Hi Early Guitar List,
   Bad weather here in eastern NC, and I'm using it as an excuse to go
   back to my favorite subject . . .
   "I don't know anything specifically in these French 4 course guitar
   books that indicates they're aimed at the 'professional' player (ie one
   paid for playing) rather than for the 'amateur' market which would
   provide a relatively large, and therefore lucrative, outlet for these
   publications." (From MH)

   I don't assert that the books were targeted for any one interest group,
   alone, such as professionals or amateurs. These publisher/lutenists
   were businessmen who would have wanted to reach a diverse audience in
   order to help guarantee financial success. Several scholars in recent
   years, such as Bernstein and Dobbins, have looked at mid-16th c
   published music; their work on French and Italian published music,
   including lute books, in the mid-16th c indicate that buyers were quite
   diverse: patrons, universities and academies, churches, and other
   composers, too. To me this means that the French guitar books are not
   one-dimensional: just for the virtuoso, or just for the intermediate
   player. There's quite a range here.

   With dance tempos, the most reliable sources are dancers and literature
   on dance because not only do you find tempos, but even more importantly
   you find out about the phrasing and the meter from the choreography. It
   gives the musician a real feel for where the accents are, which is just
   as valuable for the later "stylized" dances that people generally think
   weren't meant to be choreographed.

   I go into this because I think it's very important in regard to those
   virtuosic runs: the appropriate phrasing helps both musically and
   technically.

   Allemandes vary quite a bit because sometimes they were used as free
   entrees . . . But that might be later because as Martyn says, things
   tended to slow down after the 16th c. Stuart, would you mind telling me
   again where the Allemande is and I'll take a look in my own music? I
   can't open the links you provided, perhaps because of my delay. I'm
   sorry to take so long to get back.

   Best,
   Jocelyn
     ___________________________________________________________________

   From: Martyn Hodgson <[1]hodgsonmar...@yahoo.co.uk>
   Date: Wed, 1 Apr 2009 04:20:46 -0400
   To: "Nelson, Jocelyn" <[2]nels...@ecu.edu>, Stuart Walsh
   <[3]s.wa...@ntlworld.com>
   Cc: Daniel F Heiman <[4]heiman.dan...@juno.com>,
   <[5]vihu...@cs.dartmouth.edu>
   Subject: [VIHUELA] Re: four-course guitar music 'plus diminuees'
      Stuart,
      What is the 'correct' speed for dancing these in 1550 (not 1600)?
   Are
      not these earlier dances (ie those closer to the danced forms)
   faster
      than the later ones when the seemingly almost inevitable tendency
   for
      slowing the tempos had taken effect?  Was there not a seperation in
      dance music in the later period between pieces to be listended to
   and
      pieces primarily just for dancing (eg English galliard)?
      The faster tempo of these earlier dances was the spur for
      your suggestion that the divisions were very fast (too fast?) if
   played
      at the same tempo as the plain.
      MH
      --- On Tue, 31/3/09, Stuart Walsh <[6]s.wa...@ntlworld.com> wrote:
        From: Stuart Walsh <[7]s.wa...@ntlworld.com>
        Subject: [VIHUELA] Re: four-course guitar music 'plus diminuees'
        To: "Nelson, Jocelyn" <[8]nels...@ecu.edu>
        Cc: "Daniel F Heiman" <[9]heiman.dan...@juno.com>,
        "[10]vihu...@cs.dartmouth.edu" <[11]vihu...@cs.dartmouth.edu>
        Date: Tuesday, 31 March, 2009, 11:06 PM
      Nelson, Jocelyn wrote:
      >    Hi Stuart and List,
      >
      >    I think these plus diminuees need to be played up to tempo,
   even
      though
      >    it's such a challenge.
      >
      I've been looking at these 'plus diminuees' pieces again - (only?)
   in
      the Premier and Tiers Livres. I'm now fairly sure that they are
   almost
      almost all quite playable by a competent amateur - if the dances are
      not too quick. I haven't a clue, for example,  how fast pavans and
      galliards were c1550, but provided they were something like the
   later
      Elizabethan pavans and galliards then playing divisions with four
   notes
      to a beat is just what might be expected. Countless dance tunes set
   for
      the lute 'divide' into eighth note passages (and the occasional
      sixteenth note burst).
