[1]MERHU2_5_TEXT
MERHU2_5_TEXT
On Wednesday, 5 February 2020, 10:02:49 GMT, Monica Hall
wrote:
I just wondered whether any kind soul familiar with Mersenne's
monumental work could Identify which Book/Chapter/page number in
Harmonie universelle. the following quote
there were no bourdons
on the 4th and 5th courses. The 4th and 5th courses were re-entrant
with high octave strings - instead of being aA d'd they were tuned a'a
d" d'.
This came as rather a surprise to me.
As ever
Monica
> On 26 June 2019 at 09:10 Martyn Hodgson
<[1]hodg
Dear Monica,
Have a look at FoMRHI Comm 663 (Bulletin 41, October 1985) in which I
report on two early sources of recorded violin string diameters
(Tartini's and Riccati's) and their application to Strad's instructions
for the chitarra tiorbata.
Here's the link
Why are the first five open (unstopped) basses thought to be at the
lower octave? - is the source absolutely clear and wholly unambiguous
about this (I've not yet seen the EM article myself)?
Leaving aside the length of the long basses required to extend the
range down to contrabass
Dear Edward,
The problem with employing an unequal temperament on the five course
guitar is the prevalence of sliding chord shapes employed on every fret
in much of the extant repertoire - ie Alfabeto. This has also been
pointed out in previous communications and papers.
M.H.
Dear Jocelyn,
Good that you're coming over next month. I don't usually attend Lute
Soc meetings (too far from the Yorkshire Dales for a grand day out!)
but I'll try to make that on 11th May.
regards,
Martyn
On Tuesday, 2 April 2019, 02:34:22 BST, Nelson, Jocelyn
wrote:
string
guitars and there's some evidence to support the use of overwound on
the lowest courses of the six course Spanish instrument. Is there any
evidence for the use of just plain (perhaps loaded) gut strings on the
fourth and fifth courses of these instruments?
Martyn Hodgson
string
guitars and there's some evidence to support the use of overwound on
the lowest courses of the six course Spanish instrument. Is there any
evidence for the use of just plain (perhaps loaded) gut strings on the
fourth and fifth courses of these instruments?
Martyn Hodgson
uot;mjlh...@tiscali.co.uk" <mjlh...@tiscali.co.uk>
To: VihuelaList <vihuela@cs.dartmouth.edu>
Cc: Martyn Hodgson <hodgsonmar...@yahoo.co.uk>
Sent: Monday, 12 February 2018, 21:44
Subject: MS CZ- Bm D 189 - the Last Post
Dear Martyn
I am sorry to have denied you
sage you see
fit
to send. I may query this with Wayne if you persist.
As ever
Monica
==
From: Martyn Hodgson <[5]hodgsonmar...@cs.dartmouth.edu>
To: "[6]mjlh...@tiscali.co.uk" <[7]mjlh...@tiscali.co.uk>;
From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu>
To: "mjlh...@tiscali.co.uk" <mjlh...@tiscali.co.uk>; Baroque Lute List
<baroque-l...@cs.dartmouth.edu>
Sent: Saturday, 10 February 2018, 10:07
Subject: Re: [VIHUELA] Re: Further to Re: Moravsky MS (
From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu>
To: "mjlh...@tiscali.co.uk" <mjlh...@tiscali.co.uk>; VihuelaList
<vihuela@cs.dartmouth.edu>; Baroque Lute List
<baroque-l...@cs.dartmouth.edu>
Sent: Friday, 9 February 2018, 14:26
Subject: Fu
outh.edu" <mjlh...@cs.dartmouth.edu>
To: VihuelaList <vihuela@cs.dartmouth.edu>
Cc: Martyn Hodgson <hodgsonmar...@yahoo.co.uk>
Sent: Monday, 29 January 2018, 20:28
Subject: [VIHUELA] Re: Moravsky MS (CZ Brno D189) - a fresh tack!
