Re: Demise of baroque guitar

I'm happy to receive correction/clarification on the following from proper organologists. At 09:01 AM 1/18/2005, David Cameron wrote: >What is the latest date for an instrument distinctly recognizable as a >baroque guitar? I don't know that the "baroque guitar" should be considered a proper in

RE: MO

Well said. Eugene At 09:39 AM 2/28/2005, Rob MacKillop wrote: >You got the message the wrong way round, Stephan. I didn't kick him off this >list - I am not in a position to do that to anyone. And I am personally >saddened that he has chosen to go, but I understand his reasons. I actually >invit

Re: MO

At 10:22 AM 2/28/2005, Roman Turovsky wrote: >Be careful with what you wish for MO has antagonized most of his >friends and almost all of his collaborators. Not me...or if he has, I have taken it to be friendly ribbing, shrugged it off, and laughed. > > > > Everyone: let's get along. We a

Re: Air on one or other string of a course?

I'm a little embarrassed to admit that I'm not too familiar with Corrette's writing on guitar, but his writing for mandolin is sometimes considered slightly suspect. Eugene At 11:02 AM 2/27/2005, Monica Hall wrote: >Air on one or other string of a course? > > > Yet, as far as I know, there is n

Re: MO

At 11:14 AM 2/28/2005, Roman Turovsky wrote: >I wasn't planning to invoke MO one more time, but SHARING is what he >reviles the most. Make no mistake about it. My experience with Matanya is that he is amongst the most sharing and generous men I know. I don't want to quibble on this topic, but

Re: Ensemble music with Vihuela

At 10:30 AM 3/1/2005, Are Vidar Boye Hansen wrote: >I have of course heard both his theorbo and his vihuela live on several >occasions, and I can guarantee you all that his vihuela is louder. You >will probably hear from the recording that his vihuela has a tremendous >attack, which makes it penetr

RE: waldzither

Actually, sounds like one that would be appropriate to the new cittern list. Eugene At 04:33 AM 3/3/2005, Rob MacKillop wrote: >David Kilpatrick sent me the email below, but I think he meant to send it to >the group. > >I'll be carrying too many things with me to Germany, David, so thanks for >y

Re: An 1816 vihuela

Quitra=KiTar=Four-stringer, > > in IndoEuropean, i.e. a small 4-course vihuela, a NON-lute. The exception > > are la Chitarra Italiana and its sister Quitra, both lute-shaped. > > RT Eugene C. Braig IV Assistant Director Ohio Sea Grant College Program, F.T. Stone Laboratory, CLEAR, a

Re: heigh-ho ...

I'm here, as always, Bill. And I still take no issue with the charango playing whatever repertoire you see fit to pursue. However, even if the charango is lovingly embraced as a direct descendent of the 16th c. vihuela, I don't know that it would feel quite at home here as a full--blown topic

La Folia: ca. 1830-1900

I've posted this at pretty much every appropriate corner of cyber space of which I'm aware. It's time for me to carry it to you, ye great scholars of things old and guitar-esque. I find the simple theme/progression of "La Folia" to be intriguing in providing a constant throughout the history

Re: gee, it's cold in here ...

At 09:15 AM 5/12/2005, Monica Hall wrote: >Can't we think of some controversial comment to revive it? Sanz was a sissy! Everybody knows Guerau is where it's at. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: gee, it's cold in here ...

At 01:12 PM 5/12/2005, Monica Hall wrote: >How about - Santiago de Murcia never went to Mexico (there is actually no >evidence he did). > >I think he stayed at home in Madrid teaching Andriani's umpteen children to >play the guitar... Yeah, that's good controversy. At 03:46 PM 5/12/2005, Martin

RE: las sirenas

At 09:26 PM 5/15/2005, bill kilpatrick wrote: >- twin mermaid sculptures holding vihuelas on the >portico of the church of san lorenzo (1547 - 1744) in >potosi - "las sirenas petreas vihuelistas o >charanguistas de la portada de la iglesia de San >Lorenzo de Potosí." The latter article gives this

RE: las sirenas (ll)