      The only problematic piece (in my opinion)  in the Premier Livre is
   an
      almande and it was an almande  from the Tiers Livre that I cited as
      virtually unplayable by a mere mortal. Both pieces use extended
      sections (several bars) of continuous sixteenth notes on an already
      quick pulse.
      [1][12]http://www.pluckedturkeys.co.uk/Almande.jpg
      All the other dances in these two books seem to employ divisions as
   you
      would expect. They would need a bit of work - but they are not
      off-the-scale, virtuoso pieces at all. So perhaps the Almande of the
      time was really quite slow. However I don't think it was. For
   example
      the Gervaise settings of Almandes are played briskly -  the tunes in
      crotchets (quarter notes) are played briskly. I've really tried to
   play
      these sixteenth-note passages in the Leroy Almandes but I really do
      think they are extraordinarily, in fact, implausibly difficult
      Jocelyn, you say (further on)
      Stuart, which O'Dette recordings are you referring to? I have one
        example: "Tablatures de Leut" Astree E7776 1990. He plays a Le Roy
        bransle with a plus diminuee movement; his diminutions are very
      crisp,
        light and graceful.
      I did mean this piece. Here's a tiny snippet of the man in full
   flight:
      [2][13]http://www.pluckedturkeys.co.uk/PoD.mp3
      Now that really is virtuoso playing. Quite astonishing. But a bit
      surprising for a little country dance? (Like putting a jet engine on
   a
      glider?).  I can't find this piece in the Leroy guitar books -
      definitely not in 1 or 3, couldn't be in 2 or 5 (songs) and not in
      sober old 4. I know the tune from a lute version, though.
      Thanks for all the fascinating bits of information. I'm now just
      puzzled by a couple of almandes...and O'Dette's stunning but, I
   think,
      rather odd performance.
      Stuart
      >    When I think about tempo with these plus diminuee movements, I
      take the
      >    dance aspect seriously. Here are a couple of my favorite quotes
      from
      >    the author of the 16th c dance tutor, Orchesography:
      >
      >    "I learned [a galliard] on the lute which I enjoyed seeing
   danced
      by my
      >    companions as I knew how to play and sing it.  And it also
   seemed
      to me
      >    that the steps were well accented by those who danced it."
      >
      >    And
      >
      >    "Only you should be told now that some dancers divide up the
      double
      >    that follows the two simples, and instead of the double
   comprising
      only
      >    four bars with four semi-breves, they introduce eight minims or
      sixteen
      >    crotchets, resulting in a great number of steps, passages and
      >    embellishments, all of which fit into the time and cadence of
   the
      >    music."
      >
      >    Thoinot Arbeau, Orchesography (Langres: 1589; reprint, New
   York:
      Dover,
      >    1967, translated by Mary Stewart Evans, introduced and
   annotated
      by
      >    Julia Sutton), pp 66 and 91 (page references are to reprint
      edition).
      >
      >    Le Roy himself seems to imply a tempo with the diminutions:
      >
      >    . . . decke other songes or daunses, with like flowers and
      ornamentes:
      >    in whiche he shall bee forced sometyme, for the better grace
   and
      >    pleasying of the eare, to leave out someone note of the
   accorde,
      of
      >    some one of the partes: not so much for all that for
   necessitie,
      as for
      >    the pleasauntness of the sounde: yea, and that with full
      recompence of
      >    the lacke of the note, whiche shalbee omitted, by the puttyng
   to
      of
      >    runnyng poinct or passage, wherein  lieth all the cunnyng.
      >    Adrian Le Roy, A Briefe and Plaine Instruction.  London:
      Rowbotham,
      >    1574, quoted in Adrian Le Roy, Adrian Le Roy; French
   Renaissance
      Guitar
      >    Songs, Charles Wolzien, ed. (Quebec: Doberman-Yppan, 2002), 10.
      >    Yes, the speed is very challenging, and I think musicality is
   even
      >    harder with some of these more extreme versions. One of my
      favorite
      >    tracks on Michael Craddock's recording is the Le Roy prelude,
      which has
      >    that dichotomy between the long notes and the swift scalar
   runs.
      >    Craddock, with his very impressive technique, executes the fast
      >    passages well and all feels musical to me. But the reason why
   the
      >    Prelude works so well is that it's less metric, with lots of
   room
      for
      >    the musician to build, wind down, and so on, unlike the plus
      diminuee
      >    movements we're talking about.
