[LUTE] Re: Tablature Fonts for Mac
I have imported Fronimo fonts for use in Sibelius on OS X, and presumably you could use them with other programs. I can't remember if I needed to convert them to make them 'Mac friendly', but I could email you copies that work if you are interested. The fonts are, of course, subject to copyright, so I asked Francesco Tribioli whether it was ok to use them. He replied as follows: "actually the fonts are available for any non commercial use, so you and anyone can use them freely. Of course I would prefer if the lutenists used my fonts in Fronimo, not only as evident for the additional licensees that this would bring ;^), but because I think that the fonts work better in my program because it uses some feature of the fonts (as different characters to avoid too messy collisions) that are not available outside Fronimo." (Later he also indicated that publication by the Lute Society would count as 'non-commercial'.) The point he makes about avoiding collisions is relevant; I have been using Fronimo Gavotta in Sibelius to transcribe Thomas Mace and to avoid the occasional collision I sometimes need to put a note into a second voice and move it sideways. Also, thinking about freely available fonts, have you looked at Apple Chancery, Comic Sans, Lucida Calligraphy, Lucida Blackletter, Bradley Hand, or Skia? Eric Crouch [EMAIL PROTECTED] On 7 Oct 2008, at 10:26, Doc Rossi wrote: Has anyone got any suggestions for nice-looking French tablature fonts for Mac OS X? Thanks, Doc To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: John Wilson Preludes
Hello Greet, As you have brought my name into this, I will mention that I have transcribed the tablature of the first three preludes and they can be found here: [1]http://homepage.mac.com/pogmoor/GuitarLoot/pages/Lindex-2.html (or via my home page at [2]www.guitarloot.co.uk). I've also got a draft of prelude 4 and I have it in mind to continue with transcribing the rest of the preludes at some stage in the future (I've got staff notation Sibelius files of about half of them that can fairly readily be converted to tablature). My reason for doing this (aside from transcribing some of them for guitar) is the point made by Arthur Ness that the published facsimile is so difficult to read. In transcribing I have incorporated the corrections made by Matthew Spring in his grand staff edition. Eric Crouch On 6 Oct 2008, at 20:29, Greet Schamp wrote: Hello Manuel, This I found in an old file with some tablatures. So Eric Crouch made these transcriptions for guitar Eric Crouch: [3]http://homepage.mac.com/pogmoor/GuitarLoot/pages/32.html Best wishes Greet -Oorspronkelijk bericht- Van: Gmail Manuel Minguillon Nieto [[4]mailto:[EMAIL PROTECTED] Verzonden: maandag 6 oktober 2008 14:41 Aan: [EMAIL PROTECTED] Onderwerp: [LUTE] John Wilson Preludes Dear Lute wisdom, Which is the fastest and easiest way of getting John Wilson Preludes from manuscript of the Bodleian Library, Mus. B. 1? Thanks a lot in advance. Manuel Minguillon -- To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- -- References 1. http://homepage.mac.com/pogmoor/GuitarLoot/pages/Lindex-2.html 2. http://www.guitarloot.co.uk/ 3. http://homepage.mac.com/pogmoor/GuitarLoot/pages/32.html 4. mailto:[EMAIL PROTECTED] 5. mailto:lute@cs.dartmouth.edu 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: more general scams
Someone on another list I follow got a similar UPS message about a week ago and his posting prompted this reply from another list member: "When I get something I suspect as spam I copy and paste a chunk of its text into Google - the result in this case is at [1]http://www.hoax-slayer.com/ups-malware.shtml"; Try it and see Eric Crouch [EMAIL PROTECTED] On 12 Aug 2008, at 17:16, Anthony Hind wrote: This is not the same issue, but like many of you, no doubt, I have received several offers to share with a Nigerian banker the profits of a person who has just died intestate. Of course I didn't fall for that. However, a week ago I received a message purporting to be from UPS about an undelivered parcel, and there is an attachment to click on, and I am told this includes a form for details I need to fill-in to be able to receive this parcel. Now this time, I very nearly clicked on the attachment, thinking perhaps some lute strings, I had forgotten I had ordered, had just arrived. However, something about it made me hesitate, I may be wrong and it may be valid, but I think it is a clever new scam to get personal details, or to spread a virus. Have any of you received a similar message purporting to be from UPS. Anthony Le 12 aout 08 `a 17:38, Guy Smith a ecrit : If you are selling an instrument over the internet, watch out for the "Nigerian scam" (they'll offer to send you considerably more than the purchase price and you are to send the extra back...). I got one of these in response to an ad for a tandem bicycle that I'm trying to sell, and I advertised only on a private mailing list. I've heard of several other similar incidents with tandems, and I imagine they could target lutes as well. Guy -Original Message- From: Wayne Cripps [[3]mailto:[EMAIL PROTECTED] Sent: Tuesday, August 12, 2008 8:26 AM To: [EMAIL PROTECTED] Subject: [LUTE] baroque guitar scam Hi folks - You probably know that I run a "lutes for sale" web page. at [5]http://www.cs.dartmouth.edu/~wbc/lute/forsale.html . I just got the first "for sale" scam - at least it seems like a scam to me.. I am Brad Baker.I came accross your wanted advert and email address on [6]http://www.cs.dartmouth.edu/~wbc/lute/forsale.html#wanted I would like to inform you that i have 5 course baroque guitar For Sale @ 1,400 Euro(Give Away Price)including shipping to your front door in Finland via Courier express delivery.The price of this lutes are more than 2,500 euro.You can't get it this price(1,400 euro)anywhere.Hurry up now,this is give away price.Buy one and get one free Nokia mobile phone. Maybe I am wrong... maybe many respected luthiers are now supplying free cell phones with their usual merchandise.. but I would suggest that you be careful with any internet transactions with strangers. You can see the instruments at [7]http://www.cs.dartmouth.edu/~wbc/lute/Baker/ There seem to be two different pairs of guitars and a fifth by itself. Maybe one of them is yours! Wayne To get on or off this list see list information at [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.hoax-slayer.com/ups-malware.shtml 2. mailto:[EMAIL PROTECTED] 3. mailto:[EMAIL PROTECTED] 4. mailto:lute@cs.dartmouth.edu 5. http://www.cs.dartmouth.edu/~wbc/lute/forsale.html 6. http://www.cs.dartmouth.edu/~wbc/lute/forsale.html#wanted 7. http://www.cs.dartmouth.edu/~wbc/lute/Baker/ 8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Piccinini
There's a German grand staff edition entitled "Alessandro Piccinini, Das Lautenwerk von 1623" prepared by Denise Perret, Ricardo Correa and Monique Chatton that has both a German and an English translation of Piccinini's introduction. The publisher is Heinrichshofen's Verlag, Wilhelmshaven (N 1861). Eric Crouch [EMAIL PROTECTED] On 18 Jun 2008, at 21:09, Peter Nightingale wrote: Dear All, Does anyone have or know where I can find a translation of the introduction to Alessandro Piccinini's Intavolatvra ... Libro Primo? Peter. the next auto-quote is: The human mind evolved to believe in the gods. It did not evolve to believe in biology. (Edward O. Wilson) /\/\ Peter Nightingale Telephone (401) 874-5882 Department of Physics, East Hall Fax (401) 874-2380 University of Rhode Island Kingston, RI 02881 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Pilkington, for lute & viol