At 01:29 PM 5/16/2005, bill kilpatrick wrote: >it's a shame though. as beautiful as the music is, >the charango deserves more than just melodies from the >andes. I can't argue that, and I'm overjoyed that you've opted to approach atypical repertoire on your charango. I still say play whatever

Re: cement

At 02:15 AM 5/19/2005, bill kilpatrick wrote: >in all the time that i've been banging on about the >charango as a "living" instrument, suitable for the >early music genre, i can't remember one reference to >"temple nuovo" or a ukulele. All "living" instruments are suited to play any rep you'd lik

Re: hip posture

Well now. This doesn't seem quite fair, Bill. Do I detect a hint of Freudian vihuela envy? It's a matter of semantics, but I believe this kind of thing is why "HIP" was taken up in favor of aspirations to "authentic" period performance. Frankly, an authentic period performance is an absolute

Re: Stefano Pesori

pletetrly >wrong!!) Not at all...although I'd favor specifics regarding the octave sounded: a-a, d-d', g-g, b-b, e' or A-a, d-d', g-g, b-b, e', etc. There is a nice summary table of tunings that can be deciphered from various period methods in Tyler & Spark

[VIHUELA] Re: musica ficta

At 01:48 PM 7/28/2005, bill kilpatrick wrote: >thanks to the thoughtfulness and generosity of someone >on the fretted friends group on yahoo, i have a copy >of "hispanic folk songs of new mexico" by john donald >robb. it's a list of selected songs, secular and >religious, and constitutes what i im

[VIHUELA] Re: sex and vihuela

At 08:45 PM 8/18/2005, bill kilpatrick wrote: >do you think it's possible to make a small, 5c. guitar >or vihuela without someone calling it a charango? Of course, especially in the 17th c. when the name didn't exist. An instrument is named whatever people are calling it...whether I like it or

[VIHUELA] Re: New Sanz disc

At 11:13 AM 8/19/2005, Rob MacKillop wrote: >I've just received a copy of Gordon Ferries 'La Preciosa' - a CD of works by >Gaspar Sanz. Here is the link to the record company: >http://www.delphianrecords.co.uk/ > >The booklet notes are excellent and extensive. The guitar is a new one by >Martin Hay

[VIHUELA] Re: New Sanz disc

At 11:13 AM 8/19/2005, Rob MacKillop wrote: >I've just received a copy of Gordon Ferries 'La Preciosa' - a CD of works by >Gaspar Sanz. Here is the link to the record company: >http://www.delphianrecords.co.uk/ I just listened to the samples. Very enjoyable! Eugene To get on or off this lis

[VIHUELA] Re: Mertz on mandolin (was Bone)

At 02:36 PM 8/25/2005, Matanya Ophee wrote: >...As for Mertz and >the mandolin, you are right that his involvement with the instrument >is not well known. On the other hand, in her PH.d. Dissertation on >Mertz, Astrid Stempnik gives some 10 different references to Mertz >teaching and writing mandol

[VIHUELA] Re: Guitar and lute

At 12:08 PM 8/30/2005, jim abraham wrote: >Here's a reason: Bach didn't write any baroque guitar music. I find that >most of the guitar repertoire, "ancient" and modern, though often charming, >not nearly as compelling as Bach. That's the great pity for someone like me: >don't like playing "keyboar

[VIHUELA] Re: Guitar and lute

At 01:32 PM 8/31/2005, Eric Crouch wrote: >I suppose we're straying a bit off lute topics again, Indeed. I've copied the guitar/vihuela list in an effort to move this to a suitable venue. >...but Karl Scheit >arranged the de Visee C minor suite both for modern guitar and for >guitar and recor

[VIHUELA] Re: proposed name change

At 10:38 AM 9/6/2005, Wayne Cripps wrote: > For my part, I am near to the limit of mail lists >that I can manage. I have this fear that if I start an >EARLY-GUITAR list that it will soon get many subscribers and >take too much time and energy to manage. But I don't really >know how many people

[VIHUELA] Re: proposed name change

At 10:46 AM 9/6/2005, Lex Eisenhardt wrote: >I vote for Baroque guitar. Early guitar could even be Villa-Lobos on gut >strings. >Lex Frankly, if somebody does have interest in gut-strung guitars into the early 20th c., there aren't many, if any, electronic forums to address it. The world is fu