      >    Morlaye's "La Seraphine" might make a better model if we're
      wondering
      >    about this style, because it also goes quite abruptly from long
      notes
      >    to fast diminutions, in this instance with a style which asks
   for
      a
      >    more strict tempo, more like the dances. I personally think the
      pulse
      >    falls apart if we slow down for the divisions, so to me this
   piece
      >    provides some evidence of a style in which a burst of short
   notes
      in
      >    tempo was not unusual or "freakish" to them.
      >
      >    Stuart, which O'Dette recordings are you referring to? I have
   one
      >    example: "Tablatures de Leut" Astree E7776 1990. He plays a Le
   Roy
      >    bransle with a plus diminuee movement; his diminutions are very
      crisp,
      >    light and graceful. To my ears he pulls this off not only
      technically
      >    but musically, too, in spite of the disparity between the long
   and
      >    short notes. I'd love to hear about other recordings if you
   know
      of
      >    some.
      >
      >    Sorry for such a long email. I'll end with my idea that these
      >    diminutions themselves are optional - whether we do them at
   all,
      and
      >    which notes we use is up to the performer. If we want to be
      completely
      >    "authentic," we should be making up our own (according to
   certain
      >    conventions regarding which phrases and beats were most
   ornamented
      in
      >    particular dances). Even dance tempos have at least a bit of a
      range
      >    with dancers, which is where we should find our dance tempos.
   But
      >    whether or not plus diminuee movements should be performed "up
   to
      >    tempo" right after a plainer version of a dance movement? I
   don't
      think
      >    that's optional; any other tempo would make the dancers look
   very
      >    funny!
      >
      >    Best,
      >    Jocelyn
      >    --
      >    Jocelyn Nelson, DMA
      >    Teaching Assistant Professor
      >    Early Guitar, Music History
      >    506 School of Music
      >    East Carolina University
      >    252.328.1255 office
      >    252.328.6258 fax
      >    [1][3][14]nels...@ecu.edu
      >
      ___________________________________________________________________
      >
      >    From: Stuart Walsh <[2][4][15]s.wa...@ntlworld.com>
      >    Date: Fri, 27 Mar 2009 18:09:05 -0400
      >    To: Daniel F Heiman <[3][5][16]heiman.dan...@juno.com>
      >    Cc: <[4][6][17]vihu...@cs.dartmouth.edu>
      >    Subject: [VIHUELA] Re: four-course guitar music 'plus
   diminuees'
      >    Daniel F Heiman wrote:
      >    > Stuart:
      >    >
      >    > In his instrumental version Michael is taking a tempo to
   match
      the
      >    > current fashion for rendering the original Passereau chanson.
      An
      >    only
      >    > slightly extreme example is the one by the King's Singers:
      >    > [5][7][18]http://www.youtube.com/watch?v=Nmpl4mZQgAc
      >    >
      >    > If you listen to Michael's rendition immediately after that,
   he
      seems
      >    > positively laid back.
      >    >
      >    > Daniel
      >    >
      >    That explains it. Thanks. I was just intrigued by the possible
      irony
      >    that - after discussion whether some of these fast pieces
   pieces
      should
      >    be played slower - here's someone playing slow pieces much
   faster!
      >    I used to have a recording of a group singing a chanson with a
      title
      >    something like 'Il est belle et bon'  (which can't be right),
      possibly
      >    also by Passereau and that was sung very quickly. And then
   looking
      at a
      >    lute arrangement of the chanson, possibly in Phalese somewhere
   and
      >    thinking something to the effect - no chance, at that speed.
      Leroy's
      >    guitar arrangement of the Passereau chanson (that Michael
   Craddock
      >    recorded) is simple and straightforward so perhaps that does
   hint
      at a
      >    fast speed.
      >    Stuart
      >    > On Thu, 26 Mar 2009 22:55:38 +0000 Stuart Walsh
      >    <[6][8][19]s.wa...@ntlworld.com>
      >    > writes:
      >    >
      >    >> Monica Hall wrote:
      >    >>
      >    >>> Michael Craddock has made a very nice recording of some of
      these
      >    >>> pieces . It is Cantus Records, C 9632.
