[VIHUELA] Re: Baroque guitar culture and habits?
That image was actually in reference to the supporters/fans/disciples of Carulli vs. the supporters/fans/disciples of Molino in Paris (i.e., the Carullists and Molinists). It didn't necessarily have to do with nail use (I don't know if either expressed preferences for nails). Molino's technique was considered a bit radical in his day. Best, Eugene -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Chris Despopoulos Sent: Wednesday, May 11, 2011 6:19 PM To: wikla; Vihuelalist Subject: [VIHUELA] Re: Baroque guitar culture and habits? I'm reminded of the engraving of a riot/melee between those who support use of the nails and those who do not. Face it... Guitarists are a weird bunch. How to you get a guitarists to be quiet? Hand him some sheet music. What do you call a guitarist who broke up with his girlfriend? Homeless. How many guitarists does it take to change a light bulb? 10... One to change it and nine to say I could have done that better. cud __ From: wikla wi...@cs.helsinki.fi To: Vihuelalist vihuela@cs.dartmouth.edu Sent: Wednesday, May 11, 2011 5:10 PM Subject: [VIHUELA] Baroque guitar culture and habits? Dear flat back lutenists, I just read: I did :-) And I don't understand your edition. Perhaps you need to go back to school and learn some more counterpoint. Here we go again! Dear baroque guitarists, why cannot you be friends supporting and adding up each others' brilliant ideas - as we lutenists do (or are we really?) - instead of fighting of every 7th and its resolution, and every borduna/ocave in stringing? Is this actually a phenomenon of (modern) classical guitar culture brought to b-guitar world, too? I still remember my old guitarring times, when I was very Yepesian and was fighting against the Segovians, who were fighting against us. Something similiar here? To me we round back lutenists are much more liberal (well, at least relatively, compared to b-guitarists) in accepting different ways of making our music and stringing our instruments, etc. What could be the explanation? Is the 5 course guitar really so critical a vehicle, or does the Segovian - not Segovian (or Sor-Guiliani?) contradiction affect still the guitarists converted from modern guitar to baroque guitar? Positively, Arto PS I suppose the 5 course guitar was actually an extremely free and wild instrument - used as is and as wished here and there by good and bad players. I would recommend anything goes. Don't be too clever, play and strum interestingly... I guess that is most authentic... ;-) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[VIHUELA] Re: Baroque guitar culture and habits?
What's the definition of a minor 2nd? Two guitarists playing the same note at the same time. What's the definiton of counterpoint? Two guitarists playing the same line at the same time. Wasn't it Berlioz, a guitarist himself, who said, There's no sound worse than the sound of fifty guitars playing the same note at the same time.? A fellow guitarist (sometimes with/sometimes without nails). - Original Message - From: Chris Despopoulos despopoulos_chr...@yahoo.com To: wikla wi...@cs.helsinki.fi; Vihuelalist vihuela@cs.dartmouth.edu Sent: Wednesday, May 11, 2011 3:19 PM Subject: [VIHUELA] Re: Baroque guitar culture and habits? I'm reminded of the engraving of a riot/melee between those who support use of the nails and those who do not. Face it... Guitarists are a weird bunch. How to you get a guitarists to be quiet? Hand him some sheet music. What do you call a guitarist who broke up with his girlfriend? Homeless. How many guitarists does it take to change a light bulb? 10... One to change it and nine to say I could have done that better. cud __ From: wikla wi...@cs.helsinki.fi To: Vihuelalist vihuela@cs.dartmouth.edu Sent: Wednesday, May 11, 2011 5:10 PM Subject: [VIHUELA] Baroque guitar culture and habits? Dear flat back lutenists, I just read: I did :-) And I don't understand your edition. Perhaps you need to go back to school and learn some more counterpoint. Here we go again! Dear baroque guitarists, why cannot you be friends supporting and adding up each others' brilliant ideas - as we lutenists do (or are we really?) - instead of fighting of every 7th and its resolution, and every borduna/ocave in stringing? Is this actually a phenomenon of (modern) classical guitar culture brought to b-guitar world, too? I still remember my old guitarring times, when I was very Yepesian and was fighting against the Segovians, who were fighting against us. Something similiar here? To me we round back lutenists are much more liberal (well, at least relatively, compared to b-guitarists) in accepting different ways of making our music and stringing our instruments, etc. What could be the explanation? Is the 5 course guitar really so critical a vehicle, or does the Segovian - not Segovian (or Sor-Guiliani?) contradiction affect still the guitarists converted from modern guitar to baroque guitar? Positively, Arto PS I suppose the 5 course guitar was actually an extremely free and wild instrument - used as is and as wished here and there by good and bad players. I would recommend anything goes. Don't be too clever, play and strum interestingly... I guess that is most authentic... ;-) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.900 / Virus Database: 271.1.1/3630 - Release Date: 05/10/11 23:34:00
[VIHUELA] Re: Baroque guitar culture and habits?
