>But what do you
>do after a mixed nationality programme?
Do they have food courts in Europe? :)
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Ed Durbrow
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o melodic notes and can
hardly be missed. Whereas it might be missed with
bourdons-only notation or even in tablature.
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On Aug 28, 2005, at 11:00 PM, Monica Hall wrote:
>> Another fascinating chord progression, again in the first 4 bars of a
>> passacalle, is on p. 18 of Corbetta's book of 1643:
>>
>>
>> -1-1-|-0-2--|-3-3-1-0-|-1-0--|-1-
>> -0-0-|-3-3-1-0-|-1-1--|-0-0--|-0-
>> -0-0-|-0-0--|-0-0
About the internal/exterrnal open strings included in a strum, take a
look at the Courante on p.6 of Grenerin 1680 (I assume notes within
the staff mean strums). All's well until the last line. What do you
make of the strummed chords in the 2nd, 3rd and 4th measures of that
line? In measure
ay,
but I don't know why he just didn't leave out the 4th and 5th courses
altogether. He must have wanted the resonance of the doubled Cs, the
articulation of a full strum, or perhaps he used bordons on the
5th. ??? I had seen the dots on blank staff lines before but not next
It seems to me that Vihuela should be incorporated with the lute list
as the instruments are almost the same except for the body shape.
Baroque guitar, while looking superficially like a vihuela is quite a
different beast.
For myself, I'd be happy to discuss all, including Baroque & Medieval
e have this?
Ed Durbrow
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le.
Anyone have this book (I don't know if there is more than one book by
him) and can tell me what the chord should be?
Thanks in advance.
Ed Durbrow
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case
here, it would make perfect sense.
Here is another question for the experts: What do you think about
inegale in Roncali?
cheers,
Ed Durbrow
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On Apr 6, 2006, at 5:05 AM, Lex Eisenhardt wrote:
> What I don't understand is why Alfabeto would need another chord
> before the
> A, and why that should be E minor.
Most people in Europe at that time were heavy duty Christians and so
they deemed that it was right and proper to begin with th
:39 AM, Rob MacKillop wrote:
> I remember hearing Carlevarro - a dreadful technique. After hearing
> his
> playing, I threw all his books in the bin!
Ed Durbrow
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On Oct 22, 2006, at 4:35 AM, Monica Hall wrote:
> I keyed it into my
> computer so that I could listen to it because when you are playing
> there are
> other things to think about.The underlying harmonic structure is quite
> simple.
So do you have a MIDI file you could upload somewhere? I'd
C is presumably sustained, but I see
no problem as it is a D dom7 chord resolving to Gmin in the next
measure.
cheers,
Ed Durbrow
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Okay we must be talking about different books. The last page in my
copy is written in French and says Septembre 1670 on the second line.
Pity. I'd like to see what you are talking about.
How many books did Corbetta publish? I have 1643, 1648 and La
Guitarre Royalle 1670.
On Oct 23, 2006, at
of Window (I assume you're using
> Windows and not a Mac). You print as
That is not going to change it into a MIDI file.
Ed Durbrow
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On Oct 23, 2006, at 6:52 PM, Lex Eisenhardt wrote:
>
>>> Let me give just two
>> examples
>>> that can cause headaches: p.69 2nd line, bar 2 and, more painful,
>>> 5th
>> line,
>>> bar 3 (last beat). What to do with open courses? I can come up with
>> several
>>> solutions, but essentially it i
tation and try different
> options. He does this quite often.
>
> a
> ---d c d--
> ---c c a--
> ---e e a-
> -
Ed Durbrow
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To get on or
www.youtube.com/profile?user=danensago
>
> seems to be one musician, multi-tracking - is his
> performance in accord with the original composition?
>
> - bill
>
Ed Durbrow
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___
Yahoo! Answers - Got a question? Someone out there knows the
answer. Try it
now.
http://uk.answers.yahoo.com/
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e. It can be seen at
>
> http://www.tuningsinthirds.com/Baleto/Baleto-1copy.jpg
Ed Durbrow
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Maybe this is of interest??? Are you going to Jack's later?