      >    >>>
      >    >>> However he does try to play the diminue versions at the
   same
      speed
      >    >>>
      >    >> as
      >    >>
      >    >>> the unadorned versions - and doesn't always bring it off
      cleanly.
      >    >>>
      >    >>> I would think that a slightly slower tempo might be
   acceptable
      -
      >    >>>
      >    >> even
      >    >>
      >    >>> for the plain versions.
      >    >>>
      >    >>> Maybe I am getting old but breakneck speeds don't always
   seem
      to
      >    >>>
      >    >> me to
      >    >>
      >    >>> work very well on double strung instruments. Everything
   seems
      to
      >    >>>
      >    >> merge
      >    >>
      >    >>> together and lack clarity.
      >    >>>
      >    >>> I seem to remember reading in one of the books  - can't
      remember
      >    >>>
      >    >> where
      >    >>
      >    >>> - that you should adopt a speed  which matches your
   ability...
      >    >>>
      >    >>>
      >    >>> MOnica
      >    >>>
      >    >>>
      >    >>>
      >    >> I googled  Michael Craddock and found a couple of recordings
   of
      >    >> four-course repertoire, including this chanson which
   Giesbert
      >    >> translates
      >    >> as "I dare not  say it";
      >    >>
      >    >>
   [7][9][20]http://www.polyhymnion.org/mus/craddock/audio/crad11.mp3
      >    >>
      >    >> In the tablature there are no fast runs - it doesn't appear
   to
      be an
      >    >>
      >    >> extravert piece but Craddock blazes through it! I supoose he
      had
      >    >> good
      >    >> reasons but I'd have thought that this was a gentle little
      piece.
      >    >>
      >    >>
      >    >>
      >    >>
      >    >>
      >    >>
      >    >>> ----- Original Message ----- From: "Stuart Walsh"
      >    >>>
      >    >> <[8][10][21]s.wa...@ntlworld.com>
      >    >>
      >    >>> To: "Michael Fink" <[9][11][22]michael.f...@notesinc.com>;
      "Vihuelalist"
      >    >>> <[10][12][23]vihu...@cs.dartmouth.edu>
      >    >>> Sent: Wednesday, March 25, 2009 9:56 PM
      >    >>> Subject: [VIHUELA] Re: four-course guitar music 'plus
      diminuees'
      >    >>>
      >    >>>
      >    >>>
      >    >>>>> Regarding your questions, some commentaries you might
   want
      to
      >    >>>>>
      >    >> look
      >    >>
      >    >>>>> at are:
      >    >>>>>
      >    >>>>> * Jocelyn Carrie Nelson, "Adrian Le Roy's _Premiere livre
   de
      >    >>>>> tabulature de
      >    >>>>> guiterre_ (1551): Transcription and analysis of the
      ornamented
      >    >>>>>
      >    >> pavanes,
      >    >>
      >    >>>>> galliards, and branles," D.M.A. monograph, University of
      >    >>>>>
      >    >> Colorado,
      >    >>
      >    >>>>> 2002.
      >    >>>>>
      >    >>>>> * Michael Fink," The 'Lost' Guitar Pieces of Adrian Le
   Roy,"
      >    >>>>>
      >    >> _Lute
      >    >>
      >    >>>>> Society
      >    >>>>> of America Quarterly_, XLIII/3 (Sep 2008): 42-43.
      >    >>>>>
      >    >>>>> * The additional "plus diminuee" pieces discussed in the
      latter
      >    >>>>>
      >    >> are
      >    >>
      >    >>>>> published in _Pierre Phalese, Selectissima
   Elegantissimaque
      >    >>>>>
      >    >> Guiterna
      >    >>
      >    >>>>> Carmina
      >    >>>>> 1570_, Introduction by Michael Fink. Lubeck: Tree
   Edition,
      >    >>>>>
      >    >> (c)2007.
      >    >>
      >    >>>> Many thanks for these references.
      >    >>>>
      >    >>>>> IMHO, Renaissance dances in printed or ms. collections
   are
      >    >>>>>
      >    >> somewhat
      >    >>
      >    >>>>> bifocal.