[VIHUELA] Re: proposed name change

At 11:12 AM 9/6/2005, Fossum, Arthur wrote: >Let's call it [CHARANGO] :)... >I vote to keep it [VIHUELA]. There are plenty of other lists for >Guitar, where Sor and Giuliani are more on topic. >So far I feel the list is doing great and usually can't wait to get home >from work to play through all

[VIHUELA] Re: proposed name change

At 11:40 AM 9/6/2005, Fossum, Arthur wrote: >As far as lists for CG there are two yahoo lists, there is the cg-hist >list, the Eskimo list. All of these could cover 19th century performing >practice etc. All these could...but don't. I am on several guitar forums and serve as a moderator of one.

[VIHUELA] Re: proposed name change

At 11:49 AM 9/6/2005, Wayne Cripps wrote: >So I know a bit about lutes, but I have no clues about anything about >baroque guitars and early romantic guitars. That means that I would >not be in any kind of position to suggest that postings were not >appropriate, etc. > > Anyone else want to start

[VIHUELA] Re: proposed name change (fwd)

At 12:02 PM 9/6/2005, Wayne Cripps wrote: >A, but you see, I do all the work. That is, I delete >bad addresses from the list, check to be sure the spam filters >didn't catch anyone's valis message, do any necessary programming. >It was Rob's idea, and he rounded up members, but the day to >day

[VIHUELA] Re: proposed name change

At 12:25 PM 9/6/2005, apsu wrote: >I concur with Eugene (how's your darts play coming along, Eugene?) As badly as ever. I hope to see you in Oberlin to prove it. Eugene To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Gebrüder Placht and Hungary's Museum of Music History

I posted this on a different forum way back in December and received no reply. I thought I'd take advantage of the knowledge on this list before it potentially splits (if it does split, I can post to any list specific to romantic-era guitar too and take full advantage of the split...if...). I

[VIHUELA] Re: [EMAIL PROTECTED]

At 03:25 PM 9/6/2005, Wayne Cripps wrote: >I am open to suggestions for improvements to the welcome >message, especially in differentiating early romantic guitar >from other genres. Accounting for early post-baroque characters up to Lhoyer or so, how about something like: "Welcome to early-guit

[VIHUELA] Re: proposed name change

At 03:48 PM 9/6/2005, Arto Wikla wrote: >Dear Wayne and all, > >I really would not like to be without the infinite - but very good >and informative! - discussion about the "bourdons and re-entrantness" of >the 5 course baroque guitar by Monica, Lex et al.! And perhaps there >will be more vihuela t

[VIHUELA] Re: Renaissance Guitar

At 06:39 PM 9/8/2005, Andrew wrote: >Is there any music (pdf or fronimo) on the web for renaissance guitar I know there is some in the Mudarra folder on Wayne's own tab page. (Maybe in Morlaye too, but I haven't looked in a long while.) Eugene To get on or off this list see list informatio

[VIHUELA] Re: rasgueo

At 09:13 AM 9/14/2005, Monica Hall wrote: >There isn't an online translation at the moment. My translation [of Amat] >was on the >Lute Society's web site for a while but isn't any more. I can send it to >you personally as an attachment if you like. FYI:

[VIHUELA] Re: rasgueo

At 03:11 PM 9/14/2005, bill kilpatrick wrote: >sampling some of the "rasgueo" associated with the >charango leads me to believe that they're south >american in origin. even on the guitar they sound >andean. haven't a clue what rhythms might have been >popular during the baroque period in europe (

[VIHUELA] Re: rasgueo

At 03:20 PM 9/14/2005, Arto Wikla wrote: >On Wed, 14 Sep 2005, bill kilpatrick wrote: > > andean. haven't a clue what rhythms might have been > > popular during the baroque period in europe (outside > > the conservatory, of course ... ) you game to try > > something from the baroque repertoire wi

[VIHUELA] Re: rasgueo

One more to have missed the Arto list: Eugene At 03:27 AM 9/15/2005, Arto Wikla wrote: >He is a harpist virtuoso, but in his bands there have been also >strummers of renaissance and baroque guitars. I'll google a littl

[VIHUELA] Re: rasgueo

At 02:10 PM 9/15/2005, ARTHUR NESS wrote: >They took that program a round the world. To places like Australia. It >was so exciting, I wanted to dance in the aisle! (But restrained >myself.) The airline smashed Lawrence's harp, and they had to fly in a >replacement from some place like New Orle

[VIHUELA] Re: [VIHUELA] ¡Jácaras!

