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
' and the novelty
will thus generate more listening/sales.
--- On Thu, 26/8/10, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Foscarini on Radio 3
To: Stuart Walsh s.wa...@ntlworld.com
Cc: Vihuelalist vihuela
@cs.dartmouth.edu
Sent: Friday, August 27, 2010 8:06 AM
Subject: [VIHUELA] Re: Foscarini on Radio 3
Dear Monica,
I very much agree about Kozena's singing: there's a fashion for well
known sopranos to try their hand at small scale 'early music' but few
seem to be able to make the transition
Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Fri, August 27, 2010 7:00:18 AM
Subject: [VIHUELA] Re: Foscarini on Radio 3
Dear Martyn
Yes - I agree with everything you say. I haven't listened to the whole
concert yet - I got as far as the Foscarini
__
From: Monica Hall [4]mjlh...@tiscali.co.uk
To: Martyn Hodgson [5]hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist [6]vihu...@cs.dartmouth.edu
Sent: Fri, August 27, 2010 7:00:18 AM
Subject: [VIHUELA] Re: Foscarini on Radio
-
From: [1]jean-michel Catherinot
To: [2]Martyn Hodgson ; [3]Monica Hall
Cc: [4]Vihuelalist
Sent: Friday, August 27, 2010 12:39 PM
Subject: Re : [VIHUELA] Re: Foscarini on Radio 3
I'm quite surpised by this, because that is not at all usually their
stuff: and that's one
Subject: [VIHUELA] Re: Foscarini on Radio 3
Interesting... To my unschooled ears, I didn't find anything
objectionable in the Foscarini. I'll admit that I'm getting tired of
the ciaconna rhythm and its ilk... It's getting very popular I think
because it's so approachable. Sort of like los
Thank you for that!I was listening to the concert on the Radio 3 website
but I couldn't recognise it at all. It sounded a bit like Piccinini's
Chiaccona Cappona alla vera Spagnola. Maybe it's just something they have
made up themselves and attributed to Foscarini. His book does
Very nice - Stuart. What about the second half now?
Fosco's Passacalles and Ciaconas work really well. It's interesting that he
is the first person to have included a series of these things in different
keys - although not a complete cycle. Also they are sort of longer
re-working of some
03, 2010 4:31 PM
Subject: Re: [VIHUELA] Re: Foscarini: Capriccio
Hello Monica
I'd be interested to see that picture!
Thanks greetings from Amsterdam,
Jelma van Amersfoort
On Jul 3, 2010, at 5:05 PM, Monica Hall wrote:
Very nice - Stuart. What about the second half now?
Fosco's
That is fascinating! I haven't had time to look at the pieces closely but
it doesn't surprise me. Most of the introduction to Granata's 1646 book has
also been copied from Foscarini. And he accused Corbetta of plagiarism!
But the pieces may not be by Foscarini either!
Monica
-
That is fascinating! I haven't had time to look at the pieces
closely but it doesn't surprise me. Most of the introduction to
Granata's 1646 book has also been copied from Foscarini. And he
accused Corbetta of plagiarism! But the pieces may not be by Foscarini
either!
Monica
Here are
.
Cheers
Monica
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, April 18, 2010 9:52 PM
Subject: Re: [VIHUELA] Re: Foscarini-Granata
Stuart Walsh wrote:
That is fascinating! I
@cs.dartmouth.edu
Sent: Thursday, January 07, 2010 9:45 PM
Subject: [VIHUELA] Re: Foscarini
Monica Hall wrote:
I have just added 3 more pieces to my Foscarini opus on my
[1]www.earlyguitar.ning.com
site - the ones in E major on p.117. They are right at the end. For
the time being I will put
Monica Hall wrote:
I have just added 3 more pieces to my Foscarini opus on my
[1]www.earlyguitar.ning.com
site - the ones in E major on p.117. They are right at the end. For
the time being I will put all new pieces at the end rather than stick
to page order of the book to
to this?