      >    >>>>> They may or may not be intended for the dance. The
      distinctive
      >    >>>>> rhythms and
      >    >>>>> periodicity of a dance may be present, but those features
      may be
      >    >>>>>
      >    >> merely
      >    >>
      >    >>>>> structural, and the piece may have been written mainly
   for
      >    >>>>>
      >    >> listening
      >    >>
      >    >>>>> and
      >    >>>>> playing enjoyment.
      >    >>>>>
      >    >>>>> Thus tempos in Le Roy's "plus diminuee" versions could
      probably
      >    >>>>>
      >    >> be
      >    >>
      >    >>>>> modified
      >    >>>>> from the unadorned versions with good effect.
      >    >>>>>
      >    >>>> I'm always intrigued by a puzzle and either players then
   (and
      >    >>>>
      >    >> this
      >    >>
      >    >>>> repertoire is usually said to be aimed at amateurs) were
      capable
      >    >>>>
      >    >> of
      >    >>
      >    >>>> playing at staggering speeds - or, as I think you are
      suggesting
      >    >>>>
      >    >> -
      >    >>
      >    >>>> they played these pieces more slowly. But I think there
   are
      >    >>>>
      >    >> problems
      >    >>
      >    >>>> with both.
      >    >>>>
      >    >>>> I'm just an amateur player but playing first the plain
      version of
      >    >>>>
      >    >> a
      >    >>
      >    >>>> little dance at something like a dance-like tempo - then
      keeping
      >    >>>>
      >    >> that
      >    >>
      >    >>>> tempo and trying to play the fancy version at the same
   tempo
      is
      >    >>>>
      >    >> quite
      >    >>
      >    >>>> beyond possibility for me. But  if loads of people are
      playing
      >    >>>>
      >    >> these
      >    >>
      >    >>>> pieces (the 'plus diminuees' versions ) I'd love to hear
      them.and
      >    >>>>
      >    >> be
      >    >>
      >    >>>> rightly chastened. Even playing flat out,  playing far
   faster
      >    >>>>
      >    >> than I
      >    >>
      >    >>>> can clearly articulate, doesn't get me close to the speed
   I'd
      >    >>>>
      >    >> need to
      >    >>
      >    >>>> be if I'm playing in the dance-like tempo of the plain
      version.
      >    >>>>
      >    >> At
      >    >>
      >    >>>> these sort of speeds the music is miles beyond any amateur
      >    >>>>
      >    >> plucked
      >    >>
      >    >>>> music I've ever encountered.
      >    >>>>
      >    >>>> But playing them more slowly seems implausible too. They
      fancy
      >    >>>> versions are only fancy in having these very fast (rather
      >    >>>>
      >    >> formulaic)
      >    >>
      >    >>>> runs - they aren't wholly re-cast as arty things and there
      are
      >    >>>>
      >    >> bars
      >    >>
      >    >>>> and bars without fast divisions which would just sound
   rather
      >    >>>>
      >    >> silly
      >    >>
      >    >>>> at a slower speed.
      >    >>>>
      >    >>>>
      >    >>>> Stuart
      >    >>>>
      >    >>>>
      >    >>>>
      >    >>>>
      >    >>>>
      >    >>>>> (BTW, Le Roy seems to be the
      >    >>>>> only composer to write plain & fancy versions of the same
      piece
      >    >>>>>
      >    >> for the
      >    >>
      >    >>>>> guitar -- and for the lute.)
      >    >>>>>
      >    >>>>> At this point, I yield to Jocelyn with her extensive
      experience
      >    >>>>>
      >    >> in this
      >    >>
      >    >>>>> repertoire and deep knowledge of the Renaissance guitar.
   You
      may
      >    >>>>>
      >    >>>>> wish to
      >    >>>>> write to her.