At 03:53 AM 9/16/2005, bill kilpatrick wrote: >thought your "?J?aras!" communique was another >vicious, cruel and totally unwarranted attack on my >poor little chordaphone of choice. > >it's a cd (!) and i'm a jack-ass (!!) It's a dance form after which a CD is named. Eugene To get on or off

[VIHUELA] Re: jarana or xarano

At 10:38 AM 9/19/2005, bill kilpatrick wrote: >i noticed on both this and the "los otros" site that >the jarana is described as being in some way less than >a baroque guitar. i also note that jaranas comes in a >variety of sizes with 4 and 5 courses. > >would anyone familiar with both instruments

[VIHUELA] Re: jarana or xarano

At 12:19 PM 9/19/2005, bill kilpatrick wrote: >even if no example of an instrument of this shape and style of >construction presently exists in any museum in europe, >might you hazard a guess ( ... stead-y ... ) that they >existed? I could, but it would be no more than a guess. >as for the vari

[VIHUELA] Re: jarana or xarano

At 12:44 PM 9/19/2005, Roman Turovsky wrote: >>> ... one difference between it and baroque guitars >>certainly is >>>their locations along the continuum of >>>time. The baroque era ended 250 years ago. From >The baroque era ended with the deaths of Albrechtsberger in Vienna, and >Bortnyansky in

[VIHUELA] Re: jarana or xarano

At 01:46 PM 9/19/2005, bill kilpatrick wrote: >if that's all you're looking for. isn't it just as >feasible to consider those tunings to be genuine in >european origin and as unchanging as the >guitar/vihuela variations which support them? how >feasible is it that a south american would be >deter

[VIHUELA] Re: jarana or xarano

At 05:36 PM 9/19/2005, bill kilpatrick wrote: >i'm not a scientist ( case you hadn't guessed ... ) >but i vaguely remember a scientific maxim to the >effect that if a thing looks, feels, acts, sounds, >etc., etc. ... right, then it probably is right. > >take a charango for example ... Without dou

[VIHUELA] Re: jarana or xarano

At 07:08 PM 9/19/2005, bill kilpatrick wrote: >why was it, do you suppose, that the early >vihuela/guitar was the only european instrument to >undergo such profound changes in the new world? I don't know that that's the case. Consider harp-like things, e.g. In any event, such a thing isn't isn

[VIHUELA] Sottish repair luthiers

Resent with substantially more than five lines between here and and the occurrence of those words to begin with "su-" and thus avoid the wrath of the filter robots. >Date: Fri, 23 Sep 2005 09:34:53 -0400 >To: lute list, vihuela list >From: "Eugene C. Braig IV"

[VIHUELA] Re: vihuela joke

At 06:56 AM 10/3/2005, bill kilpatrick wrote: >two guys in a cave, chained to a rock, staring at >shadows of objects projected onto a wall from the >light outside. > >first guy asks: "what's that?" >second guy says: "it's not a vihuela." ..And he was right. To get on or off this list see list

[VIHUELA] Re: Baxa and Guardame

At 11:51 AM 10/9/2005, bill kilpatrick wrote: >he also told me that sleepy john estes used to tie a >beer cap to the sole of his shoe with a string to get >a little diy rhythm accompaniment going. haven't a >clue what the HIP equivalent to a beer tap would be. Perhaps a mead fl

[VIHUELA] Re: vihuela for sale?