Dear all,
I've recorded five pieces from the Coimbra manuscript - they can be
found on
my www.songoftherose.co.uk site, or just click on the following links
for
each one. I think these are WONDERFUL pieces and should be more popu
one very interesting example where as well as
> putting in the letters there are figures to tell you how long you
> should hold the notes for.
Ed Durbrow
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On May 15, 2009, at 1:54 AM, Monica Hall wrote:
> I am more persuaded by the idea that the "chitarra" might be a
> theorbo.
Especially since it sounds so close to chitarrone.
Ed Durbrow
Saitama, Japan
edurb...@sea.plala.or.jp
http://www9.plala.or.jp/edurbrow/
--
To ge
relative to the string without radically altering the sound, -
which would not be the case with a flat pick.
Here's an mp3 version of one of the dances, Giloxia, by Domenico:
Very nice. When was this written?
Ed Durbrow
Saitama, Japan
[1]edurb...@sea.plala.or.jp
[2]htt
corny, half-baked concept):
[1]http://www.youtube.com/watch?v=BTAOV49TSKM
Ed Durbrow
Saitama, Japan
[2]edurb...@sea.plala.or.jp
[3]http://www9.plala.or.jp/edurbrow/
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References
1. http://www.youtube.com/watch?v=BTAOV49TSKM
2. mailto:edurb...@sea.plala.or.jp
3. http:/
udy or for group learning.
All the music, tablature and transcriptions, is in downloadable pdf
format. I hope you will find it useful.
Good wishes,
John Griffiths
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Ed Durbrow
Saitama, Japan
[7]edurb...@sea.plala.or.jp
[8]http://www9.plala.or.jp/edurbrow/
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References
1. mailto:michael.f...@notesinc.com
2. http://www.tiendaslatina
abande. A fine gigue
(which is reminiscent of something else) and a swingless Passacaille to
end.
Stuart
Monica
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Ed Durbrow
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Dear Stuart,
I hope that isn't all I said - if so parts got lost in the ether!
You'd have seen from my eml that in fact I think it's a matter of
horses for courses so that, for example, to return to Les Bouffons:
yes
- I would strum the block chords (including those where one is
Dear Stuart,
I hope that isn't all I said - if so parts got lost in the ether!
You'd have seen from my eml that in fact I think it's a matter of
horses for courses so that, for example, to return to Les Bouffons:
yes
- I would strum the block chords (including those where one is
Sorry for sending your post back to you Stuart. I'm typing on a
different keyboard here and accidentally hit send, I guess. I'm just
following the interesting discussion.
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notes on the D string.
On Aug 26, 2010, at 5:01 AM, Lex Eisenhardt wrote:
Playing campanelas including little sound from the bourdons is
merely a
matter of how you imagine these melodic lines. The technique
follows
the
Ed Durbrow
Saitama, Japan
[1]http
probably a relative of Pereyra da
Costa, Mestre Da Capella da se do Funchal)
[1]http://www.youtube.com/watch?v=xtC9xDSYGf4
Ed Durbrow
Saitama, Japan
[2]http://www9.plala.or.jp/edurbrow/
[3]http://www.musicianspage.com/musicians/9688/
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References
1. http://www.youtube.com
On Nov 21, 2010, at 8:25 AM, Roman Turovsky wrote:
By not much, as you cannot do them on double strings.
Why not?
Ed Durbrow
Saitama, Japan
[1]http://www9.plala.or.jp/edurbrow/
[2]http://www.musicianspage.com/musicians/9688/
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References
1. http://www9
Man, I thought the guitar was going to catch fire in that La Cocq
Chaccone!
[1]http://www.youtube.com/user/audioeidos?email=share_youtube_user#p
/a/ u/1/25sn20hi8o0
Any idea if the tab for that amazing piece is available online?
Ed Durbrow
Saitama, Japan
[2]http
for me, as I've been playing it the other way. It
doesn't make musical sense to me either. Since the fingering change
happens on what we call the 4th and 5th courses, what would be the
point of putting those changes on the first beat of the bar if you were
not playing them un
ry and
Handbook_ has only 176 pages.
