[BAROQUE-LUTE] Re: Amateur Recording
very supportive. No doubt some people are unimpressed. But I think it is a great idea for people at all sorts of level to have a go. Did you find that as soon as you pressed the record button, you go to pieces? I'd like to play to the best of my ability but I've only go so much ability and half of that disappears when th little red light comes on! I wonder if there is a freeware program that converts WAV files to mp3? Stuart AUDACITY. RT __ D O T E A S Y - Join the web hosting revolution! http://www.doteasy.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Amateur Recording
I wonder if there is a freeware program that converts WAV files to mp3? Stuart AUDACITY. RT Passed it through SoundForge for volume and reverb, and Audacity for compression. http://turovsky.org/music/arndt.mp3 RT __ D O T E A S Y - Join the web hosting revolution! http://www.doteasy.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Amateur Recording
On Jan 21, 2008, at 5:46 PM, Rob wrote: I really enjoyed Stephen's recording, and Stuart's as well on the vihuela list. Let's have some more! Rob If you insist: http://www.youtube.com/watch?v=NfxP0iJoCVA http://www.youtube.com/watch?v=speIM-4gr7E Danny -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Albrechtsberger
Oops, sorry to Pietro and David - I hope you are not offended by my comment. It did bring a broad smile to my face, though, which is not such a bad thing these days. Rob PS Some people have written to me saying the link doesn't work. It does if you copy and paste it into Internet Explorer. Alternatively search www.amazon.co.uk for mandora and jew's harp, and have a listen to the short excerpts. www.rmguitar.info -Original Message- From: Pietro Prosser [mailto:[EMAIL PROTECTED] Sent: 21 January 2008 00:16 To: [EMAIL PROTECTED] Subject: R: [LUTE] Albrechtsberger If you are interested, you can find the 4 concertos by JGA in on CD issued by ORF (Austria) http://shop.orf.at/1/index.tmpl (world premiere of the 4 concerti and with historical instruments) I played the mandora in the 3 concerti for mandora + jew's harp, Enrico Baiano the cembalo in the 4th. best wishes Pietro Prosser -Messaggio originale- Da: Rob [mailto:[EMAIL PROTECTED] Inviato: domenica 20 gennaio 2008 21.23 A: lute@cs.dartmouth.edu Oggetto: [LUTE] Albrechtsberger Is this for real? The funniest baroque music I've ever heard: http://www.amazon.co.uk/Albrechtsberger-Concertos-Jews-Harp-Mandora/dp/B 05975/ref=sr_1_1?ie=UTF8 http://www.amazon.co.uk/Albrechtsberger-Concertos-Jews-Harp-Mandora/dp/B000 005975/ref=sr_1_1?ie=UTF8s=musicqid=1200860368sr=1-1 s=musicqid=1200860368sr=1-1 Rob www.rmguitar.info -- 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: 7.5.516 / Virus Database: 269.19.7/1234 - Release Date: 20/01/2008 14.15 No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.7/1234 - Release Date: 20/01/2008 14.15
[LUTE] Re: Albrechtsberger
Oops, sorry to Pietro and David - I hope you are not offended by my comment. It did bring a broad smile to my face, though, which is not such a bad thing these days. Rob I was laughing out loud the full week of receiving the music, chuckling during rehearsals and smiling during the concert. David - enjoying a hilarious job at times PS: Disclaimer. Someone sending me a private reply commented on my one-page summary of Albrechtsberger, Jew's harp, mandora and personal adventure, implying that my paragraph on the mandora ... A mandora, also known as calchedon or colachon, is an 18th century German lute with 6 to 8 courses (of sometimes single strings) and 10 frets on the neck. The tuning of the first 6 courses is usually d'-a-f-c-G-D, but Albrechtsberger's music requires a mandora tuned a tone higher to e'-b-g-d-A-E (just like a guitar), with courses 7 and 8 tuned to D and C. Although they look alike at first glance, the construction was different from that of a baroque lute, allowing higher tension strings for greater volume, because a mandora was specifically designed for continuo playing. The surviving solo music is much simpler than that for baroque lute. .. was lacking in clarity. He said the large A tuned instrument (string length c. 95cm) was the professional continuo instrument, and said he wanted to know of evidence showing the D (or E) tuned galichonmandora was used for continuo. I have none. Semantically I think you could argue I didn't claim to either, safely leaving the continuo part of the story to the mandora in general without connecting it to string lengths or tunings, but I don't deny you could also read in my passage that mandoras in D and E were 'specifically designed for continuo playing', too. I should think any instrument in the hands of a professional continuo player will serve as continuo instrument, by the way, but that is besides the point for someone seeking evidence of past use. And a good point that is. Once more, I have none and will gladly bow to superior knowledge. 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: Albrechtsberger