Obviously it will take me some ti
- Forwarded Message -
From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu>
To: Monica Hall <mjlh...@tiscali.co.uk>; VihuelaList
<vihuela@cs.dartmouth.edu>; Baroque Lute List
<baroque-l...@cs.dartmouth.edu>
Sent: Monday, 29 January 2018, 17:01
- Forwarded Message -
From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu>
To: Monica Hall <mjlh...@tiscali.co.uk>; VihuelaList
<vihuela@cs.dartmouth.edu>; Baroque Lute List
<baroque-l...@cs.dartmouth.edu>
Sent: Sunday, 14 January 2018, 16:
- Forwarded Message -
From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu>
To: "mjlh...@tiscali.co.uk" <mjlh...@tiscali.co.uk>; "dshos...@mac.com"
<dshos...@mac.com>
Cc: VihuelaList <vihuela@cs.dartmouth.edu>; Baroque Lute Lis
Dear Jocelyn,
One of the difficulties I personally find with these typesetting
softwares is the length of time it takes to actually input the music
(either staff notation or tablature), and I generally simply write out
(staff notation) parts for the ensemble - often full/short
, as far as I can see, the Old
Ones tell us little of the minutae of the dedillo stroke.
MH
__
From: Matthew Daillie <dail...@club-internet.fr>
To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk>
Cc:
Reading the English language summary (in Lute News 117) of the early
journals of the Sociedad de la Vihuela 'Hispanica Lyra', I was
again struck by the different right hand plucking techniques evidently
reasonably common and widespread in sixteenth century Spain.
Principally the
Stuart,
There appears to be no contemporaneous evidence of precisely how Diesel
strung his guitar. From consideration of the music, voice leading,
period of composition etc, I believe Diesel used a mandora like
stringing - ie octaves on the fourth and fifths but with the low bass
Sorry, I sent you the full search link - here is the direct link
[1]Prinsesse Charlotte Amalies nodesamling
Prinsesse Charlotte Amalies nodesamling
Martyn
- Forwarded Message -
From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu>
To: Eduard Agullo &
Dear Eduard,
Thanks for this: my ancient photocopies (half size!) have become
increasingly difficult to read so this is welcome. A useful summary of
these books was presented by David Lyons' paper in the 1975 JLSA '
Nathanael Diesel, guitar tutor to a royal lady'. The lady being
There are more of such in Donald's recent kind donation to the Lute
Soc. He was v keen on transcribing stuff for small guitars and
mandores. Jil Segerman has just completed an inventory
rgds
M
__
From: WALSH
-...@cs.dartmouth.edu [mailto:[2]lute-...@cs.dartmouth.edu]
Namens
Martyn Hodgson
Verzonden: woensdag 25 juni 2014 10:59
Aan: Monica Hall; Braig, Eugene
CC: Vihuelalist
Onderwerp: [VIHUELA] Re: Guitar Summit
Well yes... though if papers are presented, but not disseminated
-...@cs.dartmouth.edu
[mailto:[4][4]lute-...@cs.dartmouth.edu] Namens
WALSH STUART
Verzonden: dinsdag 24 juni 2014 11:54
Aan: Martyn Hodgson; Vihuela Dmth
Onderwerp: [VIHUELA] Re: Guitar Summit
On 24/06/2014 09:25, Martyn Hodgson wrote:
A A - Forwarded
Yes it is interesting. But it's surely not a 'very large' instrument:
in fact, it looks relatively smaller than the picture of a vihuela
played by Orpheus in Milan's collection. Perhaps you mean it's bigger
than most vihuelas played nowadays - but isn't that perhaps because of
a
_may_ be vihuelas too).