- Original Message -
From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Tuesday, January 05, 2010 11:29 PM
Subject: Re: [VIHUELA] Re: Foscarini Passacaglio
A few more thoughts on the passacaglia.
I spent a bit more time
...@ntlworld.com
Cc: Vihuelalist [3]vihu...@cs.dartmouth.edu
Subject: [VIHUELA] Re: Foscarini Passacaglio
A few more thoughts on the passacaglia.
I spent a bit more time looking at Foscos passacaglie and of course he
does
make a distinction between the passacaglia which
A few more thoughts on the passacaglia.
I spent a bit more time looking at Foscos passacaglie and of course he
does
make a distinction between the passacaglia which is in a minor key and
ciaccona which is in a major key. The same distinction is made by
Corbetta
in his 1643 book although
Alas - I couldn't access the Youtube site so I can't listen to or comment on
the performance. I don't know why.
I put the original tablaure on my www.earlyguitar.ning.com page - in the
photo section with the recomposed section enclosed in brackets and a staff
notation version - which Django
Not bad actually Stuart, both your playing and Foscos music and my
recomposition passes muster I think - looking at it again the last phrase is
the standard passacaglie progression i iv Vi. so he got there at
the end.
Do keep at it as I love to hear other people's attempts to play
Hi Stuart
Thanks for that! A great attempt. Fosco's music is actually quite
attractive and it is so nice to hear someone else play it. It's such a
pity no-one seems interested in it and a pity the notation is such a mess.
You have inspired me to start on another sequence of pieces
I really enjoyed this. Thanks, Stuart for playing posting this, and
thanks to Monica, too, for working with this beautiful music.
Best,
Jocelyn
___
From: Stuart Walsh [1]s.wa...@ntlworld.com
Date: Fri, 4 Dec
Thanks Jocelyn. Foscarini is quite a surprise - the later pieces are rather
similar to early Corbetta I think. The problem is with the rhythm - I have
come to the conclusion that you might as well ignore the note values above
the stave most of the time. I am beginning to think that the
@cs.dartmouth.edu
Sent: Monday, September 14, 2009 2:43 PM
Subject: [VIHUELA] Re: Foscarini
Monica Hall wrote:
Yes - its a nice piece - perhaps you can record it for us - with the
French tuning as it ia in e minor.
Monica
Well here's a quick shot at it. Maybe somebody else will have a go too
]luteplay...@googlemail.com
To: [2]Stuart Walsh
Cc: [3]Monica Hall ; [4]Vihuelalist
Sent: Friday, September 11, 2009 8:34 PM
Subject: Re: [VIHUELA] Re: Foscarini
Yes, Monica, I can't see much there either. Everything else seems OK
with the site. Very strange. I'll keep
:27 PM
Subject: [VIHUELA] Re: Foscarini
Monica Hall wrote:
Don't know - everything still seems to be there.
Could send you the PDF privately if you are anxious to see latest
developments.
Monica
I'm sure your page will be visible soon. But I still can't see anything on
your ning page
Your page seems to be working now. 'Jane' got removed some time ago.
She comes back in various guises but I have managed to remove her each
time. She also visits other ning groups.
All seems OK for the present.
Rob
--
To get on or off this list see list information at
In case anyone is still interested in Foscarini I added several more
pieces on my [1]www.earlyguitar.ning.com
site including the very long toccatta on p.114-115.
Interesting piece although not sure if my re-construction is very
convincing.
there are now 30
Fifty!
Monica
- Original Message -
From: s.wa...@ntlworld.com
To: Vihuelalist vihuela@cs.dartmouth.edu; Monica Hall
mjlh...@tiscali.co.uk
Sent: Friday, September 11, 2009 1:39 PM
Subject: Re: [VIHUELA] Foscarini
In case anyone is still interested in Foscarini I added several
Monica Hall wrote:
Fifty!
Monica
I can't access your ning page... it's just a blank. Is it because you
have been winding up the lute list?