Le 21 janv. 08 à 10:36, LGS-Europe a écrit : Oops, sorry to Pietro and David - I hope you are not offended by my comment. It did bring a broad smile to my face, though, which is not such a bad thing these days. Rob I was laughing out loud the full week of receiving the music, chuckling during rehearsals and smiling during the concert. David - enjoying a hilarious job at times David Can you smile and laugh and play that instrument at the same time. I thought you had to clench your teeth? You might have swallowed the thing ... One of my students used one of these to demonstrate the resonance patterns of the vowles in various languages (by completely removing the vocal cord resonance, which tends to mask this quality). It was very revealing, but it did cause great and rather uncontrollable hilarity. On a slightly more serious note, if this was, as you seem to imply, serious Baroque music, held in esteem at the time, it might tell us a little more about the Baroque aesthetic. Perhaps, texture and sound quality were just as important to them as extreme stability of frequency, or stable in tune-ness. They would have loved a slightly earthy bass string. Regards Anthony PS: Disclaimer. Someone sending me a private reply commented on my one-page summary of Albrechtsberger, Jew's harp, mandora and personal adventure, implying that my paragraph on the mandora ... A mandora, also known as calchedon or colachon, is an 18th century German lute with 6 to 8 courses (of sometimes single strings) and 10 frets on the neck. The tuning of the first 6 courses is usually d'-a-f-c-G-D, but Albrechtsberger's music requires a mandora tuned a tone higher to e'-b-g-d-A-E (just like a guitar), with courses 7 and 8 tuned to D and C. Although they look alike at first glance, the construction was different from that of a baroque lute, allowing higher tension strings for greater volume, because a mandora was specifically designed for continuo playing. The surviving solo music is much simpler than that for baroque lute. .. was lacking in clarity. He said the large A tuned instrument (string length c. 95cm) was the professional continuo instrument, and said he wanted to know of evidence showing the D (or E) tuned galichonmandora was used for continuo. I have none. Semantically I think you could argue I didn't claim to either, safely leaving the continuo part of the story to the mandora in general without connecting it to string lengths or tunings, but I don't deny you could also read in my passage that mandoras in D and E were 'specifically designed for continuo playing', too. I should think any instrument in the hands of a professional continuo player will serve as continuo instrument, by the way, but that is besides the point for someone seeking evidence of past use. And a good point that is. Once more, I have none and will gladly bow to superior knowledge. 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: Albrechtsberger
Dear Pietro I think David refers to the F+ concert. As known the autograph bears a mandora part in staff notation with the basses written in letters following the german habits (!). For this concert JGA requires 8-courses e-h-g-d-A-F(!)-E-C, as written on the autograph. The tuning is similar with for example with the 2 last partite by G.A.Brescianello, and many other mandora pieces (also 6-courses in d-a-f-c-G-Eb. Yes, I played the F-major concierto. From your score, labeled DRAFT, by the way, so a belated thank you for providing clear music. You wrote 'Mandora mi8' in the score in front of my part, si I assumed and managed a 'normal' tuning in E without problems. I had a 10-course bass lute, so extra basses were not a problem either. But the low F (didn't think of that for one moment), would have made life a little easier, I suppose. On the other hand, reading in E is easier with guitar experience. But the low F would have given a better resonance to all the F-chords, so next time I will do! I made a part in tenor clef, by the way, reading it as a guitar part. Albrechtsberger's music was not difficult, however, I got lost in my own cadenza ... |-( David For the E+ concert requires e-h-g-d-A-E-D#-H'. For the D+ concert JGA gives no information: following the other tuning we could argue e-h-g-d-A-D-C#-A' but the 3 lower strings are too low for a ca.70cm mandora. I founded the tuning e-h-g-d-A-F#-E-D functions well, better as e-h-g-d-A-G-F#-D, which is easier for G+, but sounds not well for E+. bast wishes Pietro -Messaggio originale- Da: LGS-Europe [mailto:[EMAIL PROTECTED] Inviato: lunedì 21 gennaio 2008 10.36 A: lute@cs.dartmouth.edu Oggetto: [LUTE] Re: Albrechtsberger Oops, sorry to Pietro and David - I hope you are not offended by my comment. It did bring a broad smile to my face, though, which is not such a bad thing these days. Rob I was laughing out loud the full week of receiving the music, chuckling during rehearsals and smiling during the concert. David - enjoying a hilarious job at times PS: Disclaimer. Someone sending me a private reply commented on my one-page summary of Albrechtsberger, Jew's harp, mandora and personal adventure, implying that my paragraph on the mandora ... A mandora, also known as calchedon or colachon, is an 18th century German lute with 6 to 8 courses (of sometimes single strings) and 10 frets on the neck. The tuning of the first 6 courses is usually d'-a-f-c-G-D, but Albrechtsberger's