[LUTE] Re: Medival lute
Hi Omer, This was a project by Dick Hoban a couple of years ago. Since then Dick has put out 2 more (!) and I'm working on another myself. It's all music from the 15th century and is mostly taken from vocal sources and organ manuscripts. Masters of Polyphony: Vol. 1 A Survey of 15th Century Music for Renaissance Lute. Vol. 2 The Polyphony of Johannes Touront and his world. Vol. 3 The Music of Conrad Paumann and his world. (The Lochamer Liederbuch & the Buxheimer Orgelbuch, Part one) These are all in French tab and fairly large books each. More info is at www.lyremusic.com all the best, Sean Smith On Jul 27, 2007, at 10:41 AM, Omer katzir wrote: > i heard about a book of Medieval solo pieces for lute. and now...I'm > looking for book like that. > any one can give me some info? > > thank's all > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: alza - Calata ala Spagnola
Eh?? -Original Message- From: Louis Aull [mailto:[EMAIL PROTECTED] Sent: 27 July 2007 20:28 To: lute@cs.dartmouth.edu Subject: [LUTE] Re: alza - Calata ala Spagnola Wow, everybody must use the same Cliff notes. Lou Aull -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: alza - Calata ala Spagnola
Wow, everybody must use the same Cliff notes. Lou Aull -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: alza - Calata ala Spagnola
Dear Susanne,
this is what I found:
"Calata - the name may be derived from the Italian "calle" ("path" or small
street) c.f. German Gassenhauer & passacalle. In a poem of c. 1420
Prudenzani cited the playing of "Calata de maritima et compagnia,"
interpreted
by Debendetti as referring to dance songs of these regions. Solerti
mentioned that the Calata was danced at the court of Florence as late as
1615. Few musical examples are still extant. They extend in time from
Dalza's lute book of 1508 to Montesardo's guitar tablature of 1606. Dalza
closed his book with 13 examples, the first for 2 lutes. Most are in the 3/1
= 6/2 metre and have regular phrases characteristic of the saltarello. Of
the six that he qualified as "ala Spagnola" three are in the reduced values
that characterised the piva (in 6/4). Other qualifying words in the titles
include "de stramboti" (no.3) and "ditto terzetti" (no.13) hinting at an
association with strophic texts. The calata was probably used as a ripresa,
i.e. as music that preceded, followed or alternated with a dance or song."
Best wishes
G.
- Original Message -
From: "Susanne Herre" <[EMAIL PROTECTED]>
To:
Sent: Friday, July 27, 2007 8:11 PM
Subject: [LUTE] Dalza - Calata ala Spagnola
> Dear all,
>
> At the moment I'm playing the piece "Calata ala Spagnola" by Dalza. I
> searched for information about the special sort of dance "Calata" but
> didn't find anything. Is there anybody who knows which characteristics
> this dance type has? I'm also a little confused about the form of the
> piece - it begins with 10 bars and continues in sections of 8 bars.