The bass viol part for this piece doubles the bass line of the lute part! Eric Crouch On 2 Apr 2008, at 17:32, Bernd Haegemann wrote: Hi! http://www.gerbode.net/ft2/composers/Pilkington/pdf/pavan_for_lute_and_viol.pdf sounds promising, but where is the viol part? best wishes Bernd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: recording with ZOOM H2
In Safari, click on the link above the files that says 'Listen'. It plays the three tracks in order. The sound is very impressive! Eric Crouch On 13 Jan 2008, at 21:33, Gernot Hilger wrote: Ed, this is a non-Mac site. I tried all my browsers to no avail. Sorry! g On 13.01.2008, at 16:52, Ed Durbrow wrote: When I click on a piece it takes me to another window. Do you have to join just to listen? On Jan 13, 2008, at 7:31 AM, Daniel F Heiman wrote: <[EMAIL PROTECTED]> writes: hi all, if someone is interested. i got the ZOOM 2H today and did my first recording (work in progress :-). it is easy to handle. look at: http://www.esnips.com/web/lautenklang/ 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: Tuning software for Mac
Whoops, I meant <http://www.katsurashareware.com/strobe/strobe.html> EC On 10 Dec 2007, at 22:09, Eric Crouch wrote: > A better link for this is: > <http://www.katsurashareware.com/chromatic/chromatic.html >> > > Eric Crouch > > On 10 Dec 2007, at 21:58, Anthony Hind wrote: > >> Leonard >> Sean Smith gave me information about the Strobe Tuner 1.5 for >> $15 from Katsura Shareware >> Sean says, "It appears to be Mac _only_ and it's far more exacting >> than my strings or my ear. It's nice to have the choice of 1/4 or 6th >> comma, or even equal temp. in any key and/or hertz." >> http://mac.rbytes.net/cat/mac/audio/strobe-tuner/ >> Regards >> Anthony >> >> >> Le 10 dec. 07 =E0 22:43, Leonard Williams a ecrit : >> >>> I'm sure this has been addressed before, but I no longer >>> have the >>> posts: Is there any programmable tuning software for the Mac? I'm >>> looking >>> for meantone and just tuning schemes. >>> >>> Thanks and regards, >>> Leonard Williams >>> >>> >>> >>> To get on or off this list see list information at >>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> >> >> -- > > > -- --
[LUTE] Re: Tuning software for Mac
A better link for this is: <http://www.katsurashareware.com/chromatic/chromatic.html > Eric Crouch On 10 Dec 2007, at 21:58, Anthony Hind wrote: > Leonard > Sean Smith gave me information about the Strobe Tuner 1.5 for > $15 from Katsura Shareware > Sean says, "It appears to be Mac _only_ and it's far more exacting > than my strings or my ear. It's nice to have the choice of 1/4 or 6th > comma, or even equal temp. in any key and/or hertz." > http://mac.rbytes.net/cat/mac/audio/strobe-tuner/ > Regards > Anthony > > > Le 10 dec. 07 =E0 22:43, Leonard Williams a ecrit : > >>I'm sure this has been addressed before, but I no longer >> have the >> posts: Is there any programmable tuning software for the Mac? I'm >> looking >> for meantone and just tuning schemes. >> >> Thanks and regards, >> Leonard Williams >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > -- --
[LUTE] Re: Are there any Harmony Assistant users here making lute tab?
Ah, thanks, I hadn't spotted that. Eric Crouch PS Apologies, that last email was meant to go to the list, but I seem to have sent it direct instead! On 19 Nov 2007, at 08:13, Ed Durbrow wrote: > You go to the Preferences and click on Fonts then Tablature notes. > > On Nov 18, 2007, at 11:38 PM, Eric Crouch wrote: > >> How do you change the tablature font? I've only got Melody, >> admittedly, but I think it's behaviour is the same as that of >> Harmony and all I can seem to change is text fonts. > > 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: Lute concert
My wife and I heard Anthony Rooley give a recital entitled 'Orpheus Stories' at Waterperry House in Oxfordshire, UK on a gloomy wet afternoon in July (so wet, in fact, the organisers provided us with overshoes to wear into the ballroom where the event was taking place). He alternated readings on the theme of Orpheus with a variety of mostly 17th or early 18th century music, much of it unfamiliar and clearly some of it lute arrangments - (Torelli, Geminiani, Ziani, Hayme, Pepusch, Cimarosa, Henry and Daniel Purcell) - with Dalza the sole 16th century composer. Most of this was played on (if I remember correctly) an 11 course lute, though he did have a little renaissance lute with him which I guess he must have used for the Dalza (though I can't remember this). We sat in the front row of an audience of 25 or so (at least some of whom were not lute aficionados) and everyone seemed to have an enjoyable time. We both found it a very musically satisfying experience and well worth the effort of tramping through the mud to get there! As a mere guitarist I don't like to comment on his technique, except to say it looked convincing to me. As for loudness, it was very easy to hear everything he did in that setting - though having heard both Hopkinson Smith and Jakob Lindberg at Lute Society meetings recently, I think AR's volume tends more towards the first rather than the second. Eric Crouch On 25 Sep 2007, at 02:01, <[EMAIL PROTECTED]> <[EMAIL PROTECTED]> wrote: > Dear all, > > We seem to be concentrating on just the softness > of playing. What about Bruno's other comment that "it > was also painful to hear or to understand what > [Rooley] was doing"? (Bruno even went so far as to > call him a "poor chap.") All the painstaking academic > research in the world doesn't matter much if the > performer is not able to make his musical ideas > understood by the audience. > >I can't really comment specifically in this case > since I've never heard Rooley live. Anyone else have > impressions? > > Chris > > > > __ > __ > Check out the hottest 2008 models today at Yahoo! Autos. > http://autos.yahoo.com/new_cars.html > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Nigel on YouTube
Thanks to all those who very swiftly sent me informative answers to my question about 'Solus cum Sola' and 'Solus sine Sola'. I particular I was able to dig out Chris Goodwin's article from my pile of incompletely read copies of 'Lute News'. A fascinating article, which also throws light on the title of another piece, John Danyel's wonderful set of variations 'Mistress Ann Grene, her leaves bee Grene' Eric Crouch On 19 Jul 2007, at 10:20, Charles Browne wrote: > The Lute Society Newsletter for December 2003 (no 68) has an > article by > Christopher Goodwin on "some recent Dowland discoveries". > There are some references to 'solus cum Sola' . The meaning is > given as 'a > man alone with a woman alone'. The article is well-worth reading ! > Charles Browne > > -Original Message- > From: Taco Walstra [mailto:[EMAIL PROTECTED] > Sent: 19 July 2007 09:24 > To: Eric Crouch; lutelist > Subject: [LUTE] Re: Nigel on YouTube > > > On Thursday 19 July 2007 09:28, Eric Crouch rattled on the keyboard: >> Can anyone explain the meaning of the title 'Solus cum Sola' and the >> next piece in Poulton 'Solus sine Sola'? >> >> Eric Crouch > > Hi, the easy answer is 'the mail and the female alone' as the > meaning of the > first, but that doesn't say much. Point is where the title comes > from. I > read > an explanation a long time ago that it came from a well-known book in > Elizabethan times which had something to do with a lover trying to > get into > a > bedroom of a girl. Don't know the details anymore. It was different > from > Poulton's explanation which is doubted (she thought it had to do > with a > reference to a philosopers text if I remember well). Sorry not any > details, > but perhaps somebody knows more about it. > taco > >> >> On 18 Jul 2007, at 22:47, Jim Abraham wrote: >>> The longer one is "Solus cum sola", Poulton #10. >>> >>> On 7/18/07, Alain Veylit <[EMAIL PROTECTED]> wrote: >>>> This may have been answered already: which piece exactly is Nigel >>>> playing? >>>> Alain >>>> >>>> Ed Durbrow wrote: >>>>> Thanks for posting this. Wonderful. Very interesting how he is so >>>>> free with his right arm. >>>>> >>>>> On Jul 8, 2007, at 12:22 AM, DANIEL SHOSKES wrote: >>>>>> http://www.youtube.com/watch?v=8qIigZZb4ME >>>>>> >>>>>> http://www.youtube.com/watch?v=bXb3zih2umw >>>>>> >>>>>> >>>>>> >>>>>> 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 >>>>> [EMAIL PROTECTED] >>>>> http://www9.plala.or.jp/edurbrow/ >>> >>> -- > > -- > > University of Amsterdam, Faculty of Science > Drs. T.R. Walstra > Valckenierstraat 65 > 1018 XE Amsterdam, The Netherlands > > Email:[EMAIL PROTECTED] > Phone: 0031-20-5255730 > Web: http://staff.science.uva.nl/~walstra > > > > >
[LUTE] Re: Nigel on YouTube
Can anyone explain the meaning of the title 'Solus cum Sola' and the next piece in Poulton 'Solus sine Sola'? Eric Crouch On 18 Jul 2007, at 22:47, Jim Abraham wrote: > The longer one is "Solus cum sola", Poulton #10. > > On 7/18/07, Alain Veylit <[EMAIL PROTECTED]> wrote: >> >> This may have been answered already: which piece exactly is Nigel >> playing? >> Alain >> >> Ed Durbrow wrote: >>> Thanks for posting this. Wonderful. Very interesting how he is so >>> free with his right arm. >>> >>> On Jul 8, 2007, at 12:22 AM, DANIEL SHOSKES wrote: >>> >>> >>>> http://www.youtube.com/watch?v=8qIigZZb4ME >>>> >>>> http://www.youtube.com/watch?v=bXb3zih2umw >>>> >>>> >>>> >>>> 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 >>> [EMAIL PROTECTED] >>> http://www9.plala.or.jp/edurbrow/ >>> >>> >>> >>> >>> >>> >> >> >> > > --
[LUTE] Re: Greensleeves - Poulton
My very old copy of the Diana Poulton tutor gives it as the version from the William Ballet Lute MS and I assume it to be a faithful transcription. Eric Crouch On 4 Jun 2007, at 11:34, Stephen Kenyon wrote: > Me again again. Does the Greensleeves version from Diano Poulton's > lute > tutor come from a particular source or is it an amalgam of different > sources? And does the rhythm in the first bars of the 3rd and 4th > lines > really go like that in historical sources? One is rather used to > hearing the chord re-sounded on the 2nd beat and its very strange > for it > not to. > > Stephen > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Chaconne for Harlequin
Arthur, Do you mean this piece <http://www.cs.dartmouth.edu/~wbc/tom/ Chaconne_dXArlequin.mp3> ? As far as I know Chris Wilke is right and it is a Lully/de Visee theorbo work from the Saizenay MS. Eric Crouch On 11 May 2007, at 12:46, <[EMAIL PROTECTED]> <[EMAIL PROTECTED]> wrote: > Arthur, > > > There's a "Chaconne des Harlequins" in D Major for > theorbo by de Vis=E8e in Saizenay. p.340 > > > Chris > > > --- Arthur Ness <[EMAIL PROTECTED]> wrote: > >> Does anyone know the source for a piece titled (in >> English??) "Chaconne for Harlequin." Is that clear? >> does >> anyone know of such a piece, perhaps spelled >> differently >> in the original source. >> >> many thanks. Arthur. >> >> >> >> To get on or off this list see list information at >> > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > > > > > __ > __Yahoo! oneSearch: Finally, mobile search > that gives answers, not web links. > http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC > > --
[LUTE] Re: jane pickering MS
I believe Boethius was taken over by Severinus Press. However when I asked Severinus recently if they could get me the Marsh Lute Book and the Brogyntyn Lute Book I got an e-mail which said: "These works have been transferred to Ruxbury Publications, of Scout Bottom Farm, Mytholmroyd, HX7 5JS, UK". I don't know whether this applies to all the lute MS that Boethius used to publish, but I suspect it may. They seem to run a print on demand operation. Their correspondence comes headed "The Recorder Magazine" at the same address, and though they don't seem to publish an e-mail address, they seem to be the same people as <[EMAIL PROTECTED]> (again judging by the postal address). Easiest to give them a ring on +44 (0) 1422 882751, as they don't seem to be very communicative otherwise. Eric Crouch On 11 Dec 2006, at 09:30, LGS-Europe wrote: >> - has Jane Pickeringe's MS been published elsewhere? I can't find >> it, so >> perhaps the answer is no... > > Facsimile by Boethius Press 1985. A good library will have it for > you, and > I'm sure someone on the list will be able to tell you who took over > Boethius > and might still have some copies in stock. > > 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: strings: direction of vibration?
As a habitual lurker on this list I have read this exchange with interest and it sent me to my copy of the sixth edition (1962) of the classic book "The Physics of Music" by Alexander Wood. This produced an observation that is not directly relevant, but perhaps interesting nevertheless, that the way the violin bridge is constructed facilitates the transmission of vertical, rather than longitudinal vibrations to the soundboard. Those of us who haven't looked recently might need to be reminded that the violin bridge has a pattern of cutouts that give it a narrow waist (and therefore flexibility in the longitudinal direction) and two feet, one of which is above the soundpost and therefore acts as a pivot and the other of which transmits the vibrations to the soundboard (except, I suppose, if you have an authentic early violin without a soundpost). According to this account the flexible waist tends to absorb the longitudinal vibrations and the foot to transmit the vertical vibrations. Eric Crouch On 28 Aug 2006, at 11:42, Charles Browne wrote: > > The following link to the proceedings of a 1983 conference of > Swedish guitar > makers is quite interesting and there is a reference to the acoustic > differences between plucking 'vertically' or 'in parallel' to the > soundboard. A > vertical 'pluck' producing a strong ,but short, tone and a parallel > 'pluck > produces a weaker but more sustained tone. Jonsson makes the point > that the > direction of pluck is normally a mixture of these two extremes and the > resulting combination gives both the initial 'attack' and the ensuing > 'sustain'. There is a lot of background research information > including Chladni > Interferograms. > The whole publication is about 106 pages long! > have a good read! > Charles > > http://www.speech.kth.se/music/publications/kma/papers/kma38- > ocr.pdf#search=%22 > Jonsson%20Acoustics%20for%20guitar%20makers%22 > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Naming of Weiss Suites
On 21 Aug 2006, at 08:26, Eric Crouch wrote: > On 20 Aug 2006, at 23:10, Roman Turovsky wrote: > >> Note that SLW's title is feminine. >> RT > > Can anyone develop that point - is it possible the title 'L'Infidele' > also connotes another meaning of the word? > Ah, I see it's been answered already. More generally, is there any evidence about the names attached to a few of Weiss's suites - who is 'Le Fameux Corsaire'? Eric Crouch -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Turkish Lute Music?