But my dear Arto - there really is no problem between debating conflicting views and 'friendship' - you can have both. It's only when personal abuse appears (as it did in some Lute list exchanges a number of years ago) that we ought to throw in the towel. However, I do agree that the medium of email is not the best to conduct these discussions - but what do you suggest - not raising any such issues at all? regards M --- On Wed, 11/5/11, wikla wi...@cs.helsinki.fi wrote: From: wikla wi...@cs.helsinki.fi Subject: [VIHUELA] Baroque guitar culture and habits? To: Vihuelalist vihuela@cs.dartmouth.edu Date: Wednesday, 11 May, 2011, 22:10 Dear flat back lutenists, I just read: I did :-) And I don't understand your edition. Perhaps you need to go back to school and learn some more counterpoint. Here we go again! Dear baroque guitarists, why cannot you be friends supporting and adding up each others' brilliant ideas - as we lutenists do (or are we really?) - instead of fighting of every 7th and its resolution, and every borduna/ocave in stringing? Is this actually a phenomenon of (modern) classical guitar culture brought to b-guitar world, too? I still remember my old guitarring times, when I was very Yepesian and was fighting against the Segovians, who were fighting against us. Something similiar here? To me we round back lutenists are much more liberal (well, at least relatively, compared to b-guitarists) in accepting different ways of making our music and stringing our instruments, etc. What could be the explanation? Is the 5 course guitar really so critical a vehicle, or does the Segovian - not Segovian (or Sor-Guiliani?) contradiction affect still the guitarists converted from modern guitar to baroque guitar? Positively, Arto PS I suppose the 5 course guitar was actually an extremely free and wild instrument - used as is and as wished here and there by good and bad players. I would recommend anything goes. Don't be too clever, play and strum interestingly... I guess that is most authentic... ;-) To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Baroque guitar culture and habits?
Dear Martyn, Well, my comment was not about contents but style of writing... And it really was not so very serious... These conversations sometimes actually are quite entertaining, too. All the best, Arto On 12/05/11 11:24, Martyn Hodgson wrote: But my dear Arto - there really is no problem between debating conflicting views and 'friendship' - you can have both. It's only when personal abuse appears (as it did in some Lute list exchanges a number of years ago) that we ought to throw in the towel. However, I do agree that the medium of email is not the best to conduct these discussions - but what do you suggest - not raising any such issues at all? regards M --- On Wed, 11/5/11, wiklawi...@cs.helsinki.fi wrote: From: wiklawi...@cs.helsinki.fi Subject: [VIHUELA] Baroque guitar culture and habits? To: Vihuelalistvihuela@cs.dartmouth.edu Date: Wednesday, 11 May, 2011, 22:10 Dear flat back lutenists, I just read: I did :-) And I don't understand your edition. Perhaps you need to go back to school and learn some more counterpoint. Here we go again! Dear baroque guitarists, why cannot you be friends supporting and adding up each others' brilliant ideas - as we lutenists do (or are we really?) - instead of fighting of every 7th and its resolution, and every borduna/ocave in stringing? Is this actually a phenomenon of (modern) classical guitar culture brought to b-guitar world, too? I still remember my old guitarring times, when I was very Yepesian and was fighting against the Segovians, who were fighting against us. Something similiar here? To me we round back lutenists are much more liberal (well, at least relatively, compared to b-guitarists) in accepting different ways of making our music and stringing our instruments, etc. What could be the explanation? Is the 5 course guitar really so critical a vehicle, or does the Segovian - not Segovian (or Sor-Guiliani?) contradiction affect still the guitarists converted from modern guitar to baroque guitar? Positively, Arto PS I suppose the 5 course guitar was actually an extremely free and wild instrument - used as is and as wished here and there by good and bad players. I would recommend anything goes. Don't be too clever, play and strum interestingly... I guess that is most authentic... ;-) To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