>
> Would be grateful for any information about this piece,
>
> kind regards,
>
> Susanne
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Dalza - Calata ala Spagnola
Calata. A 16th-century dance. The derivation of the term is obscure, but could be from a region in Transylvanian Romania; from the Italian calare (descend, to lower, to fall); from the Spanish calado, referring to figures of the Spanish church dances, in which rows of dancers interweave or intersect each other; from the Italian callota (calotta) (skull cap); or from the Italian calle (path, way or narrow street in Venice; cf the German Gassenhauer and Spanish passacalle). In a poem of about 1420 Prudenzani cited the playing of calate de maritima et compagnia, interpreted by Debenedetti as referring to dance-songs of these regions. Solerti mentioned that the calata was danced at the court of Florence as late as 1615. Few musical examples are still extant. They extend in time from the manuscript F-Pn Rés.Vm 27 (c1505; facs. (Geneva, 1981) with introduction by F. Lesure) and Dalza's lutebook of 1508 (see BrownI) to Montesardo's guitar tablature of 1606 and the manuscript guitar tablature D-HR III 4½ 20 1046 (c1700). Dalza closed his book with 13 examples, the first for two lutes. Most are in duple metre and have regular phrases. Of the six that he qualified spagnola, three are in triple metre. Other qualifying words in the titles include de stramboti (no.3) and ditto terzetti (no.13), hinting at an association with strophic texts. BIBLIOGRAPHY BrownI SolertiMBD S. Debenedetti: Il Sollazzo: contributi alla storia della novella, della poesia musicale e del costume nel Trecento (Turin, 1922) L.H. Moe: Dance Music in Printed Italian Lute Tablatures from 1507 to 1611 (diss., Harvard U., 1956) - Original Message - From: "Susanne Herre" <[EMAIL PROTECTED]> To: Sent: Friday, July 27, 2007 2:11 PM Subject: [LUTE] Dalza - Calata ala Spagnola > Dear all, > > At the moment I'm playing the piece "Calata ala Spagnola" by Dalza. I > searched for information about the special sort of dance "Calata" but > didn't find anything. Is there anybody who knows which characteristics > this dance type has? I'm also a little confused about the form of the > piece - it begins with 10 bars and continues in sections of 8 bars. > > Would be grateful for any information about this piece, > > kind regards, > > Susanne > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > _ Need personalized email and website? Look no further. It's easy with Doteasy $0 Web Hosting! Learn more at www.doteasy.com
[LUTE] Dalza - Calata ala Spagnola
Dear all, At the moment I'm playing the piece "Calata ala Spagnola" by Dalza. I searched for information about the special sort of dance "Calata" but didn't find anything. Is there anybody who knows which characteristics this dance type has? I'm also a little confused about the form of the piece - it begins with 10 bars and continues in sections of 8 bars. Would be grateful for any information about this piece, kind regards, Susanne -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Continuo
But be forwarned: the theorbo examples are transcirbed without taking a proper re-entrant tuning into consideration ... David - Original Message - From: "ariel" <[EMAIL PROTECTED]> To: "LGS-Europe" <[EMAIL PROTECTED]> Sent: Friday, July 27, 2007 5:13 PM Subject: Re: [LUTE] Re: Continuo > Excellent, David, thanks! > > - Original Message - > From: "LGS-Europe" <[EMAIL PROTECTED]> > To: "lutelist Net" ; "ariel" > <[EMAIL PROTECTED]> > Sent: Friday, July 27, 2007 3:54 PM > Subject: Re: [LUTE] Re: Continuo > > >>> As you may have read, I'm only interested in a certain repertoire, and I >>> do >> >> There's a German edition with all early 17th century sources of continuo >> nicely listed and analysed. Very thorough, one volume 'Traktate und >> Vorworte' and a second volume 'Notenbeispiele'. Lute sources are >> included. german required, but perhaps what you're looking for: >> >> Irmtraut Freiberg >> "Der Frühe Italienische Generalbass dargestellt anhand der Quellen von >> 1595 bis 1655' >> Olms 2004 >> www.olms.de >> >> It wasn't all that expensive, although I conveniently forgot what I paid >> for it exactly, but in any case it is the kind of book a good library >> should have or can order for you. >> >> David >> >> >> >> David van Ooijen >> [EMAIL PROTECTED] >> www.davidvanooijen.nl >> >> >> > > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: hindemith