Martyn
__
From: Braig, Eugene brai...@osu.edu
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; Monica Hall
mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Tuesday, 13 May
Martyn Hodgson
Verzonden: dinsdag 13 mei 2014 14:27
Aan: Lex Eisenhardt; 'Vihuelalist'
Onderwerp: [VIHUELA] Re: Lorimer's bibliography? (ISBN 0-9618527-1-2
I agree with you about sizes of 5 course guitars but not about your
preferred tuning for de Murcia's solo music: in my view
To: 'Martyn Hodgson' hodgsonmar...@yahoo.co.uk; 'Monica Hall'
mjlh...@tiscali.co.uk; 'WALSH STUART' s.wa...@ntlworld.com
Cc: 'Vihuelalist' vihuela@cs.dartmouth.edu
Sent: Tuesday, 19 November 2013, 16:51
Subject: [VIHUELA] Re: Matteis
For an on-line article by Roland Jackson, about all sorts
- Original Message -
From: [1]Martyn Hodgson
To: [2]Monica Hall
Sent: Thursday, November 14, 2013 4:08 PM
Subject: Re: [VIHUELA] Matteis
Page no in 1682 original plse
Thanks Monica,
Interesting - but even more so if I could open the 'pictures' which
give the various illustrations and examples. I've left clicked on the
boxes and clicked 'open picture' but nothing. Any thoughts
regards
Martyn
From: Monica Hall mjlh...@tiscali.co.uk
---1019788788-1762414116-1369227185=:13167
Content-Type: text/plain; charset=utf-8
Content-Transfer-Encoding: quoted-printable
Dear Monica,
Â
Somwhere I have a photocopy of the Morelli songs from  the Cambridge Ms.Â
(Magdalen College, Pepys Library (Cmc) MS 2803 - Songs, arranged for bass
Sonata di Chittarra, e Violino, con il suo Basso Continuo (from Granata
Soavi Concenti... 1659) - mixed tablature guitar ie with alfabeto as
well as 'Italian' tablature notation
And, of course, the numerous books of alfabeto settings of known tunes
(eg Ricci Scuola d'intavolatura,
...@gmail.com wrote:
From: Azalais azal...@gmail.com
Subject: Re: [VIHUELA] Early romantic guitaRe: string height
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Date: Saturday, 20 April, 2013, 19:46
It varies by instrument. On some I have gut frets and on some metal
...@gmail.com wrote:
From: Azalais azal...@gmail.com
Subject: Re: [VIHUELA] Early romantic guitaRe: string height
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Date: Saturday, 20 April, 2013, 19:46
It varies by instrument. On some I have gut frets and on some metal
I'd be grateful if players of the early six string guitar (say, 1800 -
1830) could let me know what string height they find best on the
instrument. To be specific: by string height I mean the distance
required to depress the string to the fingerboard (not to the top of
the fret -
Well, Orphenica Lyra is 1554 and I'd not think he'd be much younger
than around 30 for such a prestigious (and large - ie expensive)
publication.
So I'd put his date of birth around 1520. I suspect the c 1500 - 1579
means that 1500 is a guess but 1579 is evidenced. 1579 also fits
...@gmail.com wrote:
From: Simen Omang donoma...@gmail.com
Subject: Re: [VIHUELA] Re: de Visee Chaconne in a minor to the
guitar?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: EugeneBraig brai...@osu.edu, Vihuela Dmth
vihuela@cs.dartmouth.edu
Date: Monday, 3 December
Dear Eugene,
I also find Strizich more complicated than necessary and really only
useful for academics interested in the period guitar who don't actually
play the instrument - are there any?
And I agree with what you're saying below: ie to transcribe the
tablature into staff
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Re: [VIHUELA] Re: de Visee Chaconne in a minor to the
guitar?
To: Monica Hall mjlh...@tiscali.co.uk
Date: Thursday, 22 November, 2012, 15:17
Dear Monica,
I think you've misunderstood my point about fellow
Dear Stuart,
As mentioned in our recent exchange on a Losy sarabande: these French
chaconnes are good examples of the sort of idiomatic arrangement to be
expected from a decent professional musician at the time. Judging
from 5 course guitar music in some (amateur?) compiled MSs
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Re: [VIHUELA] Re: Losy (Logi) sarabande?
To: WALSH STUART s.wa...@ntlworld.com
Date: Wednesday, 7 November, 2012, 8:51
Dear Stuart,
I'm not suggesting that these Losy guitar pieces were originally
composed
:
From: WALSH STUART s.wa...@ntlworld.com
Subject: Re: [VIHUELA] Re: Losy (Logi) sarabande?
To: Chris Despopoulos despopoulos_chr...@yahoo.com
Cc: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Monica Hall
mjlh...@tiscali.co.uk, Vihuelalist vihuela@cs.dartmouth.edu
Date: Tuesday, 6
...@yahoo.com
Cc: Martyn Hodgson [3]hodgsonmar...@yahoo.co.uk; Monica Hall
[4]mjlh...@tiscali.co.uk; Vihuelalist [5]vihuela@cs.dartmouth.edu
Sent: Tuesday, November 06, 2012 9:20 PM
Subject: [VIHUELA] Re: Losy (Logi) sarabande?
