See 17th/18th century paintings of dances with lute bands. One (wo)man
bands at times. Vallet had a lute quartet that rented itself out for
playing at parties. I've played to dancing people. Was fun! Lots of
improvising to strech a simple piece. Time for fast runs? Sure. Time
for intricate harmonies to spice up a bland harmonic schedule? Sure.
Anything fingers and brain allow; all is permitted as long as you keep
up the tempo.
David
*******************************
David van Ooijen
[1]davidvanooi...@gmail.com
[2]www.davidvanooijen.nl
*******************************
On 17 December 2014 at 09:52, Martyn Hodgson
<[3]hodgsonmar...@yahoo.co.uk> wrote:
A A Do you really mean to say that the tempo of a dance played on,
say, the
A A lute has no relationship whatsoever to the tempo at which
A A contemporaries actually danced it?
A A MH
A A
A __________________________________________________________________
A A From: Ron Andrico <[4]praelu...@hotmail.com>
A A To: Thomas Walker <[5]twlute...@hotmail.com>;
"[6]lute@cs.dartmouth.edu"
A A <[7]lute@cs.dartmouth.edu>
A A Sent: Tuesday, 16 December 2014, 20:55
A A Subject: [LUTE] Re: those sarabands
A A A Hello Thomas:
A A A A good modernish source of information can be found in D. J.
Buch,
A A "The
A A A Influence of the Ballet de cour in the Genesis of the French
Baroque
A A A Suite," Acta Musicologica, Vol. 57, Fasc. 1 (Jan. - Jun.,
1985), pp.
A A A 94-109.A The saraband is discussed on page 102.
A A A Since so much 17th-century lute music consisted of
boiled-down
A A versions
A A A of popular dance tunes, it important to know how a
particular dance
A A A worked in it's original context.A Then one has to realize
that, since
A A A lutes are and were inaudible when dancer's feet scrape the
floor, the
A A A music is adapted and performed in whatever manner the player
wishes.
A A A RA
A A A > Date: Mon, 15 Dec 2014 14:03:13 -0600
A A A > To: [1][8]lute@cs.dartmouth.edu
A A A > From: [2][9]twlute...@hotmail.com
A A A > Subject: [LUTE] those sarabands
A A A >
A A A > Greetings all--
A A A > I know the sarabande was originally a lively ditty which
morphed
A A A pretty
A A A > thoroughly by the late 17th century. I have a question
about the
A A A > middle ground, in particular the sarabandes found in
Ballard's
A A prints
A A A > from the 1630s, though. Many seem to "work" whether played
lively
A A or
A A A > stately, and I know of an old Bailes recording where he
positively
A A A > burns through a sarabande by Mesangeau. I also have played
A A sarabands
A A A > in ensemble works by Jenkins et al that demanded a lively
reading.
A A A > The question is, what textual evidence do we have for
expected
A A tempi
A A A of
A A A > sarabandes of the French school 1610-1640?
A A A > Thank you kindly,
A A A > Thomas Walker, Jr.
A A A >
A A A > --
A A A >
A A A >
A A A > To get on or off this list see list information at
A A A >
[3][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
A A A --
A A --
References
A A 1. file://localhost/net/people/lute-arc/L10273-6162TMP.html
A A 2. file://localhost/net/people/lute-arc/L10273-6162TMP.html
A A 3. file://localhost/net/people/lute-arc/L10273-6162TMP.html
--
References
1. mailto:davidvanooi...@gmail.com
2. http://www.davidvanooijen.nl/
3. mailto:hodgsonmar...@yahoo.co.uk
4. mailto:praelu...@hotmail.com
5. mailto:twlute...@hotmail.com
6. mailto:lute@cs.dartmouth.edu
7. mailto:lute@cs.dartmouth.edu
8. mailto:lute@cs.dartmouth.edu
9. mailto:twlute...@hotmail.com
10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