Poulenc did similar things with pieces by Gervaise in his Suite Francaise for piano. I arranged his Bransle de Bourgogne and play it alongside a very similar Branle de Bourgoigne from Phalese. Makes a nice contrast in a concert. David >>> Suite franz=F6sischer Tanze >>> aus den von Pierre d'Attaignant gedruckten Livres de Danceries" >>> des Claude >>> Gervaise und Estienne du Tertre fur kleines Orchester eingerichtet >>> (1948) >>> >>> 1. Pavane und Gaillarde =B7 2. Tourdion =B7 3. Bransle simple =B7 4. >>> Bransle de >>> Bourgogne =B7 >>> >>> 5. Bransle simple =B7 6. Bransle d'Escosse =B7 7. Pavane, wie am >>> Anfang >>> >>> (Vorschlag) Picc. =B7 1 =B7 1 =B7 Engl. Hr. =B7 0 =B7 1 - 1 =B7 0 =B7 >>> 0 =B7 0 - >>> Laute - Str. >>> >>> 9' >>> >>> Partitur CON 76 =B7 Orchesterstimmen CON 76-50 =B7 Streicher- >>> Erganzungssatz CON >>> 76-60 >>> >>> >>> Peter >> >> Ed Durbrow >> Saitama, Japan >> [EMAIL PROTECTED] >> http://www9.plala.or.jp/edurbrow/ >> >> >> >> -- >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > > >
[LUTE] Re: hindemith
It's not surprising that Hindemith would do arrangements of pieces Attaignant published. He directed the collegium at Yale. On Friday, Jul 27, 2007, at 01:56 America/Los_Angeles, Ed Durbrow wrote: > Well, what do you know?! I'm surprised I've never heard of these > before. Any recordings, I wonder? I wonder what tuning is called for. > My only experience with 20th cen. composers is with Toru Takamitsu. > The lute part for Sacrifice is written for a lute in E tuned like a > guitar. :-/ > > On Jul 27, 2007, at 5:38 PM, Peter van Nieuwkoop wrote: > >> Hindemith did write for the lute, but this is all that I've found >> on the >> website below. >> >> >> http://www.hindemith.org/D/paul-hindemith/Werkverzeichnis >> >> Suite franz=F6sischer Tanze >> aus den von Pierre d'Attaignant gedruckten Livres de Danceries" >> des Claude >> Gervaise und Estienne du Tertre fur kleines Orchester eingerichtet >> (1948) >> >> 1. Pavane und Gaillarde =B7 2. Tourdion =B7 3. Bransle simple =B7 4. >> Bransle de >> Bourgogne =B7 >> >> 5. Bransle simple =B7 6. Bransle d'Escosse =B7 7. Pavane, wie am >> Anfang >> >> (Vorschlag) Picc. =B7 1 =B7 1 =B7 Engl. Hr. =B7 0 =B7 1 - 1 =B7 0 =B7 >> 0 =B7 0 - >> Laute - Str. >> >> 9' >> >> Partitur CON 76 =B7 Orchesterstimmen CON 76-50 =B7 Streicher- >> Erganzungssatz CON >> 76-60 >> >> >> Peter > > Ed Durbrow > Saitama, Japan > [EMAIL PROTECTED] > http://www9.plala.or.jp/edurbrow/ > > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Re: hindemith
No - it is in the G tuning. I have a copy: Edition Breitkopf Nr 5781/Sonate Werk 31 Nr 5/Laute allein (published 1947 plate No 31274). The first page specifies the G tuning David's Op 32/2 'Variationen uber ein Thema fur Blockflote und Laute' (B&H 5783 published 1949 plate No 31266) also specifies the G tuning. Both lute parts are in the octave transposing G2 clef (like the modern guitar) MH Edward Martin <[EMAIL PROTECTED]> wrote: Johan Nepomuk David wrote a piece for lute in the 1930's, I believe. It was also for a 6 course lute, tuned in E. ed At 05:56 PM 7/27/2007 +0900, Ed Durbrow wrote: >Well, what do you know?! I'm surprised I've never heard of these >before. Any recordings, I wonder? I wonder what tuning is called for. >My only experience with 20th cen. composers is with Toru Takamitsu. >The lute part for Sacrifice is written for a lute in E tuned like a >guitar. :-/ > >On Jul 27, 2007, at 5:38 PM, Peter van Nieuwkoop wrote: > > > Hindemith did write for the lute, but this is all that I've found > > on the > > website