No, not to be confused with a tiny mandore. Of course it's
instruments. The lute has a few extra
low basses but both versions are fairly close. It fits on both
instruments very well ('tho it's an easy piece technically anyway) so
no conclusion about which version came first are obvious..
Martyn
--- On Tue, 6/11/12, Martyn Hodgson
mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Losy (Logi) sarabande?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Tuesday, 6 November, 2012, 13:19
Well - I hadn't thought
September 2012 17:04, Martyn Hodgson
[1]hodgsonmar...@yahoo.co.uk wrote:
To reduce to absurdity: if we
eliminate, say, all thirds from a chord
'Absurdity' another word for 'power chords' or for the music in which
these chords commonly are used? ;-)
David - not waiting
Message -
From: RALPH MAIER
To: Monica Hall
Cc: Martyn Hodgson ; Vihuelalist
Sent: Monday, September 10, 2012 8:37 PM
Subject: Re: [VIHUELA] Re: G chord on Baroque Guitar
Interesting thread. Just a thought, and I'm obviously
This is also a very good and practical point.
M
--- On Mon, 10/9/12, Natasha Miles natasha.mi...@hotmail.co.uk wrote:
From: Natasha Miles natasha.mi...@hotmail.co.uk
Subject: RE: [VIHUELA] Re: G chord on Baroque Guitar
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Dear Monica,
When you write 'The point is that the alfabeto chords (and other
chords) are arranged in the way that most conveniently fits them on to
the guitar fingerboard. The order of the notes and which ones are
doubled is determined by practical considerations not by what
Dear Stuart,
Well, I have Kristian Buhl-Mortensen's recent CD of these suites and
very tasteful they are too. But I'm a wee bit bothered that the balance
between guitar, bass viol and hapsichord is only possible through the
wizardry of modern recording technology! In practice I
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Re: [VIHUELA] 5 course guitar - partial strums
To: Monica Hall mjlh...@tiscali.co.uk
Date: Friday, 1 June, 2012, 8:08
Dear Monica,
Just to test the envelope a little, a couple of observations arising
from
the 5th
course, that they didn't even bother to put a dot there if it would
make a dissonance, they just assumed you wouldn't include it in the
strum.
On May 31, 2012, at 6:57 PM, Martyn Hodgson wrote:
Various 5 course guitar tablature sources ask for partial strums in
which only
,
they just assumed you wouldn't include it in the strum.
On May 31, 2012, at 6:57 PM, Martyn Hodgson wrote:
Various 5 course guitar tablature sources ask for partial strums in
which only some of the courses are to be strummed; unstrummed
courses being indicated by dots (although
Various 5 course guitar tablature sources ask for partial strums in
which only some of the courses are to be strummed; unstrummed
courses being indicated by dots (although the practice may, of course,
be more widespread than suggested only by the tablatures with these
dots).
Well, I did Rob - but I sent my thanks and congrats just to her!
But so the web knows - thanks again Monica. and thanks
Rob fr yr time too
Martyn
--- On Thu, 5/4/12, Braig, Eugene brai...@osu.edu wrote:
From: Braig, Eugene brai...@osu.edu
Subject:
and theorboes - should all this
be on the vihuela list?!
On 19/12/2011 16:05, Martyn Hodgson wrote:
Dear Stewart
I agree with almost everything you write (especially about RD's
Musicall Banquet!) - I noticed it after sending and wondered who,
if
any, would spot
Dear Eloy,
I'm very much with Monica on this: what little evidence we have (such
as Millioni) suggests a certain refinement in strumming (... in this
way the music will be rendered more sweetly.). And the iconography (
not much to go on I confess) seem to predominate with people
/1600/1/Miles11MPhil.pdf
cud
__
From: Martyn Hodgson [2]hodgsonmar...@yahoo.co.uk
To: Eloy Cruz [3]eloyc...@gmail.com
Cc: Vihuelalist [4]vihuela@cs.dartmouth.edu
Sent: Tuesday, December 20, 2011 4:41 AM
to earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Saturday, 17 December, 2011, 15:35
Ah - I think I know what's happening - you've got the wrong end of
the
stick:
I am glad
...