On 20 Aug 2006, at 23:10, Roman Turovsky wrote: > Note that SLW's title is feminine. > RT Can anyone develop that point - is it possible the title 'L'Infidele' also connotes another meaning of the word? Eric Crouch -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Acker Bilk's Canon
Sorry, seem to have got the link wrong: http://witf.blogspot.com/2005/03/lady-mondegreen-buttocks-pressing- song_15.html EC (ps, if it comes out wrong again, try closing up any spaces that arise from the address going over two lines) Begin forwarded message: > From: Eric Crouch <[EMAIL PROTECTED]> > Date: 23 May 2006 13:10:23 BDT > To: Lute Net > Subject: [LUTE] Re: Acker Bilk's Canon > > I remembered a joke about the customer who asked for the 'Kodaly > Buttocks Pressing Song' from my father years ago, so I googled for > this and found (among others) this site that has several other > examples and classifies the genre as 'Mondegreens' witf.blogspot.com/2005/03/lady-mondegreen-buttocks-pressing- > song_15.html> > > Eric Crouch > > On 22 May 2006, at 18:08, Stewart McCoy wrote: > >> This afternoon I was sent this little bit of nonsense, which I pass >> on, with the hope that some might find it amusing. >> >> Stewart McCoy. >> >> -o-O-o- >> >> The following appeared in "Early Music Review" for November 2003. >> >> "Years ago, in what seems another life, I worked in record shops. >> Customers would come in bearing scraps of paper upon which they'd >> scribbled notes about the music which they had heard on Radio 3 and >> wanted a recording thereof. Many were wonderful misprints and >> howlers, and I started to write them down. These are all totally >> genuine requests - I've not embellished or improved them! Here are >> some samples: >> >> Acker Bilk's Canon >> >> Al Bowlly's Adagio >> >> Mendelssohn's Wedding Mask >> >> Sibelius's Tapioca >> (and Potholer's Daughter) >> >> Chopin's Military Bolognese >> >> The Bog Roll from the Tales of Hoffmann >> >> Bach's Kestrel Sweets >> >> Cream of Gerontius >> >> Cavalier Rusty Meccano >> >> I particularly liked a Monteverdi one - a request from an old lady >> who wanted to mug up on an opera she was going to see at >> Glyndebourne in 1984. She really did call it >> >> Constipation of Popeye. >> >> >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > --
[LUTE] Re: Acker Bilk's Canon
I remembered a joke about the customer who asked for the 'Kodaly Buttocks Pressing Song' from my father years ago, so I googled for this and found (among others) this site that has several other examples and classifies the genre as 'Mondegreens' Eric Crouch On 22 May 2006, at 18:08, Stewart McCoy wrote: > This afternoon I was sent this little bit of nonsense, which I pass > on, with the hope that some might find it amusing. > > Stewart McCoy. > > -o-O-o- > > The following appeared in "Early Music Review" for November 2003. > > "Years ago, in what seems another life, I worked in record shops. > Customers would come in bearing scraps of paper upon which they'd > scribbled notes about the music which they had heard on Radio 3 and > wanted a recording thereof. Many were wonderful misprints and > howlers, and I started to write them down. These are all totally > genuine requests - I've not embellished or improved them! Here are > some samples: > > Acker Bilk's Canon > > Al Bowlly's Adagio > > Mendelssohn's Wedding Mask > > Sibelius's Tapioca > (and Potholer's Daughter) > > Chopin's Military Bolognese > > The Bog Roll from the Tales of Hoffmann > > Bach's Kestrel Sweets > > Cream of Gerontius > > Cavalier Rusty Meccano > > I particularly liked a Monteverdi one - a request from an old lady > who wanted to mug up on an opera she was going to see at > Glyndebourne in 1984. She really did call it > > Constipation of Popeye. > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: videos deleted
I haven't been following this thread, except to skim the messages as I delete them. However I did watch one of the videos (and I thought it was pretty good considering the points Alain V made about the difficulty of doing videos) using my iMac. So I was wondering what Bill's problem with this was? There are several freeware Mac video players (eg VLC) that allow you to watch most things on a Mac. Eric Crouch On 1 May 2006, at 21:49, bill kilpatrick wrote: > this raises two points: > > - like david, i have an imac (ancient) and find it > very frustrating to be informed of something i can't > access. i would have loved to see and hear thomas > performing the pieces he posted. don't know what i > can do about this but i doubt i'll be chucking it all > in at this late date for new pc with (gak!) windows. > > - it takes a special sort of person to respond > negatively - and blatantly - to someone's performance. > there are good critics and then ... there are gutter > snipes and - as they say in dear ol' blighty - there's > nowt' queer as folk. so, please don't take it > personally thomas. > > i had the extreme good fortune once to witness an > orchestra fall apart during a performance - it was > riveting ... gloriously, stupendously, nerve rackingly > awful ... but i'm sure that everyone there learned > more about orchestrated music and how tenuous and > difficult the whole thing can be to pull off > successfully than anyone ever would have from > listening to the best. > > thomas - screw 'em! please post your videos again - > i'll try to find some way to see them ... and - in any > case - i'll see what i can do about posting a video of > me playing "look after my cattle" on my charango ... > > .. that's sure to take some of the heat. > > respectfully - bill > > > > > --- Vance Wood <[EMAIL PROTECTED]> wrote: > >> >> - Original Message - >> From: "Vance Wood" <[EMAIL PROTECTED]> >> To: "David Rastall" <[EMAIL PROTECTED]> >> Sent: Monday, May 01, 2006 2:36 PM >> Subject: Re: [LUTE] Re: videos deleted >> >> >>> Thank You David, I did not think it was you and >> agree with everything else >>> you said. There is no excuse for this kind of >> thing. If it had been done >>> in the open maybe we could have taken some shots >> at them but they did >> their >>> dirty little deed in a private email. Wrong is >> wrong no matter where it >>> takes place. >>> >>> VW >>> - Original Message - >>> From: "David Rastall" <[EMAIL PROTECTED]> >>> To: "Vance Wood" <[EMAIL PROTECTED]> >>> Sent: Monday, May 01, 2006 12:42 PM >>> Subject: Re: [LUTE] Re: videos deleted >>> >>> >>>> On May 1, 2006, at 11:47 AM, Vance Wood wrote: >>>> >>>>> I know you play David, but did you tell Thomas >> he couldn't or >>>>> should delete >>>>> his videos? >>>> >>>> Hell, no I didn't!! Are you kidding? I would >> never tell anyone not >>>> to play the lute in any circumstances. Besides, >> I never even saw >>>> those videos. My iMac doesn't play wmv files. >>>> >>>>> And is this what we want? No one learns who >> does not try. >>>>> That's just simple wisdom. >>>> >>>> That's how I learned: by getting up there and >> doing it. Encouraged >>>> initially by a good teacher (Donna Curry). But >> I've always been >>>> strictly an amateur player. >>>> >>>> The fact is, Vance, I'm appalled that anyone >> would give Thomas a hard >>>> time for putting up those videos, but I'm not >> particularly surprised >>>> by it. There are many on the lute list who >> consider themselves >>>> "professional" scholars, educators and what have >> you, and some of >>>> those guys do not suffer amateurs gladly. >> Intellectual snobbery has >>>> always been a pet peeve of mine with the lute >> list. >>>> >>>> David R >>>> [EMAIL PROTECTED] >>>> www.rastallmusic.com >>>> >>>> >>>> >>>> >>> >> >> >> >> >> To get on or off this list see list information at >> > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > > early music charango ... http://groups.google.com/group/charango > > Send instant messages to your online friends http:// > uk.messenger.yahoo.com > >
[LUTE] Re: tablature
What format have you got the tablature in? If it is in Fronimo or Django files, the task is straightforward. If on paper then it is (imho) fairly laborious transcribing to notation. Eric Crouch On 10 Apr 2006, at 09:27, bernardo gui wrote: > dear list members, > > for a forthcoming recording project i need to prepare scores in > grand staff in order to enable the producer to see what is going > on, musically speaking. unfortunately, i lack any experience with > transcribing music from tablature into staff notation by using > standard software tools. this is why i am turning to this list: is > there anyone out there with experience in transcribing lute music > who would be so kind to help me out? needless to say, i would be > happy to compensate any volunteers for their time. please reply off- > list. thank you very much. > > bernardino > > > - > Yahoo! Messenger with Voice. PC-to-Phone calls for ridiculously low > rates. > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Robert Johnson
Robert Johnson's complete works were published by Oxford University Press (ed. A. Sundermann) in the series 'Music for the Lute' in the early 70's. This volume is now out of print but can be obtained from Allegro Music who have a contract for republishing OUP's out of print works. They can be contacted at 82 Suffolk St, Queensway, Birmingham B1 1TA, UK or on +44 (0)121 643 7553. Their web page is but my memory is that this wasn't very helpful and it was better to ring them up. The format of the music, by the way, is grand staff transposition plus facsimiles of the original manuscripts. Eric Crouch On 26 Feb 2006, at 20:38, David Rastall wrote: > Hi All, > > Is there a single publication of any kind that contains all the lute > works known to be composed by Robert Johnson? I'm interested in a > particular alman and pavin that I've heard played by classical > guitarists, and I'm looking for the lute versions, i.e. the "real > thing." ;-) > > David R > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: the lute number by the Shadows
There's someone in Norway who obviously decided it would be a service to humanity to make MIDI files of all the Shadows tunes ;-) Have a look here: <http://home.online.no/~gunnar-a/eng.htm> Eric Crouch On 27 Jan 2006, at 15:30, LGS-Europe wrote: > Does anybody have some info on The Lute Number by the Shadows (you > can hear > a bit on iTunes)? Just curious. > > David > > > > > David van Ooijen > Email: [EMAIL PROTECTED] > Http://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: Surviving in Eliz. England.
It's still possible to hear people who say "th'art" for "you are" in South and West Yorkshire. Eric Crouch On 13 Jan 2006, at 18:25, [EMAIL PROTECTED] wrote: > > In a message dated 1/13/06 10:11:15 AM, [EMAIL PROTECTED] writes: > > >> I keep hearing that bit about people who still speak "Elizabethan >> English" >> in North Carolina, or remote mountains of Appalachia, or >> somewhere. . .- But >> there's never a source for the assertion (how would they know?) >> >> > > One of those to make this claim was Cecil J. Sharp in his "English > Folk-Songs > from the Southern Appalachians." Sharp gathered his material > between 1916 and > 1918, before the area was influenced by new accents introduced by > the radio. > Sharp may have been influenced by the fact that many inhabitants of > the area > still used the familiar tense in everyday conversation -- "thou > art," etc. > > Peter Danner > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Surviving in Eliz. England.