An up-and-coming affordable luthier: Eugene To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: [VIHUELA] Re: [VIHUELA] style brisé

At 01:03 PM 10/10/2005, bill kilpatrick wrote: >sounds more medieval than baroque to me. That's quite a leap. There isn't really much known of medieval instrumental practices. Eugene To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Baxa and Guardame

At 05:03 AM 10/8/2005, Rob MacKillop wrote: >I've just uploaded Baxa de Contrapunto as an MP3 file and also the score in >French tab: > >http://www.musicintime.co.uk/Narvaez.htm > >BTW, I'd be interested in hearing your comments about the rhythmical >interpretation I give to 'Guardame las vacas' on

[VIHUELA] Re: vihuela for sale?

At 03:11 PM 10/10/2005, Rob MacKillop wrote: >Check that link, please Eugene. Doesn't work for me. Oops. The link is right, but Luciano's site sometimes goes down. It is evidently down at the moment. Best, Eugene To get on or off this list see list information at http://www.cs.dartmouth.e

[VIHUELA] Re: rain ...origins of guitar

At 02:39 AM 10/24/2005, bill kilpatrick wrote: >would you care to speculate on whether the transition >from 4 to more coincided with a preference for 5 from >those chordaphone toting travelers bound for new >spain? Personally, I can't imagine how a speculative favoritism of New Worlders for five

[VIHUELA] Re: rain ...origins of guitar

At 03:11 PM 10/24/2005, you wrote: >But there are traditions of playing and making instruments. Those >four-course instruments in the 16th century that LeRoy published music >for, are guitars surely? I agree. >And they are connected in some significant way to modern six string ones, >450 yea

[VIHUELA] Re: rain ...origins of guitar

At 12:57 PM 10/24/2005, bill kilpatrick wrote: >there's a 5c. instrument in the philippines called an >octavina that's been mentioned on the list before. >uncanny, these instruments evolving spontaneously in >different parts of the new world with no apparent >european precedent ... Seems wholly c

[VIHUELA] Re: [VIHUELA] bordón - revisited

At 04:24 AM 10/25/2005, bill kilpatrick wrote: >for those to whom the charango is nothing more than a >rueful musical innovation, related in every instance >to a traffic accident, the so-called "ronrocco" (not >to be confused with "barocco") - a larger, vihuela de >mano sized chordaphone - has a do

[VIHUELA] Re: [VIHUELA] bordón - revisited

At 10:43 AM 10/25/2005, Eugene C. Braig IV wrote: > The tuning scheme you've posted looks more akin to 4-course > guitar with an added high e (e'?) to me. The low C you give is > the pitch of the lowest string of the cello which seems a little > too low. With bourdons a

[VIHUELA] Re: [VIHUELA] bordón - revisited

At 01:00 PM 10/25/2005, bill kilpatrick wrote: >may i ask where you got that? 5 c. guitar tuning >conforms to a 4-4-3-4-4 sequence, no? (i.e. - >G-C-E-A-D) No. You would find five intervals (as you've listed above) between six strings or courses (a la 16th-c. vihuela). (Discounting reentrant

[VIHUELA] Re: What is the historical vihuela?

At 05:07 PM 11/1/2005, bill kilpatrick wrote: >--- Alexander Batov <[EMAIL PROTECTED]> wrote: > > > Corrubias (1611) sums it up rather neatly as "the > > guitar is a vihuela, > > small in size and also of less strings, since it has > > no more than five and > > sometimes only four." > >there's qui

[VIHUELA] Re: What is the historical vihuela?

At 03:35 AM 11/2/2005, bill kilpatrick wrote: >it would seem that the line separating vihuela from >guitar becomes more indistinct with each quoted, >historical source. tunings are adaptable to both; the >repertoire is easily shared; number of courses during >its development are variable; decorati

[VIHUELA] Re: What is the historical vihuela?

At 10:33 AM 11/2/2005, Roman Turovsky wrote: >>and don't necessarily have anything at all to do with willful efforts to >>perpetuate an ugly, elitist Eurocentric bias. >Are you trying to say that american farmed catfish is philosophically >equal to mediterranean red mullet?? It's all a matte

[VIHUELA] Re: What is the historical vihuela?

