[LUTE] Re: bergamasca
I have made a version of the Gianoncelli for 7 course lute, if you are interested. On Jul 25, 2018, at 6:51 PM, spiffys84121 wrote: > The Gianoncelli Bergamesca from 1650 for archlute is superb. I played > it last month for O'dette's master class. Ed Durbrow Saitama, Japan http://www.youtube.com/user/edurbrow?feature=watch https://soundcloud.com/ed-durbrow 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: bergamasca
lute & kora wow - that is interesting and should sound great. Keep us posted! Jurgen -- “There is a voice that doesn’t use words. Listen.” Jalāl ad-Dīn Muhammad Rumi ‐‐‐ Original Message ‐‐‐ On 26 July 2018 6:20 PM, Martin Shepherd wrote: > Thanks to all who replied. > > I've now gone off in a slightly different direction with the John > Johnson(?) setting of Conde claros from the Marsh lute book. > > Just in case you're wondering, my son Hugh is hoping to include some > lute and kora duets in his final dissertation. > > Martin > > > - > > This email has been checked for viruses by Avast antivirus software. > https://www.avast.com/antivirus > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: chord names
Modern chord symbols appeared much later than you might think. I looked this up not long ago. I believe it was the 1920s or 30s and had to do with session playing. To do with films perhaps? On Jul 25, 2018, at 9:54 PM, Leonard Williams wrote: > As chordal music (as opposed to polyphonic) became more prevalent, > and many modes became history, how were chords named? G maj, A min, > ...? Tonic, dominant, etc? When did this start? > > Just curious. > > Regards, > > Leonard Williams > > -- > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Ed Durbrow Saitama, Japan http://www.youtube.com/user/edurbrow?feature=watch https://soundcloud.com/ed-durbrow http://www9.plala.or.jp/edurbrow/ --
[LUTE] Re: chord names
Music, like grammar, is descriptive rather than prescriptive. That doesn't make it less relevant. David On Thu, 26 Jul 2018 at 21:36, Leonard Williams <[1]arc...@verizon.net> wrote: I have often wondered if the rules of music, like many of those for Italian grammar, came after the fact, based on common usage that sounds good. Leonard -Original Message- From: Tristan von Neumann <[2]tristanvonneum...@gmx.de> To: lutelist Net <[3]lute@cs.dartmouth.edu> Sent: Thu, Jul 26, 2018 2:44 pm Subject: [LUTE] Re: chord names Musicians and Music Theorists are rarely one and the same person :) It is not necessary to name or classify anything while making music - Music Theory is mostly after the fact. Theory is taught, but novelties appear regardless - see Monteverdi and Artusi. Am 26.07.2018 um 19:11 schrieb Leonard Williams: > How would musicians like Dowland or Johnson have named their > chords? Were they thinking in chord progressions, modalities, > incidental chords arising in polyphonic cadences? I guess this is a > question of music theory evolution. > Leonard > > -Original Message- > From: Leonard Williams <[1][4]arc...@verizon.net> > To: lute <[2][5]lute@cs.dartmouth.edu> > Sent: Wed, Jul 25, 2018 8:54 am > Subject: [LUTE] chord names > As chordal music (as opposed to polyphonic) became more prevalent, > and many modes became history, how were chords named? G maj, A min, > ...? Tonic, dominant, etc? When did this start? > Just curious. > Regards, > Leonard Williams > -- > To get on or off this list see list information at > [1][3][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > > References > > 1. [4][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- References 1. mailto:[8]arc...@verizon.net 2. mailto:[9]lute@cs.dartmouth.edu 3. [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 4. [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- *** David van Ooijen [12]davidvanooi...@gmail.com [13]www.davidvanooijen.nl *** -- References 1. mailto:arc...@verizon.net 2. mailto:tristanvonneum...@gmx.de 3. mailto:lute@cs.dartmouth.edu 4. mailto:arc...@verizon.net 5. mailto:lute@cs.dartmouth.edu 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 8. mailto:arc...@verizon.net 9. mailto:lute@cs.dartmouth.edu 10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 12. mailto:davidvanooi...@gmail.com 13. http://www.davidvanooijen.nl/
[LUTE] Re: tab program
Thanks Wayne,
After a quick test, this works for acute, grave and circumflex e accents
- no reason to doubt it supports the rest.