      >    >>>>>
      >    >>>>> Best wishes,
      >    >>>>>
      >    >>>>> Michael Fink
      >    >>>>>
      >    >>>>> _________________________
      >    >>>>>
      >    >>>>> [11][13][24]mich...@lgv-pub.com
      >    >>>>> _________________________
      >    >>>>>
      >    >>>>>
      >    >>>>>
      >    >>>>> -----Original Message-----
      >    >>>>> From: Stuart Walsh
   [[12][25]mailto:[14]s.wa...@ntlworld.com]
      Sent:
      >    Tuesday,
      >    >>>>>
      >    >>>>> March 24, 2009 3:54 PM
      >    >>>>> To: Vihuelalist
      >    >>>>> Subject: [VIHUELA] four-course guitar music 'plus
   diminuees'
      >    >>>>>
      >    >>>>> I've got a four-course guitar for a short while. I used
   to
      try
      >    >>>>>
      >    >> and
      >    >>
      >    >>>>> play this four-course (mid 16th century) repertoire,
   years
      ago,
      >    >>>>>
      >    >> on a
      >    >>
      >    >>>>> baritone uke and a home-made concoction - without much
      success
      >    >>>>>
      >    >> or
      >    >>
      >    >>>>> pleasure. Anyway this current instrument is a good
   one...but
      I
      >    >>>>>
      >    >> must
      >    >>
      >    >>>>> admit I can't make it sound very well at all.
      >    >>>>>
      >    >>>>> But I'm interested to know what  people think about the
      speeds
      >    >>>>>
      >    >> of
      >    >>
      >    >>>>> the 'plus diminuee'  pieces, the versions of pieces with
      >    >>>>>
      >    >> divisions.
      >    >>
      >    >>>>> Leroy's Third Book has many little dances with second
      versions
      >    >>>>>
      >    >> of
      >    >>
      >    >>>>> the pieces with divisions. Perhaps it's important that
   the
      'plus
      >    >>>>>
      >    >>>>> diminuees' versions are free-standing. Pieces with
      ornamented
      >    >>>>> repeats might have been expected. But no, there is a
      >    >>>>> straightforward, 'simple' version and then the 'plus
      diminuees'
      >    >>>>>
      >    >>>>> version.
      >    >>>>>
      >    >>>>> Some commentators (like Harvey Turnbull) have been quite
      >    >>>>>
      >    >> dismissive
      >    >>
      >    >>>>> of all of this 'amateur' music - which, I suppose, it
   must
      have
      >    >>>>>
      >    >>>>> been. But looking at the 'plus diminuees' pieces again,
   and
      >    >>>>>
      >    >> trying
      >    >>
      >    >>>>> to play them I wonder whoever could possibly have played
      them.
      >    >>>>>
      >    >> As an
      >    >>
      >    >>>>> example, the straightforward version of Almande tournee
      >    >>>>>
      >    >> (Allemande
      >    >>
      >    >>>>> Loreyne) f.16 feels like a two to a bar tune with running
      eighth
      >    >>>>>
      >    >>>>> notes. It's a lively little dance. But, at that speed for
      the
      >    >>>>> straightforward version, the 'plus diminuees' version is
      >    >>>>> ridiculously, absurdly - freakishly -  fast. But if the
      'plus
      >    >>>>> diminuess' version is slowed down to a human level, the
      dance is
      >    >>>>>
      >    >> now
      >    >>
      >    >>>>> unbearably, turgidly slow.
      >    >>>>>
      >    >>>>> Th Spanish guitar books don't have an equivalent of these
      'plus
      >    >>>>>
      >    >>>>> diminuees' pieces. The Spanish guitar pieces can be
      challenging
      >    >>>>>
      >    >> and
      >    >>
      >    >>>>> difficult - but not beyond practice and hard work.  I
   don't
      >    >>>>>
      >    >> think
      >    >>
      >    >>>>> the Gorlier books have anything like the 'plus diminuees'
      pieces
      >    >>>>>
      >    >>>>> either.
      >    >>>>>
      >    >>>>> Paul Odette (fastest on earth?) has recorded some of this
      stuff
      >    >>>>>
      >    >> and
      >    >>
      >    >>>>> it sounds a bit weird...why turn a dance tune into a sort
   of
      >    >>>>>
      >    >> machine
      >    >>
      >    >>>>> gun burst? (And almost all of the divisions are within
   the
      first
      >    >>>>>
      >    >>>>> five frets of a four-course instrument: all squashed into
   to
      a
      >    >>>>>
      >    >> tiny
      >    >>
      >    >>>>> space).
      >    >>>>>
      >    >>>>> So I wonder what these  'plus diminuees' pieces are all
      about.
      >    >>>>>
      >    >> Is
      >    >>
      >    >>>>> anyone happily playing them?