music requires a mandora tuned a tone higher to e'-b-g-d-A-E (just like a guitar), with courses 7 and 8 tuned to D and C. Although they look alike at first glance, the construction was different from that of a baroque lute, allowing higher tension strings for greater volume, because a mandora was specifically designed for continuo playing. The surviving solo music is much simpler than that for baroque lute. .. was lacking in clarity. He said the large A tuned instrument (string length c. 95cm) was the professional continuo instrument, and said he wanted to know of evidence showing the D (or E) tuned galichonmandora was used for continuo. I have none. Semantically I think you could argue I didn't claim to either, safely leaving the continuo part of the story to the mandora in general without connecting it to string lengths or tunings, but I don't deny you could also read in my passage that mandoras in D and E were 'specifically designed for continuo playing', too. I should think any instrument in the hands of a professional continuo player will serve as continuo instrument, by the way, but that is besides the point for someone seeking evidence of past use. And a good point that is. Once more, I have none and will gladly bow to superior knowledge. 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 No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.7/1234 - Release Date: 20/01/2008 14.15 No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.7/1234 - Release Date: 20/01/2008 14.15
[LUTE] Italian Songs
Hello everyone, I'm trying to put together a programme of English and Italian songs to do with a singer and I would value some help in tracking down a couple of songs I've heard on a recording and would like to try - can anyone help with: Già più volte tremante by Benedetto Ferrari (c1603-1681) Accenti queruli by Giovanni Felice Sances Ideally, if anyone can email me copies in any format, I'd be very grateful - otherwise a reference to a book would be very useful! Best wishes, Peter http://www.bbc.co.uk/ This e-mail (and any attachments) is confidential and may contain personal views which are not the views of the BBC unless specifically stated. If you have received it in error, please delete it from your system. Do not use, copy or disclose the information in any way nor act in reliance on it and notify the sender immediately. Please note that the BBC monitors e-mails sent or received. Further communication will signify your consent to this. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: robert morton le souvenire
Good morning Wolfgang, Lovely song, isn't it? It's in the Buxheim Orgelbuch so it's in one of Dick Hoban's books. It's also in Spinacino. There is also a nice recording by Asteria w/ lute. I don't know of a 4-voice setting offhand but could check the library. Sean On Jan 21, 2008, at 2:44 AM, wolfgang wiehe wrote: moin all, recently i played robert mortons le souvenire de vpus me tue intabulated from the wolfenbuettel chansonier by Trystero Montevideo, a version which is incomplete... and i heard a very nice setting for 4 voices by gothic voices from their recording the castle of fair welcome. has someone a vocal version of this and like to share it with me? greetings from germany wolfgang w. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] GIOVANNI FELICE SANCES
Sorry to pester you all, but if anyone has a copy of GIOVANNI FELICE SANCES Cantada sopra il Passacaglio I'd be very grateful. I'm thinking of putting together a little set of his songs. Does anyone know anything about him? Thanks, Peter -Original Message- From: Peter Jones-RR [mailto:[EMAIL PROTECTED] Sent: 21 January 2008 12:20 To: lute@cs.dartmouth.edu Subject: [LUTE] Italian Songs Hello everyone, I'm trying to put together a programme of English and Italian songs to do with a singer and I would value some help in tracking down a couple of songs I've heard on a recording and would like to try - can anyone help with: Già più volte tremante by Benedetto Ferrari (c1603-1681) Accenti queruli by Giovanni Felice Sances Ideally, if anyone can email me copies in any format, I'd be very grateful - otherwise a reference to a book would be very useful! Best wishes, Peter http://www.bbc.co.uk/ This e-mail (and any attachments) is confidential and may contain personal views which are not the views of the BBC unless specifically stated. If you have received it in error, please delete it from your system. Do not use, copy or disclose the information in any way nor act in reliance on it and notify the sender immediately. Please note that the BBC monitors e-mails sent or received. Further communication will signify your consent to this. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html http://www.bbc.co.uk/ This e-mail (and any attachments) is confidential and may contain personal views which are not the views of the BBC unless specifically stated. If you have received it in error, please delete it from your system. Do not use, copy or disclose the information in any way nor act in reliance on it and notify the sender immediately. Please note that the BBC monitors e-mails sent or received. Further communication will signify your consent to this.