I switched from vi to Geany a (long) while ago... It is a simple and
sophisticated IDE at the same time - the antithesis of Visual Studio:
light weight, efficient and free, and it supports all your favorite
LINUX/WEB programming languages.
Alain
On 07/26/2018 12:04 PM, wayne lute wrote:
you would type
{ Bourr\'ee }
with the warning that some modern text editing programs change the characters
around. the single quote, for example, may be rewritten as a special character
which is half of a pair of balanced quotes. Mac TextEdit does this, and you
have to turn off smart editing. I use a programmers editor like vim or emacs
that doesn’t make the switch.
Wayne
Begin forwarded message:
From: Alain Veylit
Subject: [LUTE] Re: tab program
Date: July 26, 2018 at 2:40:11 PM EDT
To: lute@cs.dartmouth.edu
A quick question about Wayne's tab program: how do I get the French accents (e
acute, e grave) to display correctly in the titles? I am getting slashed Os
instead of 'é' (e acute) for example, and a slashed L for 'è'. The c cedilla
however is fine, and u umlaut ...
Example: { Bourrée }
Also: if I have two pieces in a single tab file, can I get extra vertical
spacing between the two pieces?
Alain
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
[LUTE] Re: chord names
I have often wondered if the rules of music, like many of those for Italian grammar, came after the fact, based on common usage that sounds good. Leonard -Original Message- From: Tristan von Neumann To: lutelist Net Sent: Thu, Jul 26, 2018 2:44 pm Subject: [LUTE] Re: chord names Musicians and Music Theorists are rarely one and the same person :) It is not necessary to name or classify anything while making music - Music Theory is mostly after the fact. Theory is taught, but novelties appear regardless - see Monteverdi and Artusi. Am 26.07.2018 um 19:11 schrieb Leonard Williams: > How would musicians like Dowland or Johnson have named their > chords? Were they thinking in chord progressions, modalities, > incidental chords arising in polyphonic cadences? I guess this is a > question of music theory evolution. > Leonard > > -Original Message- > From: Leonard Williams <[1]arc...@verizon.net> > To: lute <[2]lute@cs.dartmouth.edu> > Sent: Wed, Jul 25, 2018 8:54 am > Subject: [LUTE] chord names > As chordal music (as opposed to polyphonic) became more prevalent, > and many modes became history, how were chords named? G maj, A min, > ...? Tonic, dominant, etc? When did this start? > Just curious. > Regards, > Leonard Williams > -- > To get on or off this list see list information at > [1][3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > > References > > 1. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- References 1. mailto:arc...@verizon.net 2. mailto:lute@cs.dartmouth.edu 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: chord names
Am Donnerstag, 26. Juli 2018 20:44 CEST, Tristan von Neumann
schrieb:
> Musicians and Music Theorists are rarely one and the same person :)
Sorry, but that's the biggest bulls**t I've ever heard!
Tinctoris (choir master, composer and most likely a singer)?
Gafurius (composer, maestro di capella at the Milan cathedral) - not a
musician?
Dowland (rumors say he wrote some lute music) - only known for his theoretical
works (Micrologus)?
Muffat the Elder (author of one of the best figured bass treaties) - never
wrote (and played) music?
J. B. Samber (author of an impressive church organist method) - not an organist
at the Salzburg cathedral?
Mattheson ("Wunderkind" singing and playing organ on a preofessional level at
age 9, worked as an opera singer,
first as a soprano, later as a tenor) - not a musician?
Gasparini - C.P.E. Bach etc. oh well.
> It is not necessary to name or classify anything while making music -
> Music Theory is mostly after the fact.
The kind of music theory you probly talk about [1] simply didn't exist during
the time period we disuss here.
Most (if not all) of the before-mentioned authors would probably describe their
work as
a method/guide in student learning to produce (better) music. Naming things can
be extremly helpful
in teaching. Just have a look at the some of the works titles. Samber's
'Manuductio ad Organum' litteraly means
'guiding (the students) hands during organ playing' (and, C.P.E. writes, this
is exactly what old Bach did).