--- On Sun, 18/12/11, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Martyn
--- On Fri, 16/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar
: [VIHUELA] Re: Strumming as basso continuo {was: Return
to earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Monica Hall mjlh...@tiscali.co.uk, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Saturday, 17 December, 2011, 8:58
Thank you for this Eloy.
But, of course, it might be said that 6 guitars, percussion and conch
shell is already excessive. The question is: what evidence do we have
that such instruments, and in such numbers, were expected by JG de
Padilla and his auditors in contemporary
{was: Return
to earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Thursday, 15 December, 2011, 20:17
Sent: Thursday, December 15, 2011 3:25 PM
Subject: [VIHUELA] Re: Strumming
: {was: Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Monica Hall
mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Friday, 16 December, 2011, 14:08
I thought one of the significant points of the period was a transition
: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu, Lex Eisenhardt
eisenha...@planet.nl
Date: Wednesday, 14 December, 2011, 15:44
- Original Message -
From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk
To: Lex
wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to
earlier question: {was: Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Thursday
Dear Lex,
Much as I deprecate the high lervels of banging and thrashing about
produced by some guitar continuo players these days, I see no reason to
suppose that strumming should be generally eschewed ('It seems unlikely
however that a chordal style, continuously including all
?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Vihuelalist
vihuela@cs.dartmouth.edu, Eloy Cruz eloyc...@gmail.com
Date: Monday, 12 December, 2011, 15:31
On Mon, 12 Dec 2011 14:49:05 + (GMT), Martyn Hodgson wrote
Indeed - this supplements what I wrote below - thank you
Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday
:
Agazzari
guitar [was Re: Capona?]}
To: Martyn Hodgson [6][6]hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist [7][7]vihuela@cs.dartmouth.edu, Lex
Eisenhardt
[8][8]eisenha...@planet.nl, R. Mattes
[9][9]r...@mh-freiburg.de
Date: Monday, 12
wishes, Lex
- Original Message - From: wikla [1]wi...@cs.helsinki.fi
To: Martyn Hodgson [2]hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist [3]vihuela@cs.dartmouth.edu; Lex Eisenhardt
[4]eisenha...@planet.nl
Sent: Sunday, December 11, 2011 4:03 PM
Subject: [VIHUELA] Re: Agazzari
, 12/12/11, eisen...@planet.nl eisen...@planet.nl wrote:
From: eisen...@planet.nl eisen...@planet.nl
Subject: RE: Return to earlier question: {was Re: [VIHUELA] Re:
Agazzari guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Vihuelalist
vihuela
r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Vihuelalist
vihuela@cs.dartmouth.edu, eisen...@planet.nl
Date
at the moment - can
you?
Martyn
--- On Mon, 12/12/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
To: Martyn Hodgson hodgsonmar
/12/11, Monica Hall [1]mjlh...@tiscali.co.uk
wrote:
From: Monica Hall [2]mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Return to earlier question: {was Re:
Agazzari
guitar [was Re: Capona?]}
To: Martyn Hodgson [3]hodgsonmar...@yahoo.co.uk
Cc
I suppose it could be said that the guitar would be covered by his
etc...
Also note he only mentions the 'chitarrino' (small 4 course
instrument?) in his list of embellishing instruments and omits
the larger (5 course) guitar. This, I suggest, implies that the guitar
does
...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Capona?
To: Vihuelalist vihuela@cs.dartmouth.edu, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Date: Sunday, 11 December, 2011, 10:03
I suppose it could be said that the guitar would
Dear Lex,
I agree with Chris: thumb-out does not inhibite playing through both
strings of a double course.
Neither need (or should) the thumb and finger ends meet using
thumb-out as you suppose: the thumb is slightly forward of the fingers.
Probably the best historic
...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: hand plucking position (wasGuitar bridges)
To: vl vihuela@cs.dartmouth.edu, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Date: Sunday, 4 December, 2011, 9:34
Hi Martyn,
I agree
Ones would have
generally expected.
