Re: Friendly fire, music and cruelty to animals
The BBC is far to linguistically correct to accept a four book "trilogy". And in honor of the Dolphins I had a sardine sandwich for lunch today. Best, Jon
Re: Friendly fire, music and cruelty to animals
Douglas Adams had a rather fine sense of the ridiculous, and there are many quotations one could use for examples. "Tasting not entirely unlike tea". But my favorite, in a early book, is the description of whats-her-name's bathroom. "It was large enough to swing a cat, provided it was a very tolerant cat that didn't mind the occasional nasty bump on the head". Best, Jon
Re: Lute and viol
Simpson, from 'simple' variations on a ground to very complicated ensemble pieces. There's a nice piece by Cutting for one lute and one viol. David - Original Message - From: "Ariel Abramovich" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Tuesday, May 18, 2004 10:00 PM Subject: Lute and viol > Dear all, > I wonder if any of you could provide some info about = > English pieces for lute and viola da gamba of late XVIth century and = > early XVIIth. > Thanks very much. > Saludos from Sevilla, > 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.
RE: Lute and viol
Dear Rainer, > Isn't there a pavan for lute and viol by Pilkington? Yes, there is! At the end of "The First Booke of Songs or Ayres...", London 1605. Arto
RE: Lute and viol
Isn't there a pavan for lute and viol by Pilkington? Rainer adS > -Original Message- > From: Stewart McCoy [mailto:[EMAIL PROTECTED] > Sent: Wednesday, May 19, 2004 1:53 PM > To: Lute Net > Subject: Lute and viol > > Dear Ariel, > > I can think of two sorts: > > 1) the viol accompanies the lute > > a) Dowland's "adew for Master Oliver Cromwell" in the _Second > Booke of Songs_ (London, 1600) is the same as his Resolution > (Pavan), and has a part for the bass viol which doubles the lute. > > b) John Maynard's _Twelve Wonders of the World_ contains > several lute solos, again with an added part for the bass > viol which doubles the bass of the lute. This book was > published in facsimile by Scolar Press. I don't know if it is > still in print. Brian Jordan (Cambridge bookseller and > re-publisher of Scolar lute-song editions) would be able to tell you. > > c) Make your arrangements by taking a suitable piece - one > which has a distinct bass line - and give the bass to the > bass viol. Dance pieces would probably be more suitable than > fantasies and other forms of fancy polyphony. > > In many ways it doesn't make a lot of musical sense having > the bass viol, because the bass notes of the harmony are > played by the lute anyway. There is a danger with a viol that > the lutenist loses the freedom of expression that he would > have if he were playing alone. > > It makes more sense for the bass viol to accompany the > cittern, as it does (bass viol implied, and specified years > later by Peter > Leycester) for some of the pieces in Antony Holborne's _The > Cittharn Schoole_ (London, 1597), because the cittern cannot > supply all the bass notes of the harmony. > > The bass viol is used in a similarly supportive role in > _Parthenia In-Violata_ (London, n.d.), where it merely > supports the virginalls. > (By the way, there are lots of puns here - Parthenia means > virgin, and _Parthenia_ was the first book of music for the > virginals printed in England. Violata means violated, i.e. it > is not the first time round for the virginals - no longer a > virgin - and is violated in the sense that a viol has been > added to the music.) > > The bass viol adds support to the lute doubling the bass line > for numerous English lute songs. Although the bass viol adds > nothing from the point of view of the notes and the harmony, > having a viol makes practical sense, because the lute does > not offer a great deal of support to a singer. Having a bass > viol reinforcing the bass line is particularly useful when > the song is sung down an octave by a man (tenor), rather than > at pitch by a woman or boy treble. > > 2) the lute accompanies the viol > > a) Here there are many possibilities. One could include > virtually any piece for the viol which has an accompaniment > consisting of a bass line, with or without figures. There are > some very nice sets of divisions, such as those by Diego > Ortiz (is 1553 too early?), or those in Cambridge, University > Library, Dd. 5.21. The Viola da Gamba Society has published > an index of all extant viol sources, including not only sets > of divisions, but also pieces in two parts where the viol > would need accompanying by another instrument. I think that > some of the sort of music I have in mind is published by Ian > Gammie of Corda Music, St Albans. He might well be able to > suggest a few things from his catalogue, if you ask him, and > his editions are not expensive. > > b) Make your own arrangements, where the viol plays a melody > (if need be an octave lower than written) and the lute > provides a suitable accompaniment. The Fitzwilliam Virginal > Book might be a good place to start. > > c) Use songs with ready-made lute accompaniments. Songs which > rely on meaningful words would not be so suitable, but > dance-songs like those in Dowland's _First Booke_ (London, > 1597) might do the trick. > Again, the bass viol would play the melody sounding an octave > lower than written, and the lute would accompany using the > tablature part. > If at any stage the octave-down melody were to sound below > the bass, the lute could usefully drop the odd note down an > octave too - not too much, or the whole thing ends up in your boots. > > The only thing I would say about the bass viol being > accompanied by the lute is that the lute doesn't provide a > strong bass. To that extent it is a good idea to choose > pieces where there is a simple ground or chord sequence - > like the Quadro Pavan - where the harmony is so obvious from > the notes of the bass viol, that it doesn't need hammering > out on the lute. Ortiz's pieces would come into that category. > > If you have tried accompanying a bass viol with just a lute, > you will appreciate why a theorbo is so much better for the > job. The theorbo may not always be brilliant at realising > complex harmonic progressions, but it is very strong in the > bass,
Re: Stupid lute tricks ...