> Theory is taught, but novelties appear regardless - see Monteverdi and
> Artusi.
And yet, Monteverdi took great care to provide a "theoretical" framework for
his novelty.
The 'seconda prattica' discussion is _not_ one of 'theory' vs. 'la-la creative
freedom'. It's
about two musicians having (often amazingly subtle) differences in what they
consider aesthetically
pleasing (or, maybe even over the question of whether music always has to be
aesthetically pleasing).
Cheers, RalfD
[1] which in english would probably be called musicology. No, they are not the
same.
> Am 26.07.2018 um 19:11 schrieb Leonard Williams:
> > How would musicians like Dowland or Johnson have named their
> > chords? Were they thinking in chord progressions, modalities,
> > incidental chords arising in polyphonic cadences? I guess this is a
> > question of music theory evolution.
> > Leonard
> >
> > -Original Message-
> > From: Leonard Williams
> > To: lute
> > Sent: Wed, Jul 25, 2018 8:54 am
> > Subject: [LUTE] chord names
> > As chordal music (as opposed to polyphonic) became more prevalent,
> > and many modes became history, how were chords named? G maj, A min,
> > ...? Tonic, dominant, etc? When did this start?
> > Just curious.
> > Regards,
> > Leonard Williams
> > --
> > To get on or off this list see list information at
> > [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >
> > --
> >
> > References
> >
> > 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >
> >
>
>
[LUTE] Re: tab program
Am Donnerstag, 26. Juli 2018 21:04 CEST, wayne lute schrieb: I use a programmers editor like vim or emacs that doesn’t make the switch. Jay! Emacs rulez! ;-) Cheers, RalfD To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: tab program
you would type
{ Bourr\'ee }
with the warning that some modern text editing programs change the characters
around. the single quote, for example, may be rewritten as a special character
which is half of a pair of balanced quotes. Mac TextEdit does this, and you
have to turn off smart editing. I use a programmers editor like vim or emacs
that doesnât make the switch.
Wayne
> Begin forwarded message:
>
> From: Alain Veylit
> Subject: [LUTE] Re: tab program
> Date: July 26, 2018 at 2:40:11 PM EDT
> To: lute@cs.dartmouth.edu
>
> A quick question about Wayne's tab program: how do I get the French accents
> (e acute, e grave) to display correctly in the titles? I am getting slashed
> Os instead of 'é' (e acute) for example, and a slashed L for 'è'. The c
> cedilla however is fine, and u umlaut ...
>
> Example: { Bourrée }
>
> Also: if I have two pieces in a single tab file, can I get extra vertical
> spacing between the two pieces?
>
> Alain
>
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
[LUTE] Re: chord names
Musicians and Music Theorists are rarely one and the same person :) It is not necessary to name or classify anything while making music - Music Theory is mostly after the fact. Theory is taught, but novelties appear regardless - see Monteverdi and Artusi. Am 26.07.2018 um 19:11 schrieb Leonard Williams: How would musicians like Dowland or Johnson have named their chords? Were they thinking in chord progressions, modalities, incidental chords arising in polyphonic cadences? I guess this is a question of music theory evolution. Leonard -Original Message- From: Leonard Williams To: lute Sent: Wed, Jul 25, 2018 8:54 am Subject: [LUTE] chord names As chordal music (as opposed to polyphonic) became more prevalent, and many modes became history, how were chords named? G maj, A min, ...? Tonic, dominant, etc? When did this start? Just curious. Regards, Leonard Williams -- To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: tab program
A quick question about Wayne's tab program: how do I get the French
accents (e acute, e grave) to display correctly in the titles? I am
getting slashed Os instead of 'é' (e acute) for example, and a slashed L
for 'è'. The c cedilla however is fine, and u umlaut ...
Example: { Bourrée }
Also: if I have two pieces in a single tab file, can I get extra
vertical spacing between the two pieces?
