[LUTE] Re: theorbo interview
Found it: http://www.cbc.ca/video/news/audioplayer.html?clipid=2157771804 (24:30--30:00). Thank you for sharing this! Have you got responses, Benjamin? Best, Mathias > -Ursprüngliche Nachricht- > Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im > Auftrag von be...@interlog.com > Gesendet: Samstag, 15. Oktober 2011 17:02 > An: lute@cs.dartmouth.edu > Betreff: [LUTE] Re: theorbo interview > > Whoops - here's an international website link. They podcast as well, I believe. > > http://www.cbc.ca/tapestry/ > > > Quoting be...@interlog.com: > > > Hey, everyone - there's an interview with me on Canadian radio - > > CBC's Tapestry - about the phenomenon of picking up a new instrument > > at (ahem) mid-life. > > > > Here are the coordinates: > > Sunday, Oct 23 @ 2:05 EST on CBC Radio One (99.1FM in Toronto) > > > > I'll be playing theorbo, singing and playing Bach, Castaldi and my own > > compositions. > > > > The interview will be cached on the CBC website, so you can listen to > > my inspirational meanderings any time. > > > > Remember - mid-life is the new mid-life! > > > > Benjamin Stein > > > > > > > > > > > > > > > > > > > > > > > > -- > > please visit my website > > http://benjaminstein.ca/ > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > -- > please visit my website > http://benjaminstein.ca/ >
[LUTE] OT: Facebook down...
Dear lutenists, isn't it crazy: when Facebook is just now down, you feel SO disconnected! How addicted we have become to these modern web services! Scary! Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: OT: Facebook down...
Works fine from here! - http://www.facebook.com/pages/Johann-Joachim-Sautscheck/113012934037 RT - Original Message - From: "wikla" To: Sent: Monday, October 31, 2011 4:04 PM Subject: [LUTE] OT: Facebook down... Dear lutenists, isn't it crazy: when Facebook is just now down, you feel SO disconnected! How addicted we have become to these modern web services! Scary! Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: OT: Facebook down...
Wasn't aware it was down, but then, it's not one of my addictions (no, I'm not addiction free!). On Oct 31, 2011, at 4:04 PM, wikla wrote: > Dear lutenists, > > isn't it crazy: when Facebook is just now down, you feel SO disconnected! > How addicted we have become to these modern web services! Scary! > > Arto > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: OT: Facebook down...
Anyhow, I've never met this message before: Facebook Will Be Back Soon The site is down for required maintenance right now, but you should be able to get back on within a few hours. We're sorry for the inconvenience. "A few HOURS"! Crazy. (Mainly me...;-) Arto On Mon, 31 Oct 2011 16:07:57 -0400, "Roman Turovsky" wrote: > Works fine from here! - > http://www.facebook.com/pages/Johann-Joachim-Sautscheck/113012934037 > > RT > > > - Original Message - > From: "wikla" > To: > Sent: Monday, October 31, 2011 4:04 PM > Subject: [LUTE] OT: Facebook down... > > >> Dear lutenists, >> >> isn't it crazy: when Facebook is just now down, you feel SO disconnected! >> How addicted we have become to these modern web services! Scary! >> >> Arto >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: D# Minor Suite
Dear Christopher, - Original Message - From: "Christopher Wilke" <[1]chriswi...@yahoo.com> To: "A. J. Ness" <[2]arthurjn...@verizon.net>; <[3]baroque-l...@cs.dartmouth.edu> Sent: Monday, October 31, 2011 8:34 AM Subject: [BAROQUE-LUTE] Re: D# Minor Suite > Arthur, > > --- On Sun, 10/30/11, A. J. Ness <[4]arthurjn...@verizon.net> wrote: > >> But one wouldn't transcribe it in D# minor >> (SEVEN sharps), as Eklund does, but >> rather as Sterling indicates in E flat >> minor (only six flats). >> Dear Christopher, > > I agree that the key signature of 7 sharps is rather cumbersome to read, but there is precedent for it in the baroque. In Book 1 of the Well Tempered Clavier, Bach pairs a prelude in E-flat minor (key sig, 6 flats) with a fugue in D# minor (7 sharps). (A very complex fugue, by the way, with much ingenious use of stretto.) In Book 2, both prelude and fugue are written in D# minor. <> I have an even better one for you. In the chaconne composed by Tomasso Vitali, one variation has the violin in D# minor and the basso continuo in E flat major. (It--incidentally--is by Vitali: the original 18th-century manuscript is in the Dresden Landesbibliothek; his father also wrote wierd music--a kind of 18th-century Chas. Ives & Son.) <> The second suite in the manuscript (Uppsala, Instr. mus hs 20:13) is in Gis dur. That would require 8 sharps (F gets two sharps, = double sharp), and surely the composer intended A flat major. Consistency would suggest E flat minor for the first suite. I find Ekland's arguments for Dis moll to be rather weak. He doesn't understand that the key designations are derived from the scale for German keyboard tablature. > As for the major mode pieces occupying the space between D and E, Bach writes all of those in E-flat major (3 flats). <> I'm afraid you're confused, Christopher. In German keyboard tablature the spelling of the note between D and E is Dis, not Es (E flat), as you write. Recall the Eroica in Dis. Only B is indicated with a "flat" in German keyboard tablature. Otherwise keys with flats are "spelled" with the enharmonic sharp spelling. You need to reread my explanation. That's the questrion that started this thread. The ciphers for various keyboard tablatures are diagramed in my article "tablature" in the New HDM. > In the end, I think the issue is moot when dealing with a piece notated in tablature since sources like Burwell and the concerti of Radolt show that various pitch levels were used for different sized "baroque" lutes.