Re: Free speach
With my apologies I respond to an earlier message. I will post a general
apologia separately.
Craig, I may disagree with one of your favorites.
> I'll leave you with a quote from one of my favorite writers, Harlan
Ellison, who maintains, "Contrary to popular >belief peole are not entitled
to their opinion. They are entitled to their informed opinion."
Who defines what is informed opinion?
I quote from one of my favorite writers, Owen Wister who wrote a book in the
late 19th century titled The Virginian. It is a naive and simple book, and
was an answer to the "penny dreadfuls" that espoused the legends of the
gunfighters and marshalls of the apochryphal West. I recommend it to careful
readers, but not to those who would just scan and see the cliches ("when you
say that Mister, smile" - although that isn't the exact quote it is used in
all the movies). When they were written they weren't cliches, they were a
revelation to the Eastern elite who had "informed opinions".
I'll not go further with this thread, it is not lute related. Should anyone
wish to carry it on please email me directly.
Best, Jon
Re: Vihuela Songs
> Are there any modern editions available of Spanish vihuela songs? I There's a collection of over 60 of them in in staff notation, including translation of lyrics! Very useful. 'A Spanish Renaissance Songbook' Edited by Charles Jacobs The Pennsylvania State University Press ISBN 0-271-00435-5 David * David van Ooijen Email: [EMAIL PROTECTED] Http://home.planet.nl/~d.v.ooijen/david * Read about my latest Japanese CD and hear a sample at http://home.planet.nl/~d.v.ooijen/david/ensembles/chiyomi.html
Re: Losy Menuet
Thomas, Stewart, and all, I am going to delete this thread with great regret, I do try to save all on this list for future reference. But reality raises its ugly head and I realize that by the time I get to this level I'll have forgotten where I put this fine information. This dialogue is a perfect example of the value of this list to skilled lutenists, and perhaps I've been a bit foolish in some of my questions from a beginner, but I don't think so. And Thomas' point as to the bass courses will remain with me, although I'm considering changing mine from octave to unison (but won't do that until a teacher hears the instrument). The list is supportive of beginner and expert, and I thank the list. Best, Jon
Vihuela Songs
Hi Luters, Are there any modern editions available of Spanish vihuela songs? I have the Mudarra facsimile, which has some songs in it, but I'm wondering what there is available in modern edition of songs of other 16th-century Spanish composers (unfortunately, my Milan "El Maestro" is a black-and-white facsimile, so I can't tell where the vocal lines are). I'm also wondering where I can find Bossinensis and Bottegari lute books in modern editions. Any suggestions, anyone? Regards, David Rastall
Losy Menuet
Dear Thomas, Oopsy daisy! Thanks for correcting my mistake. I assume from your other e-mail, that you are not troubled by consecutive octaves (assuming you don't hear the notes that way). It reminds me a little of the sound you hear on a baroque guitar, if you play campanellas with bourdons on the 4th and 5th courses. There's a funny buzzy noise (i.e. bourdon), coming from the bass, which helps one understand why baroque guitarists should have wanted to get rid of their bourdons. I don't know how this bourdon effect would affect Damiani's hypothesis with regard to Melii. All the best, Stewart. - Original Message - From: "Thomas Schall" <[EMAIL PROTECTED]> To: "Stewart McCoy" <[EMAIL PROTECTED]> Cc: "Lute Net" <[EMAIL PROTECTED]> Sent: Wednesday, January 14, 2004 7:43 PM Subject: Re: Losy Menuet Hi Stewart, there's a tiny mistake in your opening of the second section (here corrected): |\ |\ > |\ |\ > |\ | > || > ___ > _a_|_|_ > a_d|__d__|_ > ___|__c__|_ > ___|_|_ > ___c___|_|_ > a /a //a > Here we have one of the fantastic features of a lute: Take just the basses and play them alone and you'll find something like a bass part. If you take the upper octaves of the bass parts and the rest of the melody the octaves of the basses includes itself well into the melody. So my option would be the first one - not because it's rough but because of this special feature of the lute which by plucking one single course produces two voices (parts?) in the piece. Best wishes Thomas
Re: Losy Menuet - RH fingering