Alain
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: chord names
How would musicians like Dowland or Johnson have named their chords? Were they thinking in chord progressions, modalities, incidental chords arising in polyphonic cadences? I guess this is a question of music theory evolution. Leonard -Original Message- From: Leonard Williams To: lute Sent: Wed, Jul 25, 2018 8:54 am Subject: [LUTE] chord names As chordal music (as opposed to polyphonic) became more prevalent, and many modes became history, how were chords named? G maj, A min, ...? Tonic, dominant, etc? When did this start? Just curious. Regards, Leonard Williams -- To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Chord names
I am afraid the table of chords didn't come out right. Hope this is better. 1 = G major [Dedillo] 2 = C major [Puente] 7 = E major [Cruzadillo] P = A major [Patilla] + = D major [Cruzado] 3 = F major [Vacas] 4 = B flat major[Patilla atrevesada] 9 = A flat major[Dedillo atrevesado?] Monica To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] bergamasca
Thanks to all who replied. I've now gone off in a slightly different direction with the John Johnson(?) setting of Conde claros from the Marsh lute book. Just in case you're wondering, my son Hugh is hoping to include some lute and kora duets in his final dissertation. Martin --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Chord names
I am afraid the table of chords didn't come out right. Hope this is better. 1 = G major [Dedillo] 2 = C major [Puente] 7 = E major [Cruzadillo] P = A major [Patilla] + = D major [Cruzado] 3 = F major [Vacas] 4 = B flat major[Patilla atrevesada] 9 = A flat major[Dedillo atrevesado?] Monica To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Chord names - Amat
I am afraid what you have said about this is incorrect. "Juan Carlos Amat's little book Guitarra Espanola y Vandola (?) was published already in 1596 but the earliest surviving edition is from 1627." The earliest surviving copy is dated 1626 - this copy is in the Newberry Library Chicago. "Interestingly, the compendium is for spanish guitar of 5 courses, 2 pages about the 4 couse guitar and then the same again in catalan, but with improved diagrams. (The text says that the first version was made in 1586 already!)" The earliest edition of Amat's book was printed in 1596 not 1586. The correct title of the book is Guitarra espanola de cinco ordenes.It comprises 8 chapters about the 5-course guitar. The last, ninth chapter is about the 4-course guitar. This version was reprinted several times in the 17th century. It was reprinted several more times in the 18th century with the title Guitarra espanola y vandola. 18th century copies include a supplement in Catalan in 4 chapters, three about the 5-course guitar and the last about the vandola. The earliest copy to include this supplement was printed in 1701. It is surprising that after all this time people still don't get it right about Amat. In the Castilian system of chord notation the basic chords were known by fancy names. These appear in Arte de la guitarra by Joseph Guerrero which survives in an obscure manuscript. 1 = G major [Dedillo] 9 = A flat major[Dedillo atrevesado?] 2 = C major [Puente] 7 = E major [Cruzadillo]3 = F major [Vacas] P = A major [Patilla] 4 = B flat major[Patilla atrevesada] + = D major [Cruzado] 8 = E flat major[Dedillo?] There is a more comprehensive list in the Zuola ms. which I can't put my finger on at this time. Best wishes to all Monica To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Luttes of Cullane and Venice?