Martyn
--- On Sun, 4/12/11, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: Re: [VIHUELA] Re: hand plucking position (wasGuitar
bridges)
To: vl vihuela@cs.dartmouth.edu, Martyn Hodgson
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Re: [VIHUELA] Re: Guitar stringing (again - sigh) was Re:
Guitar bridges
To: Lex Eisenhardt eisenha...@planet.nl
Date: Wednesday, 30 November, 2011, 13:53
Thanks for this Lex.
One of my guitars does have
wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Guitar bridges
To: vihuela@cs.dartmouth.edu, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Date: Tuesday, 29 November, 2011, 9:41
Eh, I'll try.
If you make a normal loop and keep some 10 cms extra
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Re: [VIHUELA] Re: Guitar bridges
To: Lex Eisenhardt eisenha...@planet.nl
Date: Tuesday, 29 November, 2011, 14:10
Hmmm .. we agree that it makes plucking just the lower of the octave
pair easier if one wishes
Dear Monica,
As far as I can see, the evidence from extant instruments seems to be
that slotted bridges were often employed in the 17th century,
especially by French makers; Italian makers seemingly preferring a
bridge with individual string holes (tho' there are exceptions).
Hello you two,
I've been away a couple of days: can you kindly remind me of the
principal issue in this latest exchange? It surely can't be that you
aim to base an entire case on Carre's book
rgds
Martyn
From: Monica Hall mjlh...@tiscali.co.uk
To: Lex Eisenhardt
. I'm still holding mine for the revelation of the principal
issue..
MH
From: Roman Turovsky r.turov...@verizon.net
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; Monica Hall
mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Tuesday
dissonances (was Marini, Granata etc)
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 11 May, 2011, 14:49
Well - I'm not sure that there is any point in reviving this discussion
-
especially as I disagree with most of what
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
Dear Monica,
On going through my backlog of messages, I see you sent a couple
further to our discussion Marini's Scherzi 1622 whilst I was away.
In general I think we seem to agree on many points, except:
1. I can find no prohibition to employing an instrument to play the
Hello Monica,
I've just returned from an extended Easter break and am catching up
with emails, but this is more interesting than most
Pitch standards come first to mind when thinking of any reason why the
guitar part
and the keyboard part should be a tone higher than
Dear Ralf,
Prima la musica is a very reputable small publishing firm (one man I
think - Brian Clark) producing limited runs of specialist early music
editions. I'd guess the ARR tag is used, as by other commercial
publishers, to try and ensure they are paid a royalty when anyone
-5graysinnsquare.co.uk/news/index.cfm?id=1391
regards
Martyn
--- On Tue, 10/5/11, R. Mattes r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: Re: [VIHUELA] Re: Guitar continuo example
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Rockford Mjos
rm
I believe they (Ex-Cathedra dir. Jeff Skidmore) did use the edition not, of
course, expecting all the subsequent trouble.
Mh
--- On Tue, 10/5/11, R. Mattes r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: Re: [VIHUELA] Re: Guitar continuo example
To: Martyn Hodgson
chord)
yrs ttcod
Martyn
--- On Wed, 27/4/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [VIHUELA] Re: Passing dissonances (was Marini, Granata etc)
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela
Dear Monica,
Well, here I can certainly agree with you: Gmin with Gmaj seems
crackers.
But out of interest could you give me the specific example quoted? Are
we sure it's not S Stubbs thinking it ought to be Gm?
rgds
Martyn
--- On Thu, 28/4/11, Monica Hall
Italy - was Marini - was Grenerin
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 25 April, 2011, 18:18
Dear Martyn
It really is easier just think of it as an Fmajor chord held over a
G
which is anticipating
you believe?
regards
Martyn
--- On Tue, 26/4/11, Lex Eisenhardt eisenha...@planet.nl wrote:
From: Lex Eisenhardt eisenha...@planet.nl
Subject: [VIHUELA] Re: Composition of short songs in early 17th
century Italy - was Marini - was Grenerin
To: Martyn Hodgson hodgsonmar
- was Grenerin
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Tuesday, 26 April, 2011, 13:17
Dear Martyn,
The F major chord against the note d is simply a 65 chord on a bass
F
That is exactly what I said. It is the first
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