Ed Durbrow
Saitama, Japan
[1]http://www.musicianspage.com/musicians/9688/
[2]http://www9.plala.or.jp/edurbrow/
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References
1. http://www.musicianspage.com/musicians/9688/
2. http://www9.plala.or.jp/edurbrow/
To get on or off this
if this is a special chord or the copyist just
did it differently there.
TIA
Ed Durbrow
Saitama, Japan
[1]http://www.musicianspage.com/musicians/9688/
[2]http://www9.plala.or.jp/edurbrow/
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References
1. http://www.musicianspage.com/musicians/9688/
2. http://www9.plala.
rely consistent.
Couldn't quite remember the word. So what does it mean?
Thank you very much Monica.
Ed Durbrow
Saitama, Japan
[1]http://www.musicianspage.com/musicians/9688/
[2]http://www9.plala.or.jp/edurbrow/
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References
1. http://www.musicianspage.com/musicians/968
.youtube.com/watch?v=w8q45d1wDww
Best,
Arto
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Ed Durbrow
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[4]http://www9.plala.or.jp/edurbrow/
--
octave string on the third course in one place.
Ed Durbrow
Saitama, Japan
[1]http://www.musicianspage.com/musicians/9688/
[2]http://www9.plala.or.jp/edurbrow/
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References
1. http://www.musicianspage.com/musicians/9688/
2. http://www9.plala.or.jp/edurbrow/
To get on or off
thicker it is not
difficult to give it prominence where necessary. A plain gut
bourdon on the
fifth is so thick that it is hard to miss!
Ed Durbrow
Saitama, Japan
[1]http://www.musicianspage.com/musicians/9688/
[2]http://www9.plala.or.jp/edurbrow/
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References
1
lected
digit. :-)
Stewart McCoy wrote:
When people reply to
my messages, they often send me the same email twice: one to me
and one
to the List to which I subscribe. This is unnecessary duplication,
Ed Durbrow
Saitama, Japan
[1]http://www.musicianspage.com/musici
I am curious if there is an answer to your question. Tangentally, I have a
theory that so many strummed chords didn't include the 5th course, that they
didn't even bother to put a dot there if it would make a dissonance, they just
assumed you wouldn't include it in the strum.
On May 31, 2012, a
On Jun 1, 2012, at 9:35 PM, Martyn Hodgson wrote:
> Your point about the 5th course is certainly well made, however, missing this
> course is not so tricky as avoiding playing the first course when using a
> downwards index strum. Indeed, I raised the matter since I'd heard quite a
> few playe
0
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Very tricky if you don't speak Spanish. Even with Google translate, I couldn't
figure it out. I couldn't find any of the phrases you mentioned.
On Jun 12, 2012, at 7:55 PM, Monica Hall wrote:
>
> It took me a good half hour to download it but it is a much better image
> that the published one
What a prolific person he was. Does any other guitarist have as much output
specifically for B. guitar?
On Jun 20, 2012, at 5:22 AM, WALSH STUART wrote:
> This new Murzia MS has lots of diferencias on familiar grounds and some
> passacalles and short pieces. I haven't looked through it that muc
Thanks for the instructions Monica. Eloy Cruz was kind enough to send it to me
by Dropbox.
I have to say, I hope this scanning at high resolution is a trend that goes
viral. Looking at this thing is almost like holding it.
thanks,
On Jun 17, 2012, at 1:06 AM, Monica Hall wrote:
> Try this...
>
wed by x.
The f > e is already an appoggiatura. The only thing I can think of is to
reiterate the upper neighbor f from the e note, an upper mordant.
P.80 third line from bottom, 2nd measure: What's this about? X on a 16th note
but preceded by an appoggiatura from above or below?
TIA
Ed
if this wasn't some kind of mistake, two ornaments on two 16th notes seems
pushing it.
The basic problem I'm having, well two really, is 1. you can't do an
appoggiatura from above if a slur from the same neighbor precedes it. 2. Many
places call for reiterations to my ear, especi
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