BTW: I have just played the menuet and would finger the beginning of the piece as follows: |\ |\ > |\ |\ > |\ | > | | > __a_h___g)__h___ > af|_f_|_ > ___g__|___|_ > _h|___|_ > __|___|_ > __|___|_ > a > p m p m p m p > You see - I try to play some kind of a bass line at the beginning - you'll find this - ehem - motif? (a simple c-minor chord) also at other places in the piece. Best wishes Thomas Hi Stewart, there's a tiny mistake in your opening of the second section (here corrected): |\ |\ > |\ |\ > |\ | > || > ___ > _a_|_|_ > a_d|__d__|_ > ___|__c__|_ > ___|_|_ > ___c___|_|_ > a /a //a p m p i m pp i m Here we have one of the fantastic features of a lute: Take just the basses and play them alone and you'll find something like a bass part. If you take the upper octaves of the bass parts and the rest of the melody the octaves of the basses includes itself well into the melody. So my option would be the first one - not because it's rough but because of this special feature of the lute which by plucking one single course produces two voices (parts?) in the piece. Best wishes Thomas Am Mit, 2004-01-14 um 20.02 schrieb Stewart McCoy: > Dear All, > > Following on from the discussion about problematic voice-leading in > the theorbo music of Melii, and whether an octave-strung second > course might be the answer, I wonder if anyone has any comment about > an unusual passage in a Menuet by Losy. The piece appears in an > anthology of Czech baroque lute music: Emil Vogl (ed.), _Z > Loutnovych Tabulatur Ceského Baroka_, Musica Viva Historica 40 > (Prague: Editio Supraphon, 1977), page 44. The source is given as > "Kremsmünster, ms sign. L.78". The opening bar includes an ascending > scale in campanella style, i.e. not playing successive notes on the > same course: > > |\ |\ > |\ |\ > |\ | > | | > __a_h___g)__h___ > af|_f_|_ > ___g__|___|_ > _h|___|_ > __|___|_ > __|___|_ > a > > A similar phrase occurs at the start of the second section, but for > the little ascending scale to work you would need an octave-strung > 6th course. That in itself is not unreasonable, but how exactly > should c6 be played? > > 1) Carry on regardless, pluck with the thumb, and hope the higher > octave gets heard enough; > 2) Pluck the 6th course with the index finger to favour the upper > octave; > 3) Pluck just the upper octave of the 6th course with the thumb. > > |\ |\ > |\ |\ > |\ | > || > ___ > _a_|_|_ > a_d|__d__|_ > ___|__c__|_ > ___|_|_ > ___a___|_|_ > a /a //a > > My feeling so far is to go for the first option, but in this > particular context the octave 6th course creates an unsatisfactory > impression of consecutive octaves, not doubling at the octave as it > normally would. > > My third option is not totally zany, because if the thumb has played > the 7th course with a rest stroke (appoyando), it is possible to > roll it over the 6th course to touch just the upper octave in time > to pluck it. > > Any thoughts? > > Best wishes, > > Stewart. -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] www.lautenist.de / www.tslaute.de/weiss --
Re: Losy Menuet
Hi Stewart, there's a tiny mistake in your opening of the second section (here corrected): |\ |\ > |\ |\ > |\ | > || > ___ > _a_|_|_ > a_d|__d__|_ > ___|__c__|_ > ___|_|_ > ___c___|_|_ > a /a //a > Here we have one of the fantastic features of a lute: Take just the basses and play them alone and you'll find something like a bass part. If you take the upper octaves of the bass parts and the rest of the melody the octaves of the basses includes itself well into the melody. So my option would be the first one - not because it's rough but because of this special feature of the lute which by plucking one single course produces two voices (parts?) in the piece. Best wishes Thomas Am Mit, 2004-01-14 um 20.02 schrieb Stewart McCoy: > Dear All, > > Following on from the discussion about problematic voice-leading in > the theorbo music of Melii, and whether an octave-strung second > course might be the answer, I wonder if anyone has any comment about > an unusual passage in a Menuet by Losy. The piece appears in an > anthology of Czech baroque lute music: Emil Vogl (ed.), _Z > Loutnovych Tabulatur Ceského Baroka_, Musica Viva Historica 40 > (Prague: Editio Supraphon, 1977), page 44. The source is given as > "Kremsmünster, ms sign. L.78". The opening bar includes an ascending > scale in campanella style, i.e. not playing successive notes on the > same course: > > |\ |\ > |\ |\ > |\ | > | | > __a_h___g)__h___ > af|_f_|_ > ___g__|___|_ > _h|___|_ > __|___|_ > __|___|_ > a > > A similar phrase occurs at the start of the second section, but for > the little ascending scale to work you would need an octave-strung > 6th course. That in itself is not unreasonable, but how exactly > should c6 be played? > > 1) Carry on regardless, pluck with the thumb, and hope the higher > octave gets heard enough; > 2) Pluck the 6th course with the index finger to favour the upper > octave; > 3) Pluck just the upper octave of the 6th course with the thumb. > > |\ |\ > |\ |\ > |\ | > || > ___ > _a_|_|_ > a_d|__d__|_ > ___|__c__|_ > ___|_|_ > ___a___|_|_ > a /a //a > > My feeling so far is to go for the first option, but in this > particular context the octave 6th course creates an unsatisfactory > impression of consecutive octaves, not doubling at the octave as it > normally would. > > My third option is not totally zany, because if the thumb has played > the 7th course with a rest stroke (appoyando), it is possible to > roll it over the 6th course to touch just the upper octave in time > to pluck it. > > Any thoughts? > > Best wishes, > > Stewart. > -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] www.lautenist.de / www.tslaute.de/weiss --