Stuart
- Original Message - From: s.wa...@ntlworld.com
To: Vihuelalist vihuela@cs.dartmouth.edu; Monica Hall
mjlh...@tiscali.co.uk
Sent:
thing.
Stuart
- Original Message - From: Stuart Walsh s.wa...@ntlworld.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Friday, September 11, 2009 7:07 PM
Subject: [VIHUELA] Re: Foscarini
Monica Hall wrote:
Fifty!
Monica
I can't access
: Friday, September 11, 2009 7:07 PM
Subject: [VIHUELA] Re: Foscarini
Monica Hall wrote:
Fifty!
Monica
I can't access your ning page... it's just a blank. Is it because you have
been winding up the lute list?
Stuart
- Original Message - From: s.wa...@ntlworld.com
To: Vihuelalist
Yes, Monica, I can't see much there either. Everything else seems OK
with the site. Very strange. I'll keep looking for developments.
Rob --
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Mille grazie!
You are now up to 24! Only 180 (?) more to go !!
Everybody should look on http://earlyguitar.ning.com/ then Monica's
page.
-- Rocky
On Jun 30, 2009, at 2:41 PM, Monica Hall wrote:
I've added 6 more pieces to my Foscarini edition on
[1]www.earlyguitar.com - 2 from
Speaking of Foscarini I read recently that some of the pieces are by
Mesangeau. Does anyone know which ones? I checked the edition of M's
lute music but couldn't match any of the pieces to Fosco.
That's interesting and surprising. The worlds of Mesangeau and
Foscarini seem
Well - yes but when I originally did the pieces someone did ask for
them in French tab. As it is easy to convert them this seemed a
reasonable request.
If they fall in love with the music playing it in French tab perhaps
that will encourage them to learn Italian tab and even
I am not very familiar with Mesangeau and I couldn't see any resemblance
between the pieces in the complete CNRS edition of his works. The Corrente
on p.42 is by Ennemond Gaultier according to James Tyler although I haven't
been able to check.
I think it probable that most of the lute style
French tab as well??!! What is happening to you, Monica? Pandering to
the unwashed?
Rob
2009/4/25 Monica Hall [1]mjlh...@tiscali.co.uk
I am pleased to announce that I have revised my pieces by
Foscarini on
my [1][2]www.earlyguitar.ning.com site. I have added
Thank you, Monica!
And how timely -- I ordered the facsimile a week or so ago and am
expecting it any day now.
I have recently been wrestling with his notation and appreciate you
added perspective.
Thank you, again.
-- Rocky
On May 23, 2008, at 1:45 PM, Monica Hall wrote:
Well - I
Thank you La Monica - you are a star...
Rob
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
; Vihuelalist
Sent: Friday, May 23, 2008 6:27 PM
Subject: Re: [VIHUELA] Re: Foscarini made simple
Thanks and congratulations, Monika. The article looks great and will be
extremely helpful. I have a question about some of the strummed chords and the
issue of whether or not open strings should
actually strum signs. And there are strum signs all over the
place in Foscarini.
Hooray!
Monica
-Original Message-
From: Rob [mailto:[EMAIL PROTECTED] Sent: 13 January 2008 16:40
To: 'Martyn Hodgson'; 'Stuart Walsh'; vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Re: Foscarini again
notes seems to be a bit of
grey area. Perhaps it was left to the discretion of the player.
Monica
- Original Message -
From: Martyn Hodgson
To: Monica Hall ; Stuart Walsh
Cc: Vihuelalist
Sent: Monday, January 14, 2008 8:58 AM
Subject: Re: [VIHUELA] Re: Foscarini again
-
From: Martyn Hodgson
To: Monica Hall ; Stuart Walsh
Cc: Vihuelalist
Sent: Monday, January 14, 2008 8:58 AM
Subject: Re: [VIHUELA] Re: Foscarini again -
Monica, why do you think that the single notes are not played as a chord with
any of the preceding note(s)? I realise this is your position
he say is
a bit ambiguous!
