Charles:
To amplify my one-word reply of this morning (when I was late for work):
Heinrich Schütz:
Some sections from the "Seven Last Words," if you can't take the time to
do the whole work. The chorus sections are in 5 voices, so you would
have to come up with another tenor. A so-so edition is
While taking nothing from the Lutherans in this area, I suggest you look at
Benedetto Ferrari's Cantata Spirituale (3 parts which can be performed
independently) from Book 2 of his Musiche Varie (1637). Very evocative solo
meditations. Continuo part is a 4-note ground--the challenge is for the
voca
I second Steve Stubbs' suggestions and would add a couple more from Lutheran
tradition:
O Dearest Jesus, What Law Hast Thou Broken, aka Herzliebster Jesu; tune by
Johann Crueger (1598 - 1662; text by Johann Heermann (1585 - 1647).
and, although more recent, nonetheless beautiful--
Stricke
How interested are you? It is in Arbeau's Orchésographie as a bransle
morgué: it starts on p.88 of the fac-simile available on
http://memory.loc.gov/ammem/dihtml/dihome.html
I have one version in DJVu format, and another arranged for basically 3
voices with a bit of bass'n'drums in Encore fo
Sorry Bruno, somehow I forgot to put the reference to the article,
therefore you couldn't see that it is clearly putting the same point
of view, as you are doing.
http://tinyurl.com/yo8gb7
Anthony
Le 10 janv. 08 =E0 15:03, Bruno Correia a ecrit :
> Anthony,
>
> I see the reason of T.O not onl
Oups, sorry, I have over simplified, " explor(ing) the rich
sonorities of the low basses" , is not quite the same thing as
"treble bass polarity", and of course there is much lute music before
the German Baroque, that does play on "treble bass polarity".
However, both "exploring the low ba
Le 10 janv. 08 à 15:03, Bruno Correia a écrit :
Anthony,
I see the reason of T.O not only in terms of stretch, but in
relation to the
role of the bass in the music of the 17th and 18th century, where
the bass
is much more active and perhaps also needs a heavier sound. The
Thumb index
alt
At 09:31 AM 1/9/2008, Ron Fletcher wrote:
>A little diversion for a mandolin.
>
>http://www.youtube.com/watch?v=mfWpeARuuvs
>
>Mick Smith is a local radio presenter of country music here in the UK
>
>I'm not familiar with the tune
Me either.
Considerably post-claimed-date for Horses Bransle, but
Anthony,
I see the reason of T.O not only in terms of stretch, but in relation to the
role of the bass in the music of the 17th and 18th century, where the bass
is much more active and perhaps also needs a heavier sound. The Thumb index
alternation is no longer used because the thumb has to play t
Baron is a late source (1727), heavily influenced by ideas of
italianized musi making. I'd lay Baron aside, at least as far as far
French baroque is concerned.
Mathias
"Daniel Winheld" <[EMAIL PROTECTED]> schrieb:
> And if I might add further to the Collective Confusion we have the
> words of E
Le 7 janv. 08 à 04:47, Bruno Correia a écrit :
Excellent post Martin!
That's exactly how I see this subject, It makes a lot of sense to
change the
technique if you have a bigger instrument with more basses. We can
also
argue that the musical texture had also changed in favour of
harmony
Thanks Rob
The reason I asked about the weight is that several lutists have
suggested to me that lute construction in the 70s to 80s was ultra
light in contrast to the heavy Bream-type lutes, and that more
recently there has been a move from the ultra-light to a slightly
heavier construct
It was strung in gut throughout. The weight was the same as my 11c, pretty
much. A little heavy towards the peg box. The right hand string spacing was
ideal. A very comfortable instrument to hold and play, but it was difficult
to ascertain the tonal qualities without tuning the instrument to pitch.
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