At 12:23 PM 11/2/2005, bill kilpatrick wrote: >as with the europeans in south america who referred to >their instruments as "vihuelas." on what basis do >musicologists today justify their reclassification of >the instrument and say they - the south americans - >were wrong? I'm not sure what you

[VIHUELA] Re: What is the historical vihuela?

At 01:40 PM 11/2/2005, bill kilpatrick wrote: >outside of honolulu, is there a recognized repertoire >for the renaissance guitar? Mudarra, Morlaye, Le Roy, etc. Eugene To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Sanz uploads

At 03:20 AM 11/4/2005, Rob MacKillop wrote: >I've uploaded some Gaspar Sanz MP3 files to www.musicintime.co.uk/sounds.htm >- scroll to the bottom of the poage. They were played on an original 5c >guitar, possibly by Santo Seraphin (?). The guitar was in a bad state. No >attempt was made to correct

[VIHUELA] Re: Nuke thet uke!

At 03:02 AM 11/9/2005, Rob MacKillop wrote: >All this talk of charangos and single-strung vihuelas is making me ill. It >has also reminded me of my very first instrument: a ukelele, which my >grandfather sent me from America. It came with a Mel Bay tutor which >contained what must be the most bizar

[VIHUELA] Re: a vihuela named sue

At 12:20 PM 12/5/2005, you wrote: >here's a nice piece of buddhist logic for you: > >of the various parts which make up a vihuela - waisted >sound chamber, neck, bridge, strings, etc. - is there >one element that distinguishes it from any other >chordaphone? Certainly not one. >assuming it's no

[VIHUELA] Re: For Bill -- Small bodied vihuela-viola-guitars come charango?

Thank you, Antonio. At 11:59 PM 12/5/2005, Antonio Corona wrote: >Dear Eugene, > >The etymology of vihuela, according to Joan Corominas, >author of the most reliable etymological dictionary of >Spanish, runs more or less along these lines (I am >quoting from memory): > >It comes, in the first inst

[VIHUELA] Re: who owns one?

At 04:35 AM 12/6/2005, bill kilpatrick wrote: >can't remember if i've asked this before but, out of >curiosity, how many on the list(s) have actually >played a charango? ... owned or had access to one >over a period of time? ... poked it with a stick, >even? I've lamely tweedled on other people

[VIHUELA] Re: For Bill -- Small bodied vihuela-viola-guitars come charango?

At 07:44 AM 12/6/2005, Roger E. Blumberg wrote: > > > The implications of this seem clear to me. Calling charango a vihuela, >and > > > recognizing it as being in the vihuela/guitarra family, a descendant and > > > offspring of, as it clearly is, seems fair game. There is more than >enough > > > pr

[VIHUELA] Re: Mean tone temperament

At 01:00 PM 3/23/2006, Monica Hall wrote: >I don't know whether there is still anyone on this list - but if there is >perhaps they can tell me what they know about Mean Tone Temperament on >plucked stringed instruments, especially the baroque guitar... Of all places, this is receiving some disc

[VIHUELA] Re: Meantone temperament

At 06:31 AM 3/26/2006, [EMAIL PROTECTED] wrote: >(Sorry for the crossposting, but this seems to be a two-list-thread.) > >I'd like to take the oppurtunity to once again point out Bradley Lehman's >Bach-tuning, >which can be studied at http://www.larips.com ... I like Mr. Lehman's work, however i

[VIHUELA] Re: Meantone temperament

At 01:20 PM 3/27/2006, [EMAIL PROTECTED] wrote: >Of course. The thing is that not all equal temperaments are equal, Of course indeed. >...so citing from historic sources proofes nothing as long as the >mathematical stuff is included. I'm not certain what you mean here. Best, Eugene To get

[VIHUELA] Re: Meantone temperament

At 05:12 AM 3/28/2006, LGS-Europe wrote: >Of course, but we have to play together with keyboards, and think of >something not to be _too_ out of tune with them. |-( >So it's worth trying such temperaments on our continuo lutes. A fretted instrument can never quite be in tune with a keyboard witho