      >    >>>>>
      >    >>>>>
      >    >>>>> Stuart
      >    >>>>>
      >    >>>>>
      >    >>>>>
      >    >>>>>
      >    >>>>> To get on or off this list see list information at
      >    >>>>>
      [13][15][26]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
      >    >>>>>
      >    >>>>>
      >    >>>>>
      >    >>>>>
      >    >
      >
      --------------------------------------------------------------------
   ---
      >    -
      >    >
      >    >>>>>
      >    >>>>> No virus found in this incoming message.
      >    >>>>> Checked by AVG - www.avg.com Version: 8.5.278 / Virus
      Database:
      >    >>>>>
      >    >>>>> 270.11.28/2022 - Release Date: 03/25/09 07:16:00
      >    >>>>>
      >    >>>>>
      >    >>>>>
      >    >>>>
      >    >
      >
      --------------------------------------------------------------------
   ---
      >    -
      >    >
      >    >>> No virus found in this incoming message.
      >    >>> Checked by AVG - www.avg.com
      >    >>> Version: 8.5.278 / Virus Database: 270.11.29/2023 - Release
      Date:
      >    >>>
      >    >> 03/25/09 18:54:00
      >    >>
      >    >>>
      >    >>>
      >    >>
      >    >>
      >    >>
      >    >
      >    >
      >    >
      >
      --------------------------------------------------------------------
   ---
      >    -
      >    >
      >    >
      >    > No virus found in this incoming message.
      >    > Checked by AVG - www.avg.com
      >    > Version: 8.5.278 / Virus Database: 270.11.29/2024 - Release
      Date:
      >    03/26/09 07:12:00
      >    >
      >    >
      >    --
      >
      > References
      >
      >    1. [27]file://localhost/net/people/lute-arc/[16]nels...@ecu.edu
      >    2.
   [28]file://localhost/net/people/lute-arc/[17]s.wa...@ntlworld.com
      >    3.
   [29]file://localhost/net/people/lute-arc/[18]heiman.dan...@juno.com
      >    4.
      [30]file://localhost/net/people/lute-arc/[19]vihu...@cs.dartmouth.ed
   u
      >    5. [20][31]http://www.youtube.com/watch?v=Nmpl4mZQgAc
      >    6.
   [32]file://localhost/net/people/lute-arc/[21]s.wa...@ntlworld.com
      >    7.
   [22][33]http://www.polyhymnion.org/mus/craddock/audio/crad11.mp3
      >    8.
   [34]file://localhost/net/people/lute-arc/[23]s.wa...@ntlworld.com
      >    9.
      [35]file://localhost/net/people/lute-arc/[24]michael.f...@notesinc.c
   om
      >   10.
      [36]file://localhost/net/people/lute-arc/[25]vihu...@cs.dartmouth.ed
   u
      >   11.
   [37]file://localhost/net/people/lute-arc/[26]mich...@lgv-pub.com
      >   12. [38]mailto:[27]s.wa...@ntlworld.com
      >   13.
   [28][39]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
      >
   -------------------------------------------------------------------
      -----
      >
      >
      > No virus found in this incoming message.
      > Checked by AVG - www.avg.com Version: 8.5.285 / Virus Database:
      270.11.32/2030 - Release Date: 03/30/09 08:40:00
      >
      >
      --
   References
      1. [40]http://www.pluckedturkeys.co.uk/Almande.jpg
      2. [41]http://www.pluckedturkeys.co.uk/PoD.mp3
      3. [42]http://uk.mc263.mail.yahoo.com/mc/compose?to=nels...@ecu.edu
      4.
   [43]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
      5.
   [44]http://uk.mc263.mail.yahoo.com/mc/compose?to=heiman.dan...@juno.com
      6.
   [45]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
   du
      7. [46]http://www.youtube.com/watch?v=Nmpl4mZQgAc
      8.
   [47]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
      9. [48]http://www.polyhymnion.org/mus/craddock/audio/crad11.mp3
     10.
   [49]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
     11.
   [50]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.
   com
     12.
   [51]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
   du
     13.
   [52]http://uk.mc263.mail.yahoo.com/mc/compose?to=mich...@lgv-pub.com
     14.
   [53]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
     15. [54]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
     16. [55]http://uk.mc263.mail.yahoo.com/mc/compose?to=nels...@ecu.edu
     17.
   [56]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
     18.
   [57]http://uk.mc263.mail.yahoo.com/mc/compose?to=heiman.dan...@juno.com
     19.