Monica
From: Martyn Hodgson
To: Monica Hall
Cc: Vihuelalist
Sent: Monday, January 14, 2008 1:32 PM
Subject: Re: [VIHUELA] Re: Foscarini again -
Yes - I think we're reaching some sort of middle way. However, in the case
we were particularly discussing
'
My dog's pennyworth:
Why doesn't it make sense to strum? Surely it's a particular effect he's
after: I think he does indeed want it strummed.
The entire section gradually gets 'higher' and it's all part of a long rising
phrase. I'm using a bourdon on the 4th but even with
Stewart,
Re yr queries:
1. Yes, I do think that all the 'strum' marks should be taken seriously;
this is my general starting point. I have not (yet!) found anything in B which
cannot be strummed. Incidentally I take it as read that we're not always
speaking about vigourous
I've made a stab at interpreting this on the guitar:
www.rmguitar.info/temp.htm
I think this is what Martyn is getting at - please forgive me, Martyn, if it
isn't. Obviously it is only an attempt after a couple of read-throughs, and
I got a little lost, but the general idea is, I think, one
Hodgson'; 'Stuart Walsh'; vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Re: Foscarini again -
I've made a stab at interpreting this on the guitar:
www.rmguitar.info/temp.htm
I think this is what Martyn is getting at - please forgive me, Martyn, if it
isn't. Obviously it is only an attempt after
I seem to have set the cat amongst the pigeons! Yet again - but I think
these questions are worth asking.
I have done a transcription of the whole passage which perhaps Stuart will
put on his site.
If he does - I have put in the open courses in red where I think they should
be included
Prompt action from Stuart!!!
You can see my transcription at
It's here:
http://www.pluckedturkeys.co.uk/FoscariniToccatta1.jpg
Monica
No
Sounds very nice anyway...
Monica
- Original Message -
From: Rob [EMAIL PROTECTED]
To: 'Martyn Hodgson' [EMAIL PROTECTED]; 'Stuart Walsh'
[EMAIL PROTECTED]; vihuela@cs.dartmouth.edu
Sent: Sunday, January 13, 2008 4:40 PM
Subject: [VIHUELA] Re: Foscarini again -
I've made a stab
revise my alfabeto!! After that I more or less
got it right...
Rob
www.rmguitar.info
-Original Message-
From: Rob [mailto:[EMAIL PROTECTED]
Sent: 13 January 2008 16:40
To: 'Martyn Hodgson'; 'Stuart Walsh'; vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Re: Foscarini again -
I've made
Transcription fine - EXCEPT the second bar repeat the Bb on 5th course (so can
be 'strummed')
Martyn
Monica Hall [EMAIL PROTECTED] wrote:
Prompt action from Stuart!!!
You can see my transcription at
It's here:
http://www.pluckedturkeys.co.uk/FoscariniToccatta1.jpg
Monica
It's Foscarini - not BArtolotti!
Monica
- Original Message -
From: Martyn Hodgson [EMAIL PROTECTED]
To: [EMAIL PROTECTED]; 'Stuart Walsh' [EMAIL PROTECTED];
vihuela@cs.dartmouth.edu
Sent: Sunday, January 13, 2008 5:06 PM
Subject: [VIHUELA] Re: Foscarini again -
Absolutely Rob
.
Martyn
Monica Hall [EMAIL PROTECTED] wrote:
It's Foscarini - not BArtolotti!
Monica
- Original Message -
From: Martyn Hodgson
To: ; 'Stuart Walsh' ;
Sent: Sunday, January 13, 2008 5:06 PM
Subject: [VIHUELA] Re: Foscarini again -
Absolutely Rob - the build up is, I think
Subject: Re: [VIHUELA] Re: Foscarini !
Transcription fine - EXCEPT the second bar repeat the Bb on 5th course (so
can be 'strummed')
I actually wouldn't agree with that! It's a single note played as an up
stroke with the first finger.