[LUTE] Re: GIOVANNI FELICE SANCES
There is a transcription in Hudson. RT *** Sorry to pester you all, but if anyone has a copy of GIOVANNI FELICE SANCES Cantada sopra il Passacaglio I'd be very grateful. I'm thinking of putting together a little set of his songs. Does anyone know anything about him? Thanks, Peter -Original Message- From: Peter Jones-RR [mailto:[EMAIL PROTECTED] Sent: 21 January 2008 12:20 To: lute@cs.dartmouth.edu Subject: [LUTE] Italian Songs Hello everyone, I'm trying to put together a programme of English and Italian songs to do with a singer and I would value some help in tracking down a couple of songs I've heard on a recording and would like to try - can anyone help with: Già più volte tremante by Benedetto Ferrari (c1603-1681) Accenti queruli by Giovanni Felice Sances Ideally, if anyone can email me copies in any format, I'd be very grateful - otherwise a reference to a book would be very useful! Best wishes, Peter http://www.bbc.co.uk/ This e-mail (and any attachments) is confidential and may contain personal views which are not the views of the BBC unless specifically stated. If you have received it in error, please delete it from your system. Do not use, copy or disclose the information in any way nor act in reliance on it and notify the sender immediately. Please note that the BBC monitors e-mails sent or received. Further communication will signify your consent to this. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html http://www.bbc.co.uk/ This e-mail (and any attachments) is confidential and may contain personal views which are not the views of the BBC unless specifically stated. If you have received it in error, please delete it from your system. Do not use, copy or disclose the information in any way nor act in reliance on it and notify the sender immediately. Please note that the BBC monitors e-mails sent or received. Further communication will signify your consent to this.
[LUTE] Re: Theorbo in G?
This is a very interesting question that has several answers: practical, modern, professional historical. The griffen element is subjective, of course. 1. Professional. As a professional, you need several theorbos. For my work, I require at least four. Therefore, the theorbo in G at 465 doubles of course as a theorbo in A at 415, and so on. If you play multiple services per day, you can't tune up and down all day, every day, you will always be out of tune. If you play out of tune all the time. someone will notice; at music festivals, I often play at three pitches per day. If you play in ensembles that are picky about voice leading and parallels, you will require at least one single reentrant tuning instrument, and for a greater percentage of music an instrument in G will be better: better chords, fewer parallels. I would say, based on playing at least a few thousand pieces, that the ratio is about 65-35. YMMV. Maybe you only play in A major :). There are definitely groups out there that will not rehire someone who plays bad bass crossings and parallels, but it is not the majority, it is definitely a consideration. They may also appreciate it on a subconcious level, that some of the chords sound strange. If you don't play every day in different groups, this is not for you. 2. Practical. If you have only one theorbo, you must make some choices. If you play mainly solo music, tune your instrument where it sounds the best, plain and simple. A lot of people play their instrument at the wrong pitch. Keep marked packs of strings for each tuning you will need, and only change the fretted strings. By changing the strings you maintain the tension and the stability of the instrument. In a tone transposing scenario, keep the lowest long string at F, and read it as a G in the other tuning. For half step scenarios, it is marginally better to leave the basses where they are for short term, or tune DOWN a half step. If you mainly play continuo, G tuning is better, marginally, as per comments above. 3. Modern practice is different from historical practice. Modern practice follows the guitar. Evaluate the situation depending on the types pf ensembles you play in. For example, if you play Opera, you will not be allowed to tune as often as you would need to, choose your strings accordingly for the theorbo. You may play with modern instruments as well. Modern baroque ensembles use wound strings on the violins, violas, and cellos: you cannot realistically compete with that in a pure historical setup. I have never seen an ensemble or orchestra of any size play in pure historical setup--strings, bows, bridges bassbars--maybe they are out there, I have not seen it. 4. Historical: this goes to training. If you are trained in a transposing system, which the musicians of the Ren Bar were, then there is effectively no difference between G, A, F and so on. They look the same. If you want to play more historically, you have to start with this system. There are no shortcuts, except a modified Alphabeta, which I often use, and then it comes down to preference. You can