Losy Menuet
Dear All, Following on from the discussion about problematic voice-leading in the theorbo music of Melii, and whether an octave-strung second course might be the answer, I wonder if anyone has any comment about an unusual passage in a Menuet by Losy. The piece appears in an anthology of Czech baroque lute music: Emil Vogl (ed.), _Z Loutnovych Tabulatur Ceského Baroka_, Musica Viva Historica 40 (Prague: Editio Supraphon, 1977), page 44. The source is given as "Kremsmünster, ms sign. L.78". The opening bar includes an ascending scale in campanella style, i.e. not playing successive notes on the same course: |\ |\ |\ |\ |\ | | | __a_h___g)__h___ af|_f_|_ ___g__|___|_ _h|___|_ __|___|_ __|___|_ a A similar phrase occurs at the start of the second section, but for the little ascending scale to work you would need an octave-strung 6th course. That in itself is not unreasonable, but how exactly should c6 be played? 1) Carry on regardless, pluck with the thumb, and hope the higher octave gets heard enough; 2) Pluck the 6th course with the index finger to favour the upper octave; 3) Pluck just the upper octave of the 6th course with the thumb. |\ |\ |\ |\ |\ | || ___ _a_|_|_ a_d|__d__|_ ___|__c__|_ ___|_|_ ___a___|_|_ a /a //a My feeling so far is to go for the first option, but in this particular context the octave 6th course creates an unsatisfactory impression of consecutive octaves, not doubling at the octave as it normally would. My third option is not totally zany, because if the thumb has played the 7th course with a rest stroke (appoyando), it is possible to roll it over the 6th course to touch just the upper octave in time to pluck it. Any thoughts? Best wishes, Stewart.
pinging Doc Rossi
Hi Doc, David Kilpatrick recommended that you would be a good contact regarding harp guitars. Hope to hear from you! Greg-- -- Greg Silverman EOH Health Studies University of MN email: [EMAIL PROTECTED] phone: 612-625-6870 fax: 612-624-3370
Modern way of losing litter we;ght natural roomful
Hello geophysics, At last you have an opportunity to purchase good directly from manufactures. You save your money purchasing quality products from our plant's store. Today we present you FatBlast product. What is FatBlast actually? Fatblast is an advanced fat-binding supplement that removes fat from the foods you eat! Formulated with the powerful fat-binding fiber Chitosan, the proprietary blend of all-natural compounds... Our corporation was the first one who started selling this product on the web in the year 2004. Try our FDA approved product tday foreigners Read about our dscounts and special bonses: http://www.sellherbs.com/fly/index.php?pid=pharmaboss plunders persisting singled sinful, terrains Lynchburg unmatched frenzied Castro series sector Cuzco Marshalled debuggers Denver enforce nymph.
Re: XQ, you've been invited
burial manumit classic damn negate conscription eighth posit aleck zeta directory deerskin geyser insatiable baden paternal choosy exclusionary bittern conversant calculus --
A Trojan horse is on your PC
0
Re: Regia Pietas
Dear Ariel If you want to give it some authentic touch, you can have your singer use the words from a late 16th century Dutch psalter. There are many, I once bought the Dathenus version (a very popular one in Vallet's time) in very cheap, modern edition (Gereformeerde Bijbel Stichting, Kruiningen 1984, no additional info). But you can use many other languages as well, French seems particulary appropriate for Vallet. There are many internet sites with historical psalm texts, so there's no excuse to use modern words. I never let the singer sing the divisions, I just ask them to sing half tempo while I do my best to fit in all the fast notes. The result can be very beautiful. I once made a cd with all the ten verses of the Pater Noster by Vallet. Great music. David - Original Message - From: "arielabramovich" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Tuesday, January 13, 2004 10:15 AM Subject: Regia Pietas > Dear all, >Does anyone have experience with the Nicolas Vallet's Psalms = > published in Regia Pietas? > I've got the facsimile edition, but as I've never had any experience = > with this particular repertoire, I was wondering if any of you have done = > a "transcription" of some of the pieces, that a "normal" singer would = > manage to understand. > Thanks. > Saludos, >Ariel. > > -- > > > Deze e-mail is door E-mail VirusScanner van Planet Internet gecontroleerd op virussen. > Op http://www.planet.nl/evs staat een verwijzing naar de actuele lijst waar op wordt gecontroleerd.
For Stephan Olbertz
Sorry for sending this on the list but can Stephan contact me as I am having trouble sending him a mail. Your server keeps rejecting me! Anthony - Birthdays? Anniversaries? Send a gift online from http://shop.di-ve.com . FREE DELIVERY TO MALTA ADDRESSES