You may have found it on the internet, but I don't think it is
correct. English had several major linguistic divisions that would
have persisted strongly into Elizabethan times. For example the
English of the south east which became standard English was much more
influenced by Norman French than the English of the Northern and
North Midland counties of England which showed strong influence from
Scandinavian languages.
Eric Crouch
On 13 Jan 2006, at 03:31, Peter Oljelund wrote:
> Hello Everyone
>
> Interesting subject!
>
> I found this text on the internet:
>
> "Elizabethian English did exist in England and the original form is
> still
> spoken in parts of the United States--particularly in the more
> isolated
> parts---which is more and more these days becoming almost none
> extant. It
> was the common language which everyone understood over regionalist
> speech.
> Just as today we in the United States all speak a common form of
> English
> which everyone or nearly everyone understands but regional English
> such as
> Valley Girl Speech ("He was just so gorgeous"--note the 'just
> so'--everything is 'just so' in Valley Girl Speech') with such
> expressions
> that are not quiet slang but not quiet acceptable standard English
> predominate. Likewise we have Cajun English (a combination of
> French and
> English), Gullah (a language and culture of Black South
> Carolinians) which
> is basically the African Language of Sierra Leone with a little
> English
> thrown in and Spanglish which is a combination of English and
> Spanish. We
> also have dialects that can tell one instantly where one is from---
> parts of
> North Carolina still sound as if they were from Scotland or
> Elizabethian
> England or England (the Rev. Billy Graham sounds like this), Parts of
> Charleston, South Carolina have an Upper Class English that sounds
> like they
> are from London,England; people from Brooklyn, New York and Ohio as
> well as
> parts of Southern California (the way they say "you do" is an instant
> giveaway) Mississippians have a dialect of the Old South of very
> slow speech
> often imitated poorly by Hollywood actors (Example is in Gone With
> the Wind)
> that I call "Under the Mag-NOL-yâhs" . People who speak this way
> often give
> the false impression that they are retarded and severly deficit in
> intelligence because often it takes them forever and a day to say
> what they
> are going to say since they mull over what they say before they say
> it.
> Aside from foreign influences; American English has been heavily
> influenced
> by the languages of American Native peoples from Micronesia
> (Chomorro tribe
> of Guam and the Mariannas) and Polynesia (Hawaiians) to the
> Continental
> aboriginal Tribes and
> the Inuit (Eskimo) of Alaska and Canada. The language has been much
> enriched
> by these peoples for instance the Inuit have more than 20 words for
> snow and
> ice ---with each word meaning a different type of snow or ice
> type---words
> which English did not have until enriched by theses peoples.
>
> However, Radio and Television as well as modern speaking machines have
> rapidly put to an end most regionalism as well as modern
> transportation.
> American Africans of color no longer speak as they did in the 1950s
> and
> earlier as in George Gershwin's Porgy and Bess--original version
> although
> they often can be identified sight unseen over the telephone just
> as some
> Orientals can be. One hears less easily identifiable speech because
> Television, Radio and the Movies have removed much of the isolationist
> qualities that created and preserved regionalist speech.
>
> In England this is also true. It was once possible to easily
> identify the
> village, town or city one was from. No longer. The Anglican
> Archbishop of
> Ireland came to speak at my Parish bringing with him some English
> friends
> who sat beside me. When they heard me speak they tried to identify the
> Village I was from, settled on Oxfordshire and finally asked me if
> I was
> from Oxford and if I was related to this peer or that peer of the
> realm as
> they though I looked like them. I told them "No I am not from
> Oxford and
> have lived in the United States since birth (except for travel) and
> as for
> as peerage is concerned that died on the the fields of Flanders during
> Elizabeth I reign when the Duke was killed in battle as he was
> single and
> had no direct heir." They were amazed as was another friend from
> Wales who
> had been away so long that she had
[LUTE] Re: Surviving in Eliz. England.
As far as I know this view is incorrect, or at least any 'standard' form of pronunciation would have been confined to a much smaller section of society than today, probably right up to the last century. The BBC is, I guess, influential in spreading pronunciation and before that the public schools (equivalent I think to private schools in the US) would have had an influence. However a lot of important and influential people would have spoken in regional dialects - Shakespeare almost certainly spoke with a Warwickshire accent and Lord Nelson is known to have spoken in Norfolk dialect. Eric Crouch On 13 Jan 2006, at 03:17, guy_and_liz Smith wrote: > I'm sure Elizabethan England had many local dialects, just as it > does today. > But most countries have something that's considered the nominal > standard > dialect. IIRC, she was referring specifically to the accent that > would have > been used by by the "sophisticated" levels of society (the court, > the upper > end of the merchant class, etc.), something like BBC English is the > nominal > standard today. > > Guy > - Original Message - > From: <[EMAIL PROTECTED]> > To: > Sent: Thursday, January 12, 2006 5:24 PM > Subject: [LUTE] Re: Surviving in Eliz. England. > > >> >> Given the multiplicity of 'English' accents in modern england, is >> there >> any reason to suppose Elizabethan England would have had but one >> dialect? >> London had a significant immigrant population as well as >> itinerants from >> wales, scotland, ireland, various areas of france, islands off >> scotland >> more norse than scots, frisia - not to mention the midlands, >> northumberland, cornwall etc. >> -- >> Dana Emery >> >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > >
[LUTE] Re: Surviving in Eliz. England.
