch-cittern: Jordan probably
called it a lute
That makes sense. Couldn't see how it could be played on one instrument
really.
Monica
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Monica Hall mjlh...@tiscali.co.uk; Vihuela Dmth
vihuela@cs.dartmouth.edu
Sent: Friday, February 18, 2011 3:06 PM
Subject:
The other question is about the music on p.7. I'm assuming that
both
parts are supposed to be played on a single instrument. If so the
notes on the lower stave will occasionally overlap with those on the
upper stave. Are we supposed to read the lower stave an octave
lower?
I agree with Jocelyn. Chris - I find your posts refreshing and insightful
and I enjoy listening to you playing the music.
We are all on a voyage of discovery here and we don't have to come up with
neat little answers to every question.
Monica
Sent: Thu, February 17, 2011 9:09:21 AM
Subject: [VIHUELA] Re: Virgil, Vergil, the usefulness of etymology or
bourdon details
I agree with Jocelyn. Chris - I find your posts refreshing and
insightful and I enjoy listening to you playing the music.
We are all on a voyage
@cs.dartmouth.edu
Sent: Thursday, February 17, 2011 2:50 PM
Subject: [VIHUELA] Re: Virgil, Vergil, the usefulness of etymology or
bourdon details
Well, if you were familiar with the work of Lynn Margulis, you would
understand that I don't disparage the status of the parasite...
There's
I have the words of Por la verde orilla, and Souffrez beaux yeux/Espagnol je
te supplie which is all the same somg or dialogue.
Monica
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Vihuela Dmth vihuela@cs.dartmouth.edu
Sent: Monday, February 14, 2011 9:58
Finally got round to listening to these, enjoyed them and found them
interesting. The Murcia and Roncalli work quite well with the re-entrant
tuning I think. Keep at it.
Monnica
- Original Message -
From: Chris Despopoulos despopoulos_chr...@yahoo.com
To: Vihuelalist
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