Hi Theo, "Cullane" is probably "Cologne" (Köln), as there are other references to lutes from there. "Venice" Venice, a famously important centre for lutemaking. "Catlingis" (elsewhere "catlins") are strings used in the mid range and bass, "Manikins" (elsewhere "minikins") are treble strings, possibly from Munich (München). Much of the background information is in Dowland (1610) and Mace (1676), but there is also important information about strings in the Capirola lute book (c.1517) and the Burwell lute tutor (c.1670). You can find most of this on my page at http://luteshop.co.uk/articles/stringing/ I'm sure others on the list will have some references for "Cologne" lutes, etc. Best wishes, Martin On 26/07/2018 03:47, theoj89...@new-old-mail.cs.dartmouth.edu wrote: All: The Scottish Customs Tariffs of Oct 31, 1612 lists "Luttes of Cullane with case" and "Luttes of Venice with case". Does anyone know what these terms Cullane and Venice mean? There is also some information about strings: "catlingis" and "manikins", and misc other musical instrument details. This document is discussed in a very interesting wire-strung harp web page: http://www.wirestrungharp.com/material/strings_and_things.html Thanks- t jordan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus
[LUTE] Re: bergamasca
Very generous advice, thank you! I will go there and have a close look. Best Jurgen -- “There is a voice that doesn’t use words. Listen.” Jalāl ad-Dīn Muhammad Rumi ‐‐‐ Original Message ‐‐‐ On 26 July 2018 2:17 PM, Alain Veylit wrote: > Jurgen, > > It's an old trick: make your URLs super-long so they are broken by a > line break. Hence the expression: broken links. > > Case in point, the Besard Bergamasque from the Thesaurus Harmonicus, > also a very worthwhile piece: > > http://fandango.musickshandmade.com/images/facsimiles/French/Thesaurus_Harmonicus/Thesaurus_harmonicus-229.jpg > (A digital copy of the whole Thesaurus Harmonicus is available in color > at > https://gallica.bnf.fr/ark:/12148/bpt6k1153999z.r=thesaurus > harmonicus?rk=42918;4) > > There are several Bergamasques by Kapsberger, 2 by J.B. Besard, 1 by > Gorzanis, 1 by Piccinini, a couple in the Danzig MS 4022, and some > English duets kind of tagging along ... It might make an interesting > ground for a concert on a theme (or an interesting theme for a concert > on a ground...) > > On 07/25/2018 09:30 PM, Jurgen Frenz wrote: > > > oops sorry part of the link was gone it's all there, thanks a lot! > > Jurgen > > > > “There is a voice that doesn’t use words. Listen.” > > Jalāl ad-Dīn Muhammad Rumi > > ‐‐‐ Original Message ‐‐‐ > > On 26 July 2018 12:32 AM, Alain Veylit al...@musickshandmade.com wrote: > > > > > I think this is the one - famously used by Respighi in his Ancient Airs > > > and Dances > > > [1]http://fandango.musickshandmade.com/images/facsimiles/Italian/Gianon > > > celli/G_P8.jpg > > > [2]http://fandango.musickshandmade.com/images/facsimiles/Italian/Gianon > > > celli/G_P9.jpg > > > On 07/25/2018 04:30 AM, Luca Manassero wrote: > > > Very interesting! > > > Could you or somebody else on this list provide the original? > > > thank you in advance! > > > Luca > > > On mer, 25 lug 2018 11:51:45 +0200 > > > spiffys84121[3]spiffys84...@cs.dartmouth.edu wrote > > > The Gianoncelli Bergamesca from 1650 for archlute is superb. I played > > > it last month for O'dette's master class. > > > Sterling > > > Sent from my Verizon, Samsung Galaxy smartphone > > > Original message > > > From: Martin Shepherd [4]<[1]mar...@luteshop.co.uk> > > > Date: 7/25/18 3:31 AM (GMT-07:00) > > > To: Lute List [5]<[2]lute@cs.dartmouth.edu> > > > Subject: [LUTE] bergamasca > > > Hi All, > > > Can anyone recommend a Bergamasca (or whatever you want to call it with > > > a I-IV-V bass) in F, preferably early, preferably Italian? > > > Thanks, > > > Martin > > > > > > This email has been checked for viruses by Avast antivirus software. > > > [3][6]https://www.avast.com/antivirus > > > To get on or off this list see list information at > > > [4][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > References > > > > > > 1. [8]mailto:mar...@luteshop.co.uk > > > > > > 2. [9]mailto:lute@cs.dartmouth.edu > > > > > > 3. [10]https://www.avast.com/antivirus > > > > > > 4. [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > -- > > > References > > > > > > 5. > > > http://fandango.musickshandmade.com/images/facsimiles/Italian/Gianoncelli/G_P8.jpg > > > > > > 6. > > > http://fandango.musickshandmade.com/images/facsimiles/Italian/Gianoncelli/G_P9.jpg > > > > > > 7. mailto:spiffys84...@cs.dartmouth.edu > > > > > > 8. mailto:[1]mar...@luteshop.co.uk > > > > > > 9. mailto:[2]lute@cs.dartmouth.edu > > > > > > 10. https://www.avast.com/antivirus > > > > > > 11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > 12. mailto:mar...@luteshop.co.uk > > > > > > 13. mailto:lute@cs.dartmouth.edu > > > > > > 14. https://www.avast.com/antivirus > > > > > > 15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >
[LUTE] Re: bergamasca
Jurgen, It's an old trick: make your URLs super-long so they are broken by a line break. Hence the expression: broken links. Case in point, the Besard Bergamasque from the Thesaurus Harmonicus, also a very worthwhile piece: http://fandango.musickshandmade.com/images/facsimiles/French/Thesaurus_Harmonicus/Thesaurus_harmonicus-229.jpg (A digital copy of the whole Thesaurus Harmonicus is available in color at https://gallica.bnf.fr/ark:/12148/bpt6k1153999z.r=thesaurus%20harmonicus?rk=42918;4) There are several Bergamasques by Kapsberger, 2 by J.B. Besard, 1 by Gorzanis, 1 by Piccinini, a couple in the Danzig MS 4022, and some English duets kind of tagging along ... It might make an interesting ground for a concert on a theme (or an interesting theme for a concert on a ground...) On 07/25/2018 09:30 PM, Jurgen Frenz wrote: oops sorry part of the link was gone it's all there, thanks a lot! Jurgen -- “There is a voice that doesn’t use words. Listen.” Jalāl ad-Dīn Muhammad Rumi ‐‐‐ Original Message ‐‐‐ On 26 July 2018 12:32 AM, Alain Veylit wrote: I think this is the one - famously used by Respighi in his Ancient Airs and Dances [1]http://fandango.musickshandmade.com/images/facsimiles/Italian/Gianon celli/G_P8.jpg [2]http://fandango.musickshandmade.com/images/facsimiles/Italian/Gianon celli/G_P9.jpg On 07/25/2018 04:30 AM, Luca Manassero wrote: Very interesting! Could you or somebody else on this list provide the original? thank you in advance! Luca On mer, 25 lug 2018 11:51:45 +0200 spiffys84121[3]spiffys84...@cs.dartmouth.edu wrote The Gianoncelli Bergamesca from 1650 for archlute is superb. I played it last month for O'dette's master class. Sterling Sent from my Verizon, Samsung Galaxy smartphone Original message From: Martin Shepherd [4]<[1]mar...@luteshop.co.uk> Date: 7/25/18 3:31 AM (GMT-07:00) To: Lute List [5]<[2]lute@cs.dartmouth.edu> Subject: [LUTE] bergamasca Hi All, Can anyone recommend a Bergamasca (or whatever you want to call it with a I-IV-V bass) in F, preferably early, preferably Italian? Thanks, Martin - This email has been checked for viruses by Avast antivirus software. [3][6]https://www.avast.com/antivirus To get on or off this list see list information at [4][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --- References 1. [8]mailto:mar...@luteshop.co.uk 2. [9]mailto:lute@cs.dartmouth.edu 3. [10]https://www.avast.com/antivirus 4. [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 5. http://fandango.musickshandmade.com/images/facsimiles/Italian/Gianoncelli/G_P8.jpg 6. http://fandango.musickshandmade.com/images/facsimiles/Italian/Gianoncelli/G_P9.jpg 7. mailto:spiffys84...@cs.dartmouth.edu 8. mailto:[1]mar...@luteshop.co.uk 9. mailto:[2]lute@cs.dartmouth.edu 10. https://www.avast.com/antivirus 11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 12. mailto:mar...@luteshop.co.uk 13. mailto:lute@cs.dartmouth.edu 14. https://www.avast.com/antivirus 15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Luttes of Cullane and Venice?
Cullane may mean modern Koln/Cologne - centre for international trade at the time. If I recall aright, Mace speaks of Cullen cleft as a type of wood for lutes. MH __ From: "theoj89...@new-old-mail.cs.dartmouth.edu" To: lute@cs.dartmouth.edu Sent: Thursday, 26 July 2018, 2:49 Subject: [LUTE] Luttes of Cullane and Venice? All: The Scottish Customs Tariffs of Oct 31, 1612 lists "Luttes of Cullane with case" and "Luttes of Venice with case". Does anyone know what these terms Cullane and Venice mean? There is also some information about strings: "catlingis" and "manikins", and misc other musical instrument details. This document is discussed in a very interesting wire-strung harp web page: [1]http://www.wirestrungharp.com/material/strings_and_things.html Thanks- t jordan -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.wirestrungharp.com/material/strings_and_things.html 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