There was a programme recently on UK Radio 4 in which some Outer Banks speakers were interviewed. To my ears their accent betrayed their origins in the English west country and if I had heard them and taken them to be from England that is where I would have located them. I think there was such a variety of accent in Elizabethan England that a time traveller returning there (providing [s]he avoided anachronisms) would merely be regarded as outlandish (in the Elizabethan sense of course). Eric Crouch On 12 Jan 2006, at 22:42, Nelson, Jocelyn wrote: > Some communities in the Outer Banks off the coast of North Carolina > still speak in this distinctive dialect, which is considered by > many to be the closest surviving speech to Elizabethan English. > Jocelyn Nelson > (currently living in Eastern NC) > > > > > From: guy_and_liz Smith [mailto:[EMAIL PROTECTED] > Sent: Thu 1/12/2006 3:03 PM > To: lute@cs.dartmouth.edu; Herbert Ward > Subject: [LUTE] Re: Surviving in Eliz. England. > > > > The actor would probably be noticed the minute he or she opened > their mouth. > I attended a talk several years by an expert on Elizabethan English (I > forget the name). What we tend to think of as an Elizabethan accent > is "BBC" > English, but that comes from the Victorian period. The Elizabethan > accent > was apparently distinctly different. She said that the closest > equivalents > to Elizabethan English aren't found in England at all, but in > isolated parts > of the northeastern US (presumably preserved by isolated > communities of > early immigrants). > > Guy > > > - Original Message - > From: "Herbert Ward" <[EMAIL PROTECTED]> > To: > Sent: Thursday, January 12, 2006 10:44 AM > Subject: [LUTE] Surviving in Eliz. England. > > >> >> Who, from the 21st century, would stand the best chance >> of visiting Elizabethan England and not being spotted >> as foreign in his manners, knowledge of day-to-day life, >> political knowledge, and overall demeanor? >> >> Of course, some Shakesperean actor would probably be best >> suited as far as language and dress are concerned. However, >> I'm not convinced that Shakespeare's world of sword fights, >> robber princes, and moonlit balconies would prepare him well >> for everyday life. >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > > > > > > --
[LUTE] Re: Music Therapy
I guess this is a bit OT as far as the lute goes, but I guess this discussion is running into problems of definition. My understanding of using music in the operating room is that it relaxes the surgeon and helps him/her focus on doing the operation right. Similarly it is possible to relax the patient in circumstances where (s)he is awake and this would help the treatment (eg in the dentist's chair). Neither of these would come within the British usage of 'Music Therapy', though the second one might come within the US usage, which is broader, viz: "What is music therapy? 1) Definition from British Society for Music Therapy There are different approaches to the use of music in therapy. Depending upon the needs of the client and the orientation of the therapist, different aspects of the work may be emphasised. Fundamental to all approaches, however, is the development of a relationship between the client and the therapist. Music-making forms the basis for communication in this relationship. As a general rule both client and therapist take an active part in the sessions by playing, singing and listening. The therapist does not teach the client to sing or play an instrument. Rather, clients are encouraged to use accessible percussion and ethnic instruments and their own voices to explore the world of sound and to create a musical language of their own. By responding musically, the therapist is able to support and encourage this process. The music played covers a wide range of styles in order to complement the individual needs of each client. Much of the music is improvised, thus enhancing the individual nature of each relationship. Through whatever form the therapy takes, the therapist aims to facilitate positive changes in behaviour and emotional well- being. He or she also aims to help the client to develop an increased sense of self-awareness, and thereby to enhance his or her quality of life. The process may take place in individual or group music therapy sessions. 2) Definition from American Music Therapy Association Music Therapy is an established healthcare profession that uses music to address physical, emotional, cognitive, and social needs of individuals of all ages. Music therapy improves the quality of life for persons who are well and meets the needs of children and adults with disabilities or illnesses. Music therapy interventions can be designed to: promote wellness manage stress alleviate pain express feelings enhance memory improve communication promote physical rehabilitation." (adapted from the two society web sites). Another potentially interesting use of music is reflected in research from a music teacher in this country (UK) which purported to show that playing Mozart to school pupils increased their capacity to learn. Presumably lute fantasies would have an even stronger effect :-) Eric Crouch On 3 Jan 2006, at 05:35, Daniel F Heiman wrote: > Charles: > > 1) One of my friends, a violin player, does a weekly music therapy > session at the local Veterans' Hospital for soldiers who are having a > difficult time readjusting to civilian life after combat experience in > the Middle East. I asked him about the format, and he replied that he > usually just takes requests and plays by ear. The vast majority of > the > requests are for pop music from the last couple of decades. For that > context and mode of operating, it would seem that a guitar would be > preferable to a lute. > > 2) I am having difficulty understanding the function of the music > in a > operating room/theater. I was under the impression that the > patient is > normally quite unconscious while undergoing the surgery. It makes > much > more sense to me for chemotherapy or radiation therapy sessions. > > Daniel Heiman > > On Mon, 2 Jan 2006 20:29:39 - "Charles Browne" > <[EMAIL PROTECTED]> writes: >> A Happy New Year to all! >> There was an article in one of the UK national newspapers recently >> about >> Harpists being 'employed' in operating theatres and in Chemotherapy >> Units to >> help reduce tension and anxiety in patients. I followed this up by >> looking at >> various links to formal Music Therapy and I gather that the Harp, >> among other >> instruments, is often used because of its particular properties. I >> wondered >> whether the lute would be similarly useful. Has anybody on the list >> experience >> of this? >> best wishes >> Charles >> >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> >> > > --
[LUTE] Re: Piccinini
Begin forwarded message: > From: Eric Crouch <[EMAIL PROTECTED]> > Date: 13 November 2005 15:30:11 GMT > To: dc <[EMAIL PROTECTED]> > Subject: Re: [LUTE] Piccinini > > You can find it here: <http://www.gerbode.net/ft2/composers/ > Piccinini/> > > Eric Crouch > > On 12 Nov 2005, at 20:08, dc wrote: > >> Where might I find the music for this Ciaccona? >> >> http://www.cs.dartmouth.edu/~lsa/download/audio/ >> Ciaccona_Piccinini.mp3 >> >> Thanks, >> >> Dennis >> >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Re: Repetitive Stress Syndrome
Have you thought about left hand mousing on the computer? I switched for similar reasons and found it very helpful. Anyone who can do lute left hand fingering should have no problems learning to use a mouse left handed. Eric Crouch On 2 Nov 2005, at 18:46, Craig Allen wrote: > Lately my right arm has been giving me lots of pain, in particular > inside the elbow. And it's affecting my playing. I sit and > pracitice for half an hour and when I unwind from the instrument I > get this pain right inside the elbow. I suspect the general cause > is working on a computer all day and finally the mouse is catching > up with me. I'm also getting a sharp pain at the left shoulder just > at the base of my neck. This can be excruciating. > > So then, does anyone here experience similar pains and aches and > what are you doing about it? If you're undergoing physical therapy > I'd be interested to know more about what kind specifically. I've > also heard Pat O'Brien often has good advice for these sorts of > things, but as I'm not in New York maybe one of his students here > could expound on any help he's given them. > > Thank you for your replies. > > Regards, > Craig > > > ___ > $0 Web Hosting with up to 200MB web space, 1000 MB Transfer > 10 Personalized POP and Web E-mail Accounts, and much more. > Signup at 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: Gastric distress (gut)
I think the answer to this is absolutely not! I found the collection of essays entitled "Authenticity and early Music", edited by Nicholas Kenyon (OUP 1988, reprinted 2002) very illuminating on this issue. Will Crutchfield covers this very point, suggesting that consciousness of historical style is something that only really developed during the 20th century. Richard Taruskin makes the more radical point that 'historically informed performance' is, in fact, a modern style. A book worth reading , even if only to disagree with some of it! Eric Crouch On 28 Oct 2005, at 09:58, gary digman wrote: > It occurs to me there may be a touch of irony in this concern with > being "historically correct", We're the artists whose aesthetic we > are trying to embody concerned about being historically correct? If > not, is not our concern for historical correctness unhistorical? > > Best to All, > Gary Digman > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Re: Are theorbists(sp) really so popular?