This also applies in bars 4, 6, 7 9
-
From: Rob [mailto:[EMAIL PROTECTED]
Sent: 13 January 2008 16:40
To: 'Martyn Hodgson'; 'Stuart Walsh'; vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Re: Foscarini again -
I've made a stab at interpreting this on the guitar:
www.rmguitar.info/temp.htm
I think this is what Martyn is getting
: Stuart Walsh [mailto:[EMAIL PROTECTED]
Sent: 13 January 2008 18:57
To: [EMAIL PROTECTED]; vihuela@cs.dartmouth.edu
Subject: Re: [VIHUELA] Re: Foscarini again -
Rob wrote:
Well, my first stupid mistake was to play for the first chord a Gm chord
instead of a Bb chord! Must revise my alfabeto!! After
in Foscarini.
Hooray!
Monica
-Original Message-
From: Rob [mailto:[EMAIL PROTECTED] Sent: 13 January 2008 16:40
To: 'Martyn Hodgson'; 'Stuart Walsh'; vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Re: Foscarini again -
I've made a stab at interpreting this on the guitar
Thanks for taking the trouble, Rob. I'm sure you're right that
professional guitarists of the time could do all sorts of amazing things
with this music.
I hope you'll be putting up some theorbo recordings soon enough.
Stuart
Well, I've had a look, guitar in hand, and these are my thoughts.
I wonder if I can elicit another Pavlovian response from Martyn - or anyone
else.
There is a Toccatta in Foscarini's 5th book on p.105.
Stuart has put it on his website for the benefit of those who don't have it
to hand at
http://www.pluckedturkeys.co.uk/FoscoToccata-1a.jpg
There is a
Subject: Re: [VIHUELA] Re: Foscarini again -
This really gets to the heart of it. Are these up and down stroke marks in
Foscarini sometimes really not strums at all? (I mean that this gets to
the heart of the matter as far as a newcomer to this music, like me, is
concerned. Has
: Rob
To:
Sent: Thursday, January 03, 2008 11:48 PM
Subject: [VIHUELA] Re: Foscarini/Bartolotti notation - with music
Another possibility: this could be the earliest notation for the thumb
playing both up and down strokes - a very common flamenco guitar
technique,
called alzapua. It can be very
Subject: [VIHUELA] Re: Foscarini/Bartolotti notation and music
This is the passacaglia on p.17 we are discussing here...
It is possible to play them with a single finger up and down or possibly
even thumb down and finger up but I don't think this would be the method
of choice. Including any
Subject: Re: [VIHUELA] Re: Foscarini/Bartolotti notation - with music
This is the Ciaccona which Stuart won't have a copy of.
However, the problem with my earlier suggestion is that I just can't do it: I
played through yesterday and thought it just needed a bit more application
is the different effect
you would produce.
Answers on a postcard ..to
Monica
- Original Message -
From: Rob [EMAIL PROTECTED]
To: vihuela@cs.dartmouth.edu
Sent: Thursday, January 03, 2008 11:48 PM
Subject: [VIHUELA] Re: Foscarini/Bartolotti notation - with music
Another
To:
Sent: Thursday, January 03, 2008 11:48 PM
Subject: [VIHUELA] Re: Foscarini/Bartolotti notation - with music
Another possibility: this could be the earliest notation for the thumb
playing both up and down strokes - a very common flamenco guitar
technique,
called alzapua. It can be very
Monica Hall wrote:
Following on from the discussion about Foscarini's notation before Christmas I
wonder what other people on this list would make of a passage in one of
Bartolooti's passacaglias - the one on p.17 of his Libro Primo.
On the bottom stave of the first page (17) there is a
I've always assumed these were just light strums across two adjacent strings;
simplty an extension of just strumming on three (eg the 630 on the first beat
of the fourth full bar of this line).