[VIHUELA] Re: Meantone temperament

At 02:19 AM 3/29/2006, LGS-Europe wrote: >Again, you seem to be mixing theory (it is impossible to tune a guitar or >lute in an unequal temperament) with practice (we have to play together with >Werckmeister harpsichords)... >In near as well as remote keys in unequal temperaments, if there are note

[VIHUELA] Re: Meantone temperament

At 06:01 AM 3/31/2006, Ed Durbrow wrote: >Okay. Good example. Got it. >I thought the point that was being made was that it was impossible to >have them the same in both instruments. If the keyboard player set >his meantone to all flats, for example, and the lute did likewise, I >don't see where the

[VIHUELA] Re: Viol bridge oddities, was - Anjo com Viola

At 05:44 PM 4/3/2006, Alexander Batov wrote: >I would be equally reluctant to classify it as odd looking although I'm not >a thorough sceptic. You obviously have read more connotations into "odd" than I had intended. I'd used "odd" simply to describe that which is not like the majority of simil

[VIHUELA] Re: Right hand

At 08:17 PM 4/15/2006, Bruno Correia wrote: > > I keep shortish nails myself, tapered down on the attack side. I prepare > > the stroke and use a combination of flesh and nail. When playing early > > thingies with courses of paired strings, I approach at an angle to > > incorporate less nail and

[VIHUELA] Re: hmm

At 07:36 PM 6/5/2006, Rob MacKillop wrote: >I offer this without comment: > >http://www.youtube.com/watch?v=bUEe2TpCBlk&search=vihuela Here's my comment: H...he should stick to proper guitars a la Smallman. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wb

[VIHUELA] Re: hmm

At 07:52 PM 6/5/2006, Roman Turovsky wrote: >http://www.youtube.com/watch?v=UKh6o8ZkF6o&search=lute >RT Hmmm...he should stick to high-speed progressive rock wankery in accompanying yodelers. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index

[VIHUELA] Re: Ian Woodfield's Early History of the Viol (and Vihuela)

I still get a little squeamish regarding concepts of ancestry and evolution (even of families other than the grossly obvious) in musical organology. The process of instrument development is much more plastic and can borrow from any inspiration at whim. That said, of course it's all related...

[VIHUELA] Re: Ian Woodfield's Early History of the Viol (and Vihuela)

Greetings Roger (et al.), I don't think we disagree at all other than on a relatively trivial semantic level. At 11:30 PM 10/10/2006, Roger E. Blumberg wrote: >I guess I do prefer to unify, when, as you say, there's something grossly >obvious about it (or should be), a unity who's name and exist

[VIHUELA] Re: Spanish one-man bands

I have done a little at the Met and have some notes and photos on the mandolin relatives and (to a much lesser extent) the guitars in their collection. When I'm home from the office, I'll check this catalogue number against my notes, but I suspect this was not an instrument I inspected or phot

[VIHUELA] Re: Spanish one-man bands

At 05:50 PM 12/13/2006, Eloy Cruz wrote: >Dear Stuart and List > >Doc Rossi is right, the catalog entry he copies is for an instrument with >Museum No.: 224-1882, but the note next to the instrument calls it a cittern >and has the Spanish virtuosi story. I saw the instrument in december 2002. I >th

[VIHUELA] Re: Spanish one-man bands

At 12:53 AM 12/14/2006, Eloy Cruz wrote: >Eugene, the book you mention is Pablo Minguet y Yrol's Reglas y advertencias >generales..., Madrid, 1752-1754. Thank you, Eloy. I guess I won't have to look it up. Eugene To get on or off this list see list information at http://www.cs.dartmouth.edu

[VIHUELA] Re: pod

At 08:19 AM 12/18/2006, Alexander Batov wrote: >There is also this very sensible performance of Robert de Visee's >allemande in A. I'd wish he played the whole suite! > >http://www.youtube.com/watch?v=uz87wCk4tfw&mode=related&search I always find Andia's intonation a little odd. Several years o

[VIHUELA] Re: Morlaye, Le Roy and Le Cocq

For some reason, this list has come to center on early 6-string guitars. I am forwarding this to the vihuela list as well where most fans of 4- and 5-course guitars lurk. At 05:25 AM 12/19/2006, Arkadia Trio wrote: >I'm looking for the guitar works of Guillaume Morlaye, Adrian Le Roy and >Franç