below. > > > > > > http://www.hindemith.org/D/paul-hindemith/Werkverzeichnis > > > > Suite franz=F6sischer Tanze > > aus den von Pierre d'Attaignant gedruckten Livres de Danceries" > > des Claude > > Gervaise und Estienne du Tertre fur kleines Orchester eingerichtet > > (1948) > > > > 1. Pavane und Gaillarde =B7 2. Tourdion =B7 3. Bransle simple =B7 4. > > Bransle de > > Bourgogne =B7 > > > > 5. Bransle simple =B7 6. Bransle d'Escosse =B7 7. Pavane, wie am Anfang > > > > (Vorschlag) Picc. =B7 1 =B7 1 =B7 Engl. Hr. =B7 0 =B7 1 - 1 =B7 0 =B7 0 > =B7 0 - > > Laute - Str. > > > > 9' > > > > Partitur CON 76 =B7 Orchesterstimmen CON 76-50 =B7 Streicher- > > Erganzungssatz CON > > 76-60 > > > > > > Peter > >Ed Durbrow >Saitama, Japan >[EMAIL PROTECTED] >http://www9.plala.or.jp/edurbrow/ > > > >-- > >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 Free Edition. >Version: 7.5.476 / Virus Database: 269.10.22/921 - Release Date: 7/26/2007 >11:16 PM Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: [EMAIL PROTECTED] voice: (218) 728-1202 - Yahoo! Mail is the world's favourite email. Don't settle for less, sign up for your freeaccount today. --
[LUTE] Re: hindemith
Johan Nepomuk David wrote a piece for lute in the 1930's, I believe. It was also for a 6 course lute, tuned in E. ed At 05:56 PM 7/27/2007 +0900, Ed Durbrow wrote: >Well, what do you know?! I'm surprised I've never heard of these >before. Any recordings, I wonder? I wonder what tuning is called for. >My only experience with 20th cen. composers is with Toru Takamitsu. >The lute part for Sacrifice is written for a lute in E tuned like a >guitar. :-/ > >On Jul 27, 2007, at 5:38 PM, Peter van Nieuwkoop wrote: > > > Hindemith did write for the lute, but this is all that I've found > > on the > > website below. > > > > > > http://www.hindemith.org/D/paul-hindemith/Werkverzeichnis > > > > Suite franz=F6sischer Tanze > > aus den von Pierre d'Attaignant gedruckten Livres de Danceries" > > des Claude > > Gervaise und Estienne du Tertre fur kleines Orchester eingerichtet > > (1948) > > > > 1. Pavane und Gaillarde =B7 2. Tourdion =B7 3. Bransle simple =B7 4. > > Bransle de > > Bourgogne =B7 > > > > 5. Bransle simple =B7 6. Bransle d'Escosse =B7 7. Pavane, wie am Anfang > > > > (Vorschlag) Picc. =B7 1 =B7 1 =B7 Engl. Hr. =B7 0 =B7 1 - 1 =B7 0 =B7 0 > =B7 0 - > > Laute - Str. > > > > 9' > > > > Partitur CON 76 =B7 Orchesterstimmen CON 76-50 =B7 Streicher- > > Erganzungssatz CON > > 76-60 > > > > > > Peter > >Ed Durbrow >Saitama, Japan >[EMAIL PROTECTED] >http://www9.plala.or.jp/edurbrow/ > > > >-- > >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 Free Edition. >Version: 7.5.476 / Virus Database: 269.10.22/921 - Release Date: 7/26/2007 >11:16 PM Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: [EMAIL PROTECTED] voice: (218) 728-1202
[LUTE] Re: hindemith
Edo-san > My only experience with 20th cen. composers is with Toru Takamitsu. The Dutch Lute Society (NLV www.luitvereniging.nl) published a catalogue with modern works for lute years ago. It was compiled by Ireen Thomas, a former student of Satoh, who, as you may know, composed many pieces for lute, some available from TREE-edition, many recorded on two cds with works exclusively by him (available from the Japanese Lute and Early Guitar Society www.lgs-japan.org Not on the website, I will add them one of these days, but I have both in stock). Since the publication of the catalogue many new pieces have been written by various composers. I've heard of a German loose leaf catalogue with modern lute music that keeps udating itself by sending inserts to its subscribers regularly. > The lute part for Sacrifice is written for a lute in E tuned like a > guitar. :-/ I played the lute aria from Wagner's Meistersinger once, it calls for a Stahlharfe if I'm correct: six strings, tuned like a guitar. But it was _very_ well written music. David > > On Jul 27, 2007, at 5:38 PM, Peter van Nieuwkoop wrote: > >> Hindemith did write for the lute, but this is all that I've found >> on the >> website