   [58]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
   du
     20. [59]http://www.youtube.com/watch?v=Nmpl4mZQgAc
     21.
   [60]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
     22. [61]http://www.polyhymnion.org/mus/craddock/audio/crad11.mp3
     23.
   [62]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
     24.
   [63]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.
   com
     25.
   [64]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
   du
     26.
   [65]http://uk.mc263.mail.yahoo.com/mc/compose?to=mich...@lgv-pub.com
     27.
   [66]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
     28. [67]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --

References

   1. file://localhost/net/people/lute-arc/hodgsonmar...@yahoo.co.uk
   2. file://localhost/net/people/lute-arc/nels...@ecu.edu
   3. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
   4. file://localhost/net/people/lute-arc/heiman.dan...@juno.com
   5. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
   6. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
   7. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
   8. file://localhost/net/people/lute-arc/nels...@ecu.edu
   9. file://localhost/net/people/lute-arc/heiman.dan...@juno.com
  10. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
  11. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
  12. http://www.pluckedturkeys.co.uk/Almande.jpg
  13. http://www.pluckedturkeys.co.uk/PoD.mp3
  14. file://localhost/net/people/lute-arc/nels...@ecu.edu
  15. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
  16. file://localhost/net/people/lute-arc/heiman.dan...@juno.com
  17. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
  18. http://www.youtube.com/watch?v=Nmpl4mZQgAc
  19. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
  20. http://www.polyhymnion.org/mus/craddock/audio/crad11.mp3
  21. file://localhost/net/people/lute-arc/s.wa...@ntlworld.com
  22. file://localhost/net/people/lute-arc/michael.f...@notesinc.com
  23. file://localhost/net/people/lute-arc/vihuela@cs.dartmouth.edu
  24. file://localhost/net/people/lute-arc/mich...@lgv-pub.com
  25. mailto:[14]s.wa...@ntlworld.com
  26. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  27. file://localhost/net/people/lute-arc/[16]nels...@ecu.edu
  28. file://localhost/net/people/lute-arc/[17]s.wa...@ntlworld.com
  29. file://localhost/net/people/lute-arc/[18]heiman.dan...@juno.com
  30. file://localhost/net/people/lute-arc/[19]vihu...@cs.dartmouth.edu
  31. http://www.youtube.com/watch?v=Nmpl4mZQgAc
  32. file://localhost/net/people/lute-arc/[21]s.wa...@ntlworld.com
  33. http://www.polyhymnion.org/mus/craddock/audio/crad11.mp3
  34. file://localhost/net/people/lute-arc/[23]s.wa...@ntlworld.com
  35. file://localhost/net/people/lute-arc/[24]michael.f...@notesinc.com
  36. file://localhost/net/people/lute-arc/[25]vihu...@cs.dartmouth.edu
  37. file://localhost/net/people/lute-arc/[26]mich...@lgv-pub.com
  38. mailto:[27]s.wa...@ntlworld.com
  39. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  40. http://www.pluckedturkeys.co.uk/Almande.jpg
  41. http://www.pluckedturkeys.co.uk/PoD.mp3
  42. http://uk.mc263.mail.yahoo.com/mc/compose?to=nels...@ecu.edu
  43. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
  44. http://uk.mc263.mail.yahoo.com/mc/compose?to=heiman.dan...@juno.com
  45. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
  46. http://www.youtube.com/watch?v=Nmpl4mZQgAc
  47. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
  48. http://www.polyhymnion.org/mus/craddock/audio/crad11.mp3
  49. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
  50. http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.com
  51. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
  52. http://uk.mc263.mail.yahoo.com/mc/compose?to=mich...@lgv-pub.com
  53. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
  54. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  55. http://uk.mc263.mail.yahoo.com/mc/compose?to=nels...@ecu.edu
  56. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
  57. http://uk.mc263.mail.yahoo.com/mc/compose?to=heiman.dan...@juno.com
  58. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
  59. http://www.youtube.com/watch?v=Nmpl4mZQgAc
  60. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
  61. http://www.polyhymnion.org/mus/craddock/audio/crad11.mp3
  62. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
  63. http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.com
  64. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
  65. http://uk.mc263.mail.yahoo.com/mc/compose?to=mich...@lgv-pub.com
  66. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
  67. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Reply via email to