I fairly often hear the theorbo played in continuo in the Sheldonian Theatre in Oxford. For those who don't know it this is a 17th century building by Christopher Wren with a very good acoustic (but pretty uncomfortable seating). Though I am a dyed-in-the-wool guitarist I am prepared to admit that the bass notes of the theorbo sounding through a baroque ensemble seem to me among the most beautiful sounds in the whole of music. Maybe that's theorbists are popular? (And I name David Miller, Linda Sayce and William Carter as the players who have this effect on me!) Eric Crouch On 19 Oct 2005, at 10:57, Arto Wikla wrote: > > Well, oh, yes! > We theorbists are rather popular, because the instrument is so > expressive and beautiful, and because we players are so > beautiful/handsome, intelligent, learned and well educated... ;-) > > On Tuesday 18 October 2005 04:55, jim abraham wrote: > >> Does it require a specialized technique? >> > > And then also a serious comment: Yes, the technique really is quite > different from lutes and guitars (old and modern). One reason is the > re-entrant tuning; You have lots of strings in the same octave, your > chords get different shapes. Quite often they are thinner compared to > lutes. Often just only a well sounding bass is enough - you have to > admit not to try to play "harpsichord harmonies"; theorbo is actually > very melodic instrument. And perhaps most important is that usually > theorbo is played in the early baroque repertoire, where you really > have to be creative with your texture: if there are just whole > notes in > a row, you have to compose "on-line" something that is good for the > singer/player, good for the expression of the text and the piece! > To me > that meant, among other things, that I had to study some Italian to be > able to accompany the music of Monteverdi, Caccini, ... If you do not > understand the text - every word! - you cannot know, what to play! > > Some weeks ago in this list someone recommended a very good page on > early continuo, "The New York Continuo Collective", see >http://www.continuony.org/ > > There are lots of advice and musical rehearsing material! > > Good luck if you decide to join the gang of theorbo players! > > Arto > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Re: Unquiet Thoughts
Yes, something does seem to go badly wrong with it. I thought it must just be problems with the MIDI, but then I printed it out and tried to play it on the piano. I don't know this piece but it looks as if the parts manage to get seriously mangled somewhere in bars 4 and 5 and my guess is that part 1 gets to be 2 beats ahead by bar 6 and stays that way to the end. This could be what me and my friend Edward who plays the recorder sound like when we are together, but I'm sure you're right in thinking that Dowland wouldn't appreciate it. Eric On 14 Sep 2005, at 19:30, Stewart McCoy wrote: > Dear Eric, > > Let's not split hairs. You need to listen at least halfway through > the MIDI file, to appreciate fully that someone lacks a certain > musicological nous. Dowland must be turning in his grave. > > Best wishes, > > Stewart McCoy. > > > - Original Message - > From: "Eric Crouch" <[EMAIL PROTECTED]> > To: "Lute Net" > Sent: Wednesday, September 14, 2005 5:00 PM > Subject: [LUTE] Re: Unquiet Thoughts > > > >> Ah, but is it a performance at all, as it is presumably MIDI >> generated from the Lilypond file? >> [Only musicologists to answer this :-) ] >> >> Eric Crouch >> >> lute@cs.dartmouth.edu >> On 14 Sep 2005, at 16:19, Stewart McCoy wrote: >> >> >>> Dear All, >>> >>> If you would like to hear an execrable performance of Dowland's >>> "Unquiet Thoughts", try this site: >>> >>> http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=21 >>> >>> Best wishes, >>> >>> 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: Unquiet Thoughts
Ah, but is it a performance at all, as it is presumably MIDI generated from the Lilypond file? [Only musicologists to answer this :-) ] Eric Crouch lute@cs.dartmouth.edu On 14 Sep 2005, at 16:19, Stewart McCoy wrote: > Dear All, > > If you would like to hear an execrable performance of Dowland's > "Unquiet Thoughts", try this site: > > http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=21 > > Best wishes, > > 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: Guitar and lute
lute@cs.dartmouth.edu On 1 Sep 2005, at 14:51, Roman Turovsky wrote: >> Still, I believe baroque music for guitar can be made to work as >> well on >> > 6-string guitar as any baroque music if loosely > >> approached, again, as transcription. >> > 'Fraid not. Inasmush as you cannot play Froberger on a Steinway. > RT From the point of view of the humble listener this statement is quite wrong, as was illustrated for me when I heard Joanna McGregor (at the Huddersfiled Contemporary Music Festival would you believe) play Dowland's Forlorn Hope Fancy on a grand piano. Have a listen to it on her CD 'Play' . You may or may not like the interpretation, but as a live concert piece, in amongst other pieces from this CD, it was a stunning musical experience. (OK, so that's renaissance music but the point still holds.) Eric Crouch > > > > Feci quod potui, faciant meliora potentes. > == > http://polyhymnion.org > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Esias Reusner Suite in G
I have what appears to be an incomplete guitar arrangement of a Suite in G by Esias Reusner (presumably the younger). The arrangement is by Robert Bancalari and lacks the Allemande. It also seems to me an unsatisfactory arrangement in other ways, but I don't know its source. Can anyone shed any light on this and direct me to a copy? The courante begins like this: | | | | | |a--|-a---a---a| ||-a--e-e---| ||| ||-e-| ||| ||-a-| (and it is not the Suite in G published in the Mel Bay, 'Treasures of the Baroque' series) Eric Crouch To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Guitar and lute
No, I'm wrong - Scheit did no. 11 too! EC On 31 Aug 2005, at 18:32, Eric Crouch wrote: > I suppose we're straying a bit off lute topics again, but Karl Scheit > arranged the de Visee C minor suite both for modern guitar and for > guitar and recorder/flute in the early 70's and I have come across at > least one other edition. Most of de Visee's other baroque guitar > suites have received modern arrangements (the only one I haven't seen > arranged is the suite in B minor - no 11in Robert Strizich's > edition). However only the D minor suite seems to receive much > attention from guitarists and I agree with you that the Tombeau in > the C minor suite is a particularly fine piece. > > I've also got a copy of Philippe Meunier's guitar arrangements of de > Visee's theorbo arrangements of pieces by Couperin (arrangements of > arrangements I suppose). I suspect some other of de Visee's theorbo > works could fairly readily be arranged for guitar. > > Eric Crouch > > lute@cs.dartmouth.edu > On 31 Aug 2005, at 04:06, EUGENE BRAIG IV wrote: > > >> Still, I believe baroque music for guitar can be made to work as >> well on 6-string guitar as any baroque music if loosely approached, >> again, as transcription. It's dissimilarity to modern guitar >> doesn't seem to me to justify its total abandonment by players of >> the modern instrument. Of course, modern guitarists are more >> easily served to select punteado stuff that doesn't lean too >> heavily on campanella. There is a good deal of 5-course guitar >> music of decent quality that is a little heavier on the punteado >> than rasgueado and that is unknown to modern guitarists. An >> excellent example I can call to mind is de Visee's suite in C minor >> from his first guitar book that includes a fine tombeau on the >> death of Corbetta. I and a friend who I turned onto the work are >> the only two people I know to have played it, and I know of no >> recording of the work, modern guitar or otherwise. My lament >> remains: guitarists (who, it would seem, would rather put their >> transcription efforts into th >> e piano music of Albeniz or the cello suites of Bach) just don't >> seem to put much effort into knowing or loving the dedicated >> repertoire of their own instrument and its ancestors. >> >> Eugene >> >> > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Re: Guitar and lute
I suppose we're straying a bit off lute topics again, but Karl Scheit arranged the de Visee C minor suite both for modern guitar and for guitar and recorder/flute in the early 70's and I have come across at least one other edition. Most of de Visee's other baroque guitar suites have received modern arrangements (the only one I haven't seen arranged is the suite in B minor - no 11in Robert Strizich's edition). However only the D minor suite seems to receive much attention from guitarists and I agree with you that the Tombeau in the C minor suite is a particularly fine piece. I've also got a copy of Philippe Meunier's guitar arrangements of de Visee's theorbo arrangements of pieces by Couperin (arrangements of arrangements I suppose). I suspect some other of de Visee's theorbo works could fairly readily be arranged for guitar. Eric Crouch lute@cs.dartmouth.edu On 31 Aug 2005, at 04:06, EUGENE BRAIG IV wrote: > Still, I believe baroque music for guitar can be made to work as > well on 6-string guitar as any baroque music if loosely approached, > again, as transcription. It's dissimilarity to modern guitar > doesn't seem to me to justify its total abandonment by players of > the modern instrument. Of course, modern guitarists are more > easily served to select punteado stuff that doesn't lean too > heavily on campanella. There is a good deal of 5-course guitar > music of decent quality that is a little heavier on the punteado > than rasgueado and that is unknown to modern guitarists. An > excellent example I can call to mind is de Visee's suite in C minor > from his first guitar book that includes a fine tombeau on the > death of Corbetta. I and a friend who I turned onto the work are > the only two people I know to have played it, and I know of no > recording of the work, modern guitar or otherwise. My lament > remains: guitarists (who, it would seem, would rather put their > transcription efforts into th > e piano music of Albeniz or the cello suites of Bach) just don't > seem to put much effort into knowing or loving the dedicated > repertoire of their own instrument and its ancestors. > > Eugene > -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: John Wilson Preludes