below. >> >> >> http://www.hindemith.org/D/paul-hindemith/Werkverzeichnis >> >> Suite franz=F6sischer Tanze >> aus den von Pierre d'Attaignant gedruckten Livres de Danceries" >> des Claude >> Gervaise und Estienne du Tertre fur kleines Orchester eingerichtet >> (1948) >> >> 1. Pavane und Gaillarde =B7 2. Tourdion =B7 3. Bransle simple =B7 4. >> Bransle de >> Bourgogne =B7 >> >> 5. Bransle simple =B7 6. Bransle d'Escosse =B7 7. Pavane, wie am Anfang >> >> (Vorschlag) Picc. =B7 1 =B7 1 =B7 Engl. Hr. =B7 0 =B7 1 - 1 =B7 0 =B7 0 >> =B7 0 - >> Laute - Str. >> >> 9' >> >> Partitur CON 76 =B7 Orchesterstimmen CON 76-50 =B7 Streicher- >> Erganzungssatz CON >> 76-60 >> >> >> Peter > > Ed Durbrow > Saitama, Japan > [EMAIL PROTECTED] > http://www9.plala.or.jp/edurbrow/ > > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Re: hindemith
Well, what do you know?! I'm surprised I've never heard of these before. Any recordings, I wonder? I wonder what tuning is called for. My only experience with 20th cen. composers is with Toru Takamitsu. The lute part for Sacrifice is written for a lute in E tuned like a guitar. :-/ On Jul 27, 2007, at 5:38 PM, Peter van Nieuwkoop wrote: > Hindemith did write for the lute, but this is all that I've found > on the > website below. > > > http://www.hindemith.org/D/paul-hindemith/Werkverzeichnis > > Suite franz=F6sischer Tanze > aus den von Pierre d'Attaignant gedruckten Livres de Danceries" > des Claude > Gervaise und Estienne du Tertre fur kleines Orchester eingerichtet > (1948) > > 1. Pavane und Gaillarde =B7 2. Tourdion =B7 3. Bransle simple =B7 4. > Bransle de > Bourgogne =B7 > > 5. Bransle simple =B7 6. Bransle d'Escosse =B7 7. Pavane, wie am Anfang > > (Vorschlag) Picc. =B7 1 =B7 1 =B7 Engl. Hr. =B7 0 =B7 1 - 1 =B7 0 =B7 0 =B7 0 > - > Laute - Str. > > 9' > > Partitur CON 76 =B7 Orchesterstimmen CON 76-50 =B7 Streicher- > Erganzungssatz CON > 76-60 > > > Peter Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: hindemith
Hindemith did write for the lute, but this is all that I've found on the website below. http://www.hindemith.org/D/paul-hindemith/Werkverzeichnis Suite französischer Tänze aus den von Pierre dAttaignant gedruckten Livres de Danceries des Claude Gervaise und Estienne du Tertre für kleines Orchester eingerichtet (1948) 1. Pavane und Gaillarde · 2. Tourdion · 3. Bransle simple · 4. Bransle de Bourgogne · 5. Bransle simple · 6. Bransle dEscosse · 7. Pavane, wie am Anfang (Vorschlag) Picc. · 1 · 1 · Engl. Hr. · 0 · 1 1 · 0 · 0 · 0 Laute Str. 9 Partitur CON 76 · Orchesterstimmen CON 76-50 · Streicher-Ergänzungssatz CON 76-60 Peter -Oorspronkelijk bericht- Van: Ray Brohinsky [mailto:[EMAIL PROTECTED] Verzonden: donderdag 26 juli 2007 14:01 Aan: Ed Durbrow CC: David Tayler; LuteNet list Onderwerp: [LUTE] Re: hindemith Hindemuth had a spurt of writing compositions for all kinds of instruments, including recorder. (Jeremy Montague (sp?) wrote to Early Music decades ago about HIP, objecting to the equally anachronistic playing of Hindemuth's recorder trio on baroque-fingered instruments!) I don't have any record of him writing a Lute Concerto nor Sonata/ina. Null reports are no proof of non-existance, but there's one datapoint. ray On 7/26/07, Ed Durbrow <[EMAIL PROTECTED]> wrote: > > On Jul 25, 2007, at 7:11 PM, David Tayler wrote: > > > Why shouldn't someone be able to really > > study modern lute (including Hindemith's Concerto > > Hindemith composed a lute concerto? Do tell more. > > Ed Durbrow > Saitama, Japan > [EMAIL PROTECTED] > http://www9.plala.or.jp/edurbrow/ > > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Re: Continuo