be Even Keyed Favor A, play G Favor G play A. I'm somewhere in between Favor G and Even Keyed. As far as the historical record goes, it is clear that they had the G tuning and the A tuning and other tunings as well, that they were pretty Even Keyed, and that the A tuning gives more sound in DOUBLE reentrant, for obvious reasons, and so is better for solo music, or music in which you play often an octave lower to avoid bad crossings, like a Quint bass. Thinking like a Quint is important. The very early sources show a leaning towards G but that is deceptive: there are not enough sources and of course, G looks like A if you are a transposer. Nonetheless, G makes an early showing, and modern practice clearly follows the guitar. A nice compromise is to have a larger theorbo in G, single reentrant, 415 for continuo and a smaller theorbo in A, 415, double reentrant for solo. The A instrument doubles as a G instrument at the 465 pitch. Keep a set of strings handy for 440. This mirrors Ren practice of the lute in G and A. Coincidence? Add a 440 instrument for Vespers and Modern Opera and an archlute and you have most of it covered. One more theorbo and you are therealmost. dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amateur Recording
I wonder if there is a freeware program that converts WAV files to mp3? Stuart AUDACITY. RT Passed it through SoundForge for volume and reverb, and Audacity for compression. http://turovsky.org/music/arndt.mp3 RT __ D O T E A S Y - Join the web hosting revolution! http://www.doteasy.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amateur Recording
Amadeus for MAC, a very superior audio tool. The pro model allows you to record almost directly to CD. Anthony Le 21 janv. 08 à 23:01, Roman Turovsky a écrit : I wonder if there is a freeware program that converts WAV files to mp3? Stuart AUDACITY. RT Passed it through SoundForge for volume and reverb, and Audacity for compression. http://turovsky.org/music/arndt.mp3 RT __ D O T E A S Y - Join the web hosting revolution! http://www.doteasy.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amateur Recording
Roman Turovsky wrote: I wonder if there is a freeware program that converts WAV files to mp3? Stuart AUDACITY. RT Passed it through SoundForge for volume and reverb, and Audacity for compression. http://turovsky.org/music/arndt.mp3 Stephen, A very nice recording. Gaultier is difficult territory. I hope you will do more. (and thanks to RT) Stuart RT __ D O T E A S Y - Join the web hosting revolution! http://www.doteasy.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amateur Recording
I use a freeware program which is called switch, coverts a lot of audio-formats Wolfgang -Ursprüngliche Nachricht- Von: Anthony Hind [mailto:[EMAIL PROTECTED] Gesendet: Montag, 21. Januar 2008 23:08 An: lute@cs.dartmouth.edu Net Betreff: [LUTE] Re: Amateur Recording Amadeus for MAC, a very superior audio tool. The pro model allows you to record almost directly to CD. Anthony Le 21 janv. 08 à 23:01, Roman Turovsky a écrit : I wonder if there is a freeware program that converts WAV files to mp3? Stuart AUDACITY. RT Passed it through SoundForge for volume and reverb, and Audacity for compression. http://turovsky.org/music/arndt.mp3 RT __ D O T E A S Y - Join the web hosting revolution! http://www.doteasy.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Theorbo in G?
Paintings Engravings exist, but the single strung thing is mainly modern guitar practice. There is also a hybrid style used quite a bit nowadays that has guitar style theorbo (heavy single strings, etc) plus semi historical technique. Zero is an awfully big number, but it freezes well. dt At 01:28 PM 1/21/2008, you wrote: David: Thanks for sharing your abundant practical wisdom - the only thing you forgot to mention under 'historical' is that there is zero evidence that single-strung theorbos were ever used anywhere. Best, Ron Andrico To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Ok guys...need your help...
C36 :) dt At 06:50 AM 1/19/2008, you wrote: so it's going to be a renaissance 10 curse lute at 415hz, Maler in Burkholtzer shape. but now I'm looking for the special thing... some kind of german decoration for it, renaissance german, but not something Christian. Pictures needed in order to decide :-) thank you all! To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Amateur Recording
Did you find that as soon as you pressed the record button, you go to pieces? I'd like to play to the best of my ability but I've only go so much ability and half of that disappears when th little red light comes on! That happens to me too. To circumvent it, if I have the time I leave the red light on for an hour, sometimes forget it's on. The more you do it, the less of a problem it is. But the microphone is far more unforgiving than an audience, so it is natural to become self conscious. I really enjoyed Stephen's recording, and Stuart's as well on the vihuela list. Let's have some more! Rob To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
