>It is still my favorite absolute beginner Baroque book >because of the
>excercises and the early pieces that allow a true beginner >to play
>simple complete suites quickly. The Lundgren has great >material but
>fewer excercises and everything for 11 courses and the >Satoh jumps
>immediately to very difficult pieces (IMHO).
Both Lundgren, and Satoh's methods don't address the very different
approach from the classical guitar technique. In fact ,Satoh says it's the
same technique as the classical guitar, and basically assumes one is
starting the baroque lute from the perspective of the guitar, not
necessarily from the ren lute.
I have not found in either one of these methods any info. on limiting
the use of "A", so it leads the beginner to assume one uses it. In a number
of pieces Satoh actually writes in the right hand fingering using "A".
The use of "A" can really only work, if one lifts the LF off the
soundboard when using "A", which incidentally I've heard is what Barto does.
Michael Thames
www.ThamesClassicalGuitars.com
----- Original Message -----
From: "Daniel Shoskes" <[EMAIL PROTECTED]>
To: "Mathias Rösel" <[EMAIL PROTECTED]>
Cc: "Lutelist" <lute@cs.dartmouth.edu>
Sent: Thursday, April 28, 2005 6:23 AM
Subject: Re: Giesbert
> I have heard one suggestion that in order to get the book published in
> Berlin in 1939, inclusion of French composers or even German composers
> of questionable background (who like me are eating Matzah this week)
> would not have been possible.
>
> It is still my favorite absolute beginner Baroque book because of the
> excercises and the early pieces that allow a true beginner to play
> simple complete suites quickly. The Lundgren has great material but
> fewer excercises and everything for 11 courses and the Satoh jumps
> immediately to very difficult pieces (IMHO).
>
>
> >> And Giesbert says specifically, use of middle finger for the first 4
> >> courses, the thumb for the 5th to 13th courses.
> >
> >I have always been suspicious that this was Giebert's own invention
> >which he took from guitar playing of his time (date of publication is
> >1939!). His presentation would have been different, I suppose, if he
> had
> >made acquaintance of French baroque lute music, in which the thumb goes
> >as far up as to the 1st course, whereas the 2nd finger rarely goes down
> >even to the 5th course.
> >
> >There is no Gaultier, Gallot, Mouton, to name a few, in his method.
> >Also, no Reusner, no Weiss. Instead, he presents a lot of anonymous
> >pieces, blended with some music by Th. A. Arne, Count Pergen, Logy, and
> >good old J. S. Bach as a musical peak of its own. For a general method
> >of the baroque lute, this would be a rather distorted image of its
> >music, I should say, but in 1939 it probably wasn't.
> >
> >> When the need arises, index and anular to be used according to
> >specified dots ("..."). He
> >> uses ample examples, where the anular is used throughout the book,
> >> (logically, when 4 courses are chorded, but also in arpeggio
> >patterns).
> >
> >I think those fingerings were supplied by Giesbert. You won't find them
> >in his sources (Lautenbuch der Louise von Wurttemberg, after all).
> >
> >> I believe the book has not been translated to english, and
> >> therefore only readable in that very artful german calligraphy.
> >
> >that would still be a worthwhile task, wouldn't it. Despite of what
> >today would probably be considered non-HIP teachings, much of what
> >Giesbert wrote is still interesting, IMHO.
> >
> >Cheers,
> >
> >Mathias
> >--
> >
> >To get on or off this list see list information at
> >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
>