Gracias Alfonso, I'm afraid you've got me wrong here. I'm not interested in learning positions only, as I haven't done that either playing XVI th century music. I was wondering if some fellow player has done a systematic work writing down things in a practical way. As you may know, jazz players do take care of voice leading too, in a different way. It is not about playing a chord here or there according to their will. In that respect there're a few common elements. As you may have read, I'm only interested in a certain repertoire, and I do not expect to become a continuo player in the next future. I'm involved with other repertoires, but I thought it would be good to get familiar with this sort of things too. I'm familiar with g' tunning, know where the notes are, know how things occur in counterpoint terms, so theorbo or guitar I'm afraid I'll keep them aside. In any case, thanks for your comments. I'll see if I get along with it. Salud, Ariel. > Dear Ariel, > > I think that you starting up from a wrong concept. Playing continuo is > not about learning positions for chords but reading a bass and adding the > right harmonies to it as a result of counterpoint and correct voice > leading. If you think in "chords positions" like jazz players do, you > are going to create poor voice-leading and many parallel harmonies. You > will have to be able to develop a very good sense of harmony for each > time and style. Learn early Baroque harmony and counterpoint to start > with (very much different than the "standard" xviii century harmony we > learn in the conservatory) and then apply this knowledge to find the > right connexions of chords indicated by the bass (and cyphers when > present). That is the way to go. With time it will come automatically. > Playing continuo on the lute, archlute or theorbo is a very different > matter as playing chords in baroque guitar style. > I wish you lots of success in your new endeavor, > Many greetings, > > Alfonso > > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Hexachords
- Original Message - From: "wolfgang wiehe" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]> Cc: Sent: Friday, July 27, 2007 8:00 AM Subject: [LUTE] Re: Hexachords > if i remember right,the german lute-pedagogues judenkunig, newsidler and > gerle wrote about the hexacord system in context to the lute. > wolfgang Many Hans make lute work. Stewart McCoy. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Hexachords
if i remember right,the german lute-pedagogues judenkunig, newsidler and gerle wrote about the hexacord system in context to the lute. wolfgang Original-Nachricht Datum: Wed, 25 Jul 2007 17:10:28 +0100 Von: [EMAIL PROTECTED] An: Caroline Usher <[EMAIL PROTECTED]> CC: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Hexachords > Dear Caroline, > If you mean historical sources, you need > Morley's 'Plaine and Easie Introduction to > Practical Music,' or John Dowland's English > translation of the 'Micrologous' of Andreas > Ornithoparchus. The latter is (or was) available > in facsimile, I think from Dover editions, and the > former is available in a modern edition. Sorry I > don't have more details to hand at the moment. > Both are essential reading for Renaissance music > theory. > > Best wishes, > > Denys > > > > > > Quoting Caroline Usher <[EMAIL PROTECTED]>: > > > Supposing one wanted to learn the fundamentals of music as it was taught > > in the 16th century, starting with the gamut and hexachords. Are there > > any sources which approach this pedagogically? There is an admirably > > thorough explanation of the theory at > > http://www.medieval.org/emfaq/harmony/hex.html, but how would one put it > > into practice? > > > > Much thanks for any suggestions, > > Caroline > > > > P.S. Who's going to Vancouver next week? I'm arriving at 10:58pm on > > Saturday evening--anyone want to share a cab to Green College? > > > > -- > > Caroline Usher, Dept. of Biology > > Box 90338 > > Durham NC 27708 > > 613-8155, fax 660-7293 > > "So that its subjects will view it with admiration, as a chicken which > has > > the daring and courage to boldly cross the road, but also with fear, for > who > > among them has the strength to contend with such a paragon of avian > virtue? > > In such a manner is the princely chicken's dominion maintained." - > > Machiavelli > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > > -- > This mail sent through http://www.ukonline.net >