As, I think, you imply, one needs to be a bit careful not to strum any other
surrounding
You are probably right - Bartolotti is very meticulous on the whole and
includes far more details about right-hand technique than most.
It is just that the piece by Foscarini that Stuart was commenting on includes
similar passages in thirds which Fosco has indicated are to be played lute
Them's my sentiments entirely!
Monica
- Original Message -
From: Rob [EMAIL PROTECTED]
To: 'Monica Hall' [EMAIL PROTECTED]
Cc: 'Vihuelalist' vihuela@cs.dartmouth.edu
Sent: Thursday, January 03, 2008 5:25 PM
Subject: RE: [VIHUELA] Re: Foscarini/Bartolotti notation
If you go right
: Thursday, January 03, 2008 8:50 PM
Subject: [VIHUELA] Re: Foscarini/Bartolotti
Here's what they look like:
http://www.pluckedturkeys.co.uk/2portraits/
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Monica Hall wrote:
Following on from the discussion about Foscarini's notation before Christmas I
wonder what other people on this list would make of a passage in one of
Bartolooti's passacaglias - the one on p.17 of his Libro Primo.
On the bottom stave of the first page (17) there is a
I don't think that anyone has made a transcription of the whole of
Foscarini - it would indeed be a labour of love! I looked at Gavin's
transcription - but he hasn't given the page number so that I can compare it
with the original. Also I am not in favour of inverting the tablature in
this
Monica Hall wrote:
I don't think that anyone has made a transcription of the whole of
Foscarini - it would indeed be a labour of love! I looked at Gavin's
transcription - but he hasn't given the page number so that I can
compare it with the original. Also I am not in favour of inverting
If you wanted to avoid string break you wouldn't start with the 5th
course
at all. If you tune the 5th course too high, when you get to the 1st
course - ping - off it goes!
Still that is what the instructions say: 'tune the fifth course to a
convenient pitch' or 'the fifth may be tuned
Pesori - he has probably copied Foscarini in Galeria musicale.
The tuning check is not the same. The fact that tuning charts are all
similar doesn't say they are copied.
Still don't clearly mention octave stringing.
I took it from 'Recreazioni armoniche' Now I see that it is probably from
I wouldn't know. The pieces by Colista for guitar that I've seen are
mediocre. I happen to Like Bartolotti and Corbetta
As you haven't seen it, other than in two manuscripts copied in the 18th
century you can't evaluate it. All that you can say is that you know
nothing about it. So
They actually work just as well for the French tuning. The 5th
course
is
tuned in unison at the upper octave. When it is stopped at the 5th
fret,
the thin string of the 4th course - which is next to it - can be tuned
in
unison with it. When the 4th course is stopped at the 5th
In the third bar it goes onto the 2nd course -
But don't forget that from here to the end most of the notes on the 4th
course will also sound an octave higher - creating a completely different
treble line from what you imagine.
it doesn't matter that
there's no strict voice leading
Then Corbetta is to blame, he does that sort of thing all the time.
Not Corbetta - You! Alfabeto chords do not have a functional bass note - or
rather they are all in root position. This is simply an F minor chord.
Indeed unsatisfactory. But where is the d from the fourth course going? No
Within few years someone will prove that they
used
an octave e'' to the first course.
This is complete nonsense,
Indeed, that's what it is.
Sometimes I'm not sure whether you are serious either! I thought at first
you were joking about including all the open courses in Foscarini -
Monica,
Further to the below, grtfl if you cld respond to my earlier message on
precisely this matter: I'm not always convinced by yr procrustean analysis.
rgds
Martyn
Monica Hall [EMAIL PROTECTED] wrote:
Then Corbetta is to blame, he does that sort of thing all the time.
Not
As you haven't seen it, other than in two manuscripts copied in the 18th
century you can't evaluate it. All that you can say is that you know
nothing about it. So much of what you say simply ignores that fact that
we
have a very incomplete picture of what was really happening.