[VIHUELA] Re: [VIHUELA]

At 03:25 AM 12/24/2006, Lex Eisenhardt wrote: >Here's some good information about the backgrounds of the chiaccona-theme: > >http://www.youtube.com/watch?v=JdxkVQy7QLM > >Happy holidays to you all... >Lex Right back at y'all, even if a little late: Euge

[VIHUELA] Re: paper on how vihuela became charango

I think this rather nice essay is as appropriate to this list as any other under the Dartmouth early-pluck umbrella. Its paragraphs on vihuela and 5-course guitar ancestry seem pretty a pretty fair summary. Eugene >Date: Tue, 16 Jan 2007 17:14:37 + (GMT) >From: bill kilpatrick <[EMAIL PRO

[VIHUELA] Re: Charango as vihuela

It seems to me that Howard did recognize the instruments and family relationships and even gave it more credence than I would in drawing analogy to primates (which is a real cladistically justifiable family and not a loose conglomeration of plastic, human-made, cross-fertilized conceptualizatio

[VIHUELA] Re: Charango as vihuela

ments with their fingers >and blinking back tears as their plucky little >charango regains consciousness and says " ... i wanna' >go home." > >(snork) - bill > >--- "Eugene C. Braig IV" <[EMAIL PROTECTED]> wrote: > > > It seems to me that H

[VIHUELA] Re: Charango as vihuela

e pieces from the man (men) >themselves - would it have been required of necessity >that i throw away my iberian, charango-like prototype, >simply in order to play along? > > >--- "Eugene C. Braig IV" <[EMAIL PROTECTED]> wrote: > > > I'm not entirel

[VIHUELA] Re: federico tarazona

The instrument discussed and featured in these videos is actually a charango with an atypical string configuration. Eugene At 09:55 AM 2/27/2007, Monica Hall wrote: >Do you mean a baroque guitar? Alas I can't access these sites but I am >happy to report that the baroque guitar has now made it i

[VIHUELA] Re: gaspar sanz video (II)

At 05:36 PM 3/29/2007, bill kilpatrick wrote: >not wishing to try your collective patience, i'd very >much appreciate comment on the manner in which this >piece is performed: > >http://www.youtube.com/profile?user=danensago > >seems to be one musician, multi-tracking - is his >performance in accord

[VIHUELA] Re: gaspar sanz video (II)

Evidently the Dartmouth list (or crappy Eudora) doens't like representing the accented letters as typed. If you have difficulty translating "Instrucci=F3n" into something similar to "Instruccion", please let me know. Eugene At 06:06 PM 3/29/2007, Eugene C. Braig IV

[VIHUELA] Re: papa's got a brand new oud

At 01:27 PM 4/12/2007, bill kilpatrick wrote: >i'm aware of what a 5c. instrument with re-entrant >tuning can do but don't know enough about the >structure of music to judge properly what it can't do. > recently i've learned of composers who have written >for the charango but i have no idea what >

[VIHUELA] Re: la follia - joyous family reunion

At 01:04 PM 4/17/2007, bill kilpatrick wrote: >notes accompanying one of the videos explains that "baroque" between >quotes was made in reference to the tuning. i wrote jürgen to ask that >this be explained. i'll let you know when - if - he responds but i'm >hoping this simply means one step d

[VIHUELA] Re: raised fingerboard

At 04:53 PM 4/17/2007, bill kilpatrick wrote: >it seems to occur that the raised fingerboard over the >soundboard is considered as something of a border line >- distinguishing period instruments from those >subsequent to it. It's not wholly exclusive. There were some old instruments where raised

[VIHUELA] Re: Anybody Recognize the Guitarist?

At 11:23 PM 4/18/2007, David Rastall wrote: >Some fancy singing! Anybody recognize the guitarist? > >http://www.youtube.com/watch?v=Sc8TZ5mc5SQ They never really give a very clear view, eh? Could it be Philippe Spinosi who recorded an unfortunately revised version of the Lhoyer concerto with E

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