> It takes constant vigilance, for me, not to lapse into just playing > and entertaining myself. Don't lose your vigilance. What you are trying to avoid is actually the goal. RT __ Roman M. Turovsky http://polyhymnion.org/swv
Re: Stupid lute tricks ...
You have the discipline to get in there and do the hard work of problem solving. That is the number one (not so) stupid lute trick! It takes constant vigilance, for me, not to lapse into just playing and entertaining myself. cheers, >As most Lute players know, practice is in a large part problem solving. >Sometimes, I'm clearly better at it than other times ;-). This week, I >solved two problems that have been bothering me for quite a while. First, my >right thumb was often getting hung in the octave string of the 13th course. >I had convinced myself for months that the reason was that the 13th course >pair were set too far apart and I was looking at a new bridge to correct the >spacing. That or the angle of attack was wrong or I needed a new thumb. Then >this week I noticed the octave string was tied higher than the fundamental, >causing my thumb to hang. Stupid Lute trick #1, tie your strings even. >Secondly, there were this series of chords shifts that have just never been >smooth, even after I worked very hard on them. Then this week it just >occurred to me that I wasn't paying attention to the melody line carried >through the chords. Immediately, as soon as I stopped trying to force the >chords to be smooth and just listened to the line, everything smoothed out. >SLT #2 - Listen! With both of these problems, I feel that I looked past the >easy solution and made them much more complex than they actually were. I was >thinking others on the list might have SLT stories worth sharing ... > >Tim Mills >Denver -- Ed Durbrow Saitama, Japan http://www9.plala.or.jp/edurbrow/
Re: Hasenfuss
Pornography rings excluded! Paolo -- Initial Header --- >From : "Donatella Galletti" [EMAIL PROTECTED] To : [EMAIL PROTECTED] Cc : Date : Wed, 19 May 2004 14:10:02 +0200 Subject : Re: Hasenfuss > > > Many thanks to all the kind people who answered! Internet is great, sometimes.. > > Donatella > > > > From: "Donatella Galletti" <[EMAIL PROTECTED]> > To: <[EMAIL PROTECTED]> > Sent: Tuesday, May 18, 2004 9:46 PM > Subject: Hasenfuss > > > > Does anybody have snail and /or mail address of Hendrick Hasenfuss? Please > > answer off- list > > > > Thanks! > > > > Donatella > > > > http://web.tiscali.it/awebd > > > __ > Tiscali ADSL libera la velocita'! > Attiva Senza Canone entro il 31 maggio: navighi a 1,5 euro l'ora per i primi > 3 mesi,se scegli il modem e' tuo in comodato gratuito e in piu' hai gratis > SuperMail per 12 mesi. Non aspettare, attivala subito! > http://abbonati.tiscali.it/adsl/prodotti/640Kbps/ > > > > > >
Re: Hasenfuss
Many thanks to all the kind people who answered! Internet is great, sometimes.. Donatella From: "Donatella Galletti" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Tuesday, May 18, 2004 9:46 PM Subject: Hasenfuss > Does anybody have snail and /or mail address of Hendrick Hasenfuss? Please > answer off- list > > Thanks! > > Donatella > > http://web.tiscali.it/awebd __ Tiscali ADSL libera la velocita'! Attiva Senza Canone entro il 31 maggio: navighi a 1,5 euro l'ora per i primi 3 mesi,se scegli il modem e' tuo in comodato gratuito e in piu' hai gratis SuperMail per 12 mesi. Non aspettare, attivala subito! http://abbonati.tiscali.it/adsl/prodotti/640Kbps/
Lute and viol
Dear Ariel, I can think of two sorts: 1) the viol accompanies the lute a) Dowland's "adew for Master Oliver Cromwell" in the _Second Booke of Songs_ (London, 1600) is the same as his Resolution (Pavan), and has a part for the bass viol which doubles the lute. b) John Maynard's _Twelve Wonders of the World_ contains several lute solos, again with an added part for the bass viol which doubles the bass of the lute. This book was published in facsimile by Scolar Press. I don't know if it is still in print. Brian Jordan (Cambridge bookseller and re-publisher of Scolar lute-song editions) would be able to tell you. c) Make your arrangements by taking a suitable piece - one which has a distinct bass line - and give the bass to the bass viol. Dance pieces would probably be more suitable than fantasies and other forms of fancy polyphony. In many ways it doesn't make a lot of musical sense having the bass viol, because the bass notes of the harmony are played by the lute anyway. There is a danger with a viol that the lutenist loses the freedom of expression that he would have if he were playing alone. It makes