[*] <> We are discussing pieces with a specified key identified in the source with ciphers used in German keyboard tablature. With lute of different sizes the key is specified, regardless of the actual sounding pitch. Naming the "key" as a kind of title provides guidance to the player. The fingerings for scales, chords, etc., in A flat are going to be different from those for E major. So it's not moot. The rubrics in Daza's tablature book (1576?) serve a similar purpose in orienting the player and singer to the mode. *Also take care. Sometimes it is the voice part that is to be transposed! AJN. > Chris > > > Christopher Wilke > Lutenist, Guitarist and Composer > [5]www.christopherwilke.com > > > > To get on or off this list see list information at > [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:chriswi...@yahoo.com 2. mailto:arthurjn...@verizon.net 3. mailto:baroque-l...@cs.dartmouth.edu 4. mailto:arthurjn...@verizon.net 5. http://www.christopherwilke.com/ 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] strumming Gervaise
How would a strummer strum chords to these tunes composed (arranged?) by Gervaise in the 1550s? http://www.pluckedturkeys.co.uk/Gervaise/ They are strong melodies (Poulenc arranged some Gervaise dances for piano - but not these particular tunes). Maybe you just strum a chord according to the bass line. It's easy enough to work out what each chord would be. But playing at speed it would be formidably difficult to actually play them unless you were a Freddy Green-type professional. These Gervaise arrangements are in four parts and, as it stands, the bass is very easy to play as a single note. But really not so easy at all when the chords are changing very quickly. But it's often said that strummers strummed in these, and even earlier, times. And, if so, surely they would have strummed to accompany tunes like this. Would they have strummed a chord for each note as dictated by the rules of four part harmony? Or something simpler - but potentially more rhythmic? Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: strumming Gervaise
I think they're doable on lute plucked as usual although a ren guitar or a cittern would be more suitable for strumming, IMHO. Sean On Oct 31, 2011, at 3:56 PM, Stuart Walsh wrote: > How would a strummer strum chords to these tunes composed (arranged?) by > Gervaise in the 1550s? > > http://www.pluckedturkeys.co.uk/Gervaise/ > > They are strong melodies (Poulenc arranged some Gervaise dances for piano - > but not these particular tunes). Maybe you just strum a chord according to > the bass line. It's easy enough to work out what each chord would be. But > playing at speed it would be formidably difficult to actually play them > unless you were a Freddy Green-type professional. These Gervaise arrangements > are in four parts and, as it stands, the bass is very easy to play as a > single note. But really not so easy at all when the chords are changing very > quickly. > > But it's often said that strummers strummed in these, and even earlier, > times. And, if so, surely they would have strummed to accompany tunes like > this. Would they have strummed a chord for each note as dictated by the rules > of four part harmony? Or something simpler - but potentially more rhythmic? > > > Stuart > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: strumming Gervaise
If a lute's all you've got, strum away with impunity! Quoting Sean Smith : I think they're doable on lute plucked as usual although a ren guitar or a cittern would be more suitable for strumming, IMHO. Sean On Oct 31, 2011, at 3:56 PM, Stuart Walsh wrote: How would a strummer strum chords to these tunes composed (arranged?) by Gervaise in the 1550s? http://www.pluckedturkeys.co.uk/Gervaise/ They are strong melodies (Poulenc arranged some Gervaise dances for piano - but not these particular tunes). Maybe you just strum a chord according to the bass line. It's easy enough to work out what each chord would be. But playing at speed it would be formidably difficult to actually play them unless you were a Freddy Green-type professional. These Gervaise arrangements are in four parts and, as it stands, the bass is very easy to play as a single note. But really not so easy at all when the chords are changing very quickly. But it's often said that strummers strummed in these, and even earlier, times. And, if so, surely they would have strummed to accompany tunes like this. Would they have strummed a chord for each note as dictated by the rules of four part harmony? Or something simpler - but potentially more rhythmic? Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- please visit my website http://benjaminstein.ca/