Oh no, I
Thank you fr ths Lex,
I take yr points and, in particular, that Sanz was only recording his
recollection of Roman practice. Nevertheless, does it not represent a
compelling piece of contemporary (allbeit reported some 20 yrs after his visit)
evidence for re-entrant stringing rather than
Thank you Lex,
Regarding posn of low octave on 4th and 5th courses:
I do, of course, well understand that modern general practice is for low basses
to be 'closest to the floor' (hence my continuation dots..), my reason in
raising this matter with you was that if strict part writing in
I do, of course, well understand that modern general practice
is for low basses to be 'closest to the floor' (hence my continuation
dots..), my reason in raising this matter with you was that
if strict part writing in BC was expected on the 17thC gtr
(as, I understand, is yr view - I'm
] Re: Foscarini/Corbetta - low basses
Thank you for this summary of your views Lex.
After reading it I went to Corbetta 1648 and, indeed, the style of
writing (especially the use of chords on the three 'lowest' courses) does
seem rather different to his post 1671 stuff. I
Hodgson
To: Lex Eisenhardt ; Vihuela Net
Sent: Sunday, September 04, 2005 9:36 AM
Subject: [VIHUELA] Re: Foscarini/Corbetta - low basses
Thank you for this summary of your views Lex.
After reading it I went to Corbetta 1648 and, indeed, the style of
writing (especially the use of chords
How about the context? If we would suppose the tuning with 2 bourdons, the P
chord in the bar before would be 6-4, the bass connecting to the c in the
2nd bar of the line. That chord would be c minor (root) and the next G major
in 6-3. The top melody is likely to be on the 4th c. How about the
I must apologise for that - some of my comments aren't meant to be taken
too seriously. I sometimes forget that you might understand what I am
saying
in a different way.
Immediately accepted. Let's all learn Dutch.
That is really the whole point. Statements of any kind.
I'm afraid the
Thank you for this summary of your views Lex.
After reading it I went to Corbetta 1648 and, indeed, the style of writing
(especially the use of chords on the three 'lowest' courses) does seem rather
different to his post 1671 stuff. I had previously thought this was a just a
stylistic (ie
Have a look on p. 71 of the same book, LGR, last full bar of the
second line. Do you suppose the dot above the d cipher on the 4th
course means to leave that particular note out while still
maintaining a barre? Otherwise you have the resolution note sounding
against a dominant chord. It
I don't seem to have received Lex's latest message. Perhaps I have been
black-balled. Can you send it again?
Sanz says that guitarists in Rome use only thin strings. He doesn't comment
on what guitarists elsewhere in Italy did - presumably because he didn't
know. But Foscarini, Bartolotti
I have a much clearer print out of the copy in the British Library and
this dot is not visible in it! I'd want to look at the original before
commenting!
Monica
Have a look on p. 71 of the same book, LGR, last full bar of the
second line. Do you suppose the dot above the d cipher on
Maybe Lex forgot to send it to the list?
Thank you for this summary of your views Lex.
After reading it I went to Corbetta 1648 and, indeed, the style of
writing (especially the use of chords on the three 'lowest' courses) does
seem rather different to his post 1671 stuff. I had previously
After my message below
Monica Hall [EMAIL PROTECTED] wrote:Date: Sun, 4 Sep 2005 15:04:35 +0100
To: Martyn Hodgson [EMAIL PROTECTED]
CC: vihuela vihuela@cs.dartmouth.edu
From: Monica Hall [EMAIL PROTECTED]
Subject: [VIHUELA] Re: Foscarini/Corbetta - low basses
Maybe Lex forgot to send
to the rest of the message, which doesn't seem
to be complete. Perhaps Lex would send it again.
Monica
- Original Message -
From: Martyn Hodgson
To: Lex Eisenhardt ; Vihuela Net
Sent: Sunday, September 04, 2005 9:36 AM
Subject: [VIHUELA] Re: Foscarini/Corbetta - low basses
Thank you
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