more sense for the bass viol to accompany the cittern, as it does (bass viol implied, and specified years later by Peter Leycester) for some of the pieces in Antony Holborne's _The Cittharn Schoole_ (London, 1597), because the cittern cannot supply all the bass notes of the harmony. The bass viol is used in a similarly supportive role in _Parthenia In-Violata_ (London, n.d.), where it merely supports the virginalls. (By the way, there are lots of puns here - Parthenia means virgin, and _Parthenia_ was the first book of music for the virginals printed in England. Violata means violated, i.e. it is not the first time round for the virginals - no longer a virgin - and is violated in the sense that a viol has been added to the music.) The bass viol adds support to the lute doubling the bass line for numerous English lute songs. Although the bass viol adds nothing from the point of view of the notes and the harmony, having a viol makes practical sense, because the lute does not offer a great deal of support to a singer. Having a bass viol reinforcing the bass line is particularly useful when the song is sung down an octave by a man (tenor), rather than at pitch by a woman or boy treble. 2) the lute accompanies the viol a) Here there are many possibilities. One could include virtually any piece for the viol which has an accompaniment consisting of a bass line, with or without figures. There are some very nice sets of divisions, such as those by Diego Ortiz (is 1553 too early?), or those in Cambridge, University Library, Dd. 5.21. The Viola da Gamba Society has published an index of all extant viol sources, including not only sets of divisions, but also pieces in two parts where the viol would need accompanying by another instrument. I think that some of the sort of music I have in mind is published by Ian Gammie of Corda Music, St Albans. He might well be able to suggest a few things from his catalogue, if you ask him, and his editions are not expensive. b) Make your own arrangements, where the viol plays a melody (if need be an octave lower than written) and the lute provides a suitable accompaniment. The Fitzwilliam Virginal Book might be a good place to start. c) Use songs with ready-made lute accompaniments. Songs which rely on meaningful words would not be so suitable, but dance-songs like those in Dowland's _First Booke_ (London, 1597) might do the trick. Again, the bass viol would play the melody sounding an octave lower than written, and the lute would accompany using the tablature part. If at any stage the octave-down melody were to sound below the bass, the lute could usefully drop the odd note down an octave too - not too much, or the whole thing ends up in your boots. The only thing I would say about the bass viol being accompanied by the lute is that the lute doesn't provide a strong bass. To that extent it is a good idea to choose pieces where there is a simple ground or chord sequence - like the Quadro Pavan - where the harmony is so obvious from the notes of the bass viol, that it doesn't need hammering out on the lute. Ortiz's pieces would come into that category. If you have tried accompanying a bass viol with just a lute, you will appreciate why a theorbo is so much better for the job. The theorbo may not always be brilliant at realising complex harmonic progressions, but it is very strong in the bass, which is what you need when accompanying a low-sounding instrument like the bass viol. Best wishes, Stewart McCoy. - Original Message - From: "Ariel Abramovich" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Tuesday, May 18, 2004 9:00 PM Subject: Lute and viol > Dear all, > I wonder if any of you could provide some info about = > English pieces for lute and viola da gamba of late XVIth century and = > early XVIIth. > Thanks very much. > Saludos from Sevil
Re: Lute and viol
There is marvelous music by Jenkins for viol(s) and continuo. I just could provide one or two piece(s) for two viols and continuo which I have played somewhen years ago. Best wishes Thomas Am Mit, 2004-05-19 um 02.37 schrieb Ed Durbrow: > Tobias Hume would be a point to start. He says his music (in > Poeticall Musicke 1605) can be played in 8 different combinations, > including 2 lutes and basse viole. > > >Dear all, > > I wonder if any of you could provide some info about = > >English pieces for lute and viola da gamba of late XVIth century and = > >early XVIIth. > >Thanks very much. > >Saludos from Sevilla, > >Ariel. > > > > > > > > > >-- -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] www.lautenist.de / www.tslaute.de/weiss --