David, I am glad to hear you can read the facsimile tablature in the Matthew Spring edition, your eyesight must be better than mine! I have transcribed the music in the course of making Guitar arrangements and decided to convert my Sibelius staff notation files to tablature in order to provide a readable version for lutenists. (In fact Alain Veylit is pursuing me for my MDI files of the pieces, so it I hope he will produce Django versions, which will be even better.) BTW anyone looking to use Matthew Spring's grand staff transcriptions to play the pieces should bear in mind they do contain some editorial alterations. These are explained in his preface but, in view of the particular nature of these pieces, players may not agree with them all. So far I have transcribed the originals faithfully (apart from making careless errors along the way!) Eric Crouch On 15 Aug 2005, at 08:01, LGS-Europe wrote: > > >> To those of you who have expressed an interest in The John Wilson >> Preludes that I have started posting on I am >> > > Why go through all this trouble when there's a beautiful edition > available? > Diapason press (DP49, Utrecht) has an edition which includes the > small but > readable facsimile as well as a modern transcription, excellently > done by > Matthew Spring. > And on a more general note, whithout wanting to demean anyone's > efforts, why > do many people on the net spend hours of typing in music that is > readily > availble in good editions, facsimile and modern, while there is > still music > waiting to be published that is left untouched by them? > > David > > > * > David van Ooijen > Email: [EMAIL PROTECTED] > Http://home.planet.nl/~d.v.ooijen/ > * > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] John Wilson Preludes
To those of you who have expressed an interest in The John Wilson Preludes that I have started posting on I am embarassed to say that the lute tablature version I initially posted of Prelude 3 had a lot of errors in it. I have now posted a corrected version that reproduces the MS as faithfully as I can manage using Sibelius. (The note values are in fact halved for reasons to do with what Sibelius can and can't display.) I hope to post Prelude 4 shortly and I will check back to make sure that 1 and 2 are correct. Eric Crouch To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: OT: Mozart for guitar
Yes, that's the one! (Sor's version is No. 5 at ) EC On 8 Aug 2005, at 17:35, Roman Turovsky wrote: >> Well, thanks for clearing that one up! >> The arpeggio pattern is different in the Sor study (which I now >> discover is Opus 35 no. 22) but there are similarities in the chord >> sequence sufficient to make the resemblance striking - and, yes it >> must be that guitarists are just very credulous people! >> > You mean the one that Sor pilfered from #21 at > http://www.polyhymnion.org/swv/opus-2.html > RT > > > > >> =EF=BF=BC >> Eric Crouch >> >> On 7 Aug 2005, at 20:46, Howard Posner wrote: >> >> >>> Eric Crouch wrote: >>> >>> >>> >>>> 2) Someone repeated the belief commonly held among guitarists that >>>> Beethoven wrote "Moonlight Sonata" after hearing Fernando Sor's >>>> study >>>> in B minor for guitar. (I think it's from Sor's opus 31, but I'm >>>> not >>>> sure because my copy hasn't got the opus no. on it.) I'd be >>>> interested if anyone (perhaps Arthur) knows whether there is any >>>> basis for this belief. >>>> >>>> >>> >>> Could the basis be that to some listeners, one bunch of arpeggios >>> sounds pretty much like another? >>> Do guitarists really believe this? Unless I am badly misinformed, >>> it's >>> obviously impossible. >>> >>> The Moonlight Sonata was written in 1801 (when Beethoven was 30 and >>> Sor >>> about 23) and published in 1802. Sor had not left Spain by then and >>> none of his music was published before 1804. So it would be >>> impossible >>> for Beethoven to have written the sonata after hearing the Sor >>> study. >>> It is, of course, possible that Beethoven influenced Sor. >>> >>> Howard Posner >>> >>> >>> >>> To get on or off this list see list information at >>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >>> >>> >> >> >> -- >> >> > > > ___ > $0 Web Hosting with up to 200MB web space, 1000 MB Transfer > 10 Personalized POP and Web E-mail Accounts, and much more. > Signup at www.doteasy.com > >
[LUTE] Re: OT: Mozart for guitar
Well, thanks for clearing that one up! The arpeggio pattern is different in the Sor study (which I now discover is Opus 35 no. 22) but there are similarities in the chord sequence sufficient to make the resemblance striking - and, yes it must be that guitarists are just very credulous people! =EF=BF=BC Eric Crouch On 7 Aug 2005, at 20:46, Howard Posner wrote: > Eric Crouch wrote: > > >> 2) Someone repeated the belief commonly held among guitarists that >> Beethoven wrote "Moonlight Sonata" after hearing Fernando Sor's study >> in B minor for guitar. (I think it's from Sor's opus 31, but I'm not >> sure because my copy hasn't got the opus no. on it.) I'd be >> interested if anyone (perhaps Arthur) knows whether there is any >> basis for this belief. >> > > Could the basis be that to some listeners, one bunch of arpeggios > sounds pretty much like another? > Do guitarists really believe this? Unless I am badly misinformed, it's > obviously impossible. > > The Moonlight Sonata was written in 1801 (when Beethoven was 30 and > Sor > about 23) and published in 1802. Sor had not left Spain by then and > none of his music was published before 1804. So it would be > impossible > for Beethoven to have written the sonata after hearing the Sor study. > It is, of course, possible that Beethoven influenced Sor. > > Howard Posner > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Re: OT: Mozart for guitar
I've just come back from a four day guitar workshop and read this thread. During the course of the workshop: 1) I watched Christopher Nupen's documentary on Segovia made when the Maestro was 75. During this programme Segovia talked about the guitar as an orchestra in miniature (though I can't remember his exact words) and demonstrated it's "orchestral voices". He didn't comment on the fact that Berlioz had made the same comparison, though he must have known this. 2) Someone repeated the belief commonly held among guitarists that Beethoven wrote "Moonlight Sonata" after hearing Fernando Sor's study in B minor for guitar. (I think it's from Sor's opus 31, but I'm not sure because my copy hasn't got the opus no. on it.) I'd be interested if anyone (perhaps Arthur) knows whether there is any basis for this belief. Eric Crouch On 5 Aug 2005, at 18:39, Roman Turovsky wrote: >> I think guitar habitually makes unrealistic claims.. >> >>> >>> Such as? >>> >>> JE >>> >> Ever seen the Yamashita circus? >> RT >> >> That's an excellent specific example of one person's "unrealism", I >> > agree; > >> but I was hoping for an explanation of your seemingly general "claim" >> > about > >> the "guitar's habits". >> JE >> > KY is the tip of the iceberg so to speak, but there is a legion of > DelPriora > type of composers as well, etc. etc. However, I'd prfefer not > to get > into this topic. Lets stick to them lutes. > RT > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
Re: Byrd
I'm a novice at all this, but I can see the point that Arthur Ness is making. Earlier on (if I understand correctly) he gave the example of Byrd pieces that have been transcribed unchanged from lute originals (rather than arranged) to the keyboard. Even in my limited experience I have come across examples of this - for example there is a Fancy by Newman in the Mulliner Book and a Sarabande and Allemande in the Elizabeth Rogers Virginal Book all of which look very much (from the distribution of the parts) as if they are lute pieces that have been written down in grand staff (for virginal players to play?) with hardly any (if any) rearrangement. These transcriptions (yes, I think this to be the correct term) are clearly different from the example of "reworking" given by Salvatore Salvaggio. However this "reworking" is different again from the many examples of "different" pieces based on the same theme - eg Edward Collard's Ground (for lute) based on the same theme as Byrd's Hugh Ashton's Ground, and the several versions of "Conde Claros" for vihuela and lute. Eric Crouch On 24 Jul 2005, at 06:00, Sal Salvaggio wrote: > > Luters, > > I am presently working on a Pavan by Byrd set by > Francis Cutting for a program of Elizabethan Ballads > and Dances.I put the piece in with a group of Cutting > pieces. The "Cutting" style is evident > in his "reworking" or "recomposition" of this work. I > consider it as original in the way Mr. Cutting has > used the lute to express his rendition of the Byrd > piece. Would I call this a Cutting composition? NO. I > think of it as an original Cutting impression of a > keyboard piece by Byrd - in effect an original piece > for the lute by Cutting, much as I consider Andres > Segovia's "Bach Chaconne" or his recomposition of > DeVisee or Llobet's thinning out + guitaristic > coloring of Granados as original works for the > guitar...Let the semantic fur fly > > > Salvatore Salvaggio > http://www.Salvaggio.50megs.com > On 24 July at 04:49 [EMAIL PROTECTED] wrote: > Hi to all, > > It seems that Ness is saying that a keyboard composition, reworked > (arranged) for lute, can qualify as an original lute piece. Thames > is saying, not so. > Do I have this right? I'm a little confused about this thread... > I've > published several books with Mel Bay Publications of my > arrangements for guitar: > works by Debussy, Handel, Strauss, Bach, Schubert, Mozart, etc. > Even though a > lot of creative work goes into these arrangements; in no way would > I consider > them to now qualify as original guitar compositions. I've had a > very busy and > tiring week, so forgive me if I'm missing the obvious; but it seems > to me > that Michael has a valid point about all this. Being a nice person > and valued > musicologist is not the issue here, is it? > > James > > > > __ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
