[LUTE] Re: Amarilli
Hello. In addition to learning the lute, I have started formal vocal training. In choosing to sing Caccini I have hit the how do you play and sing at the same time? problem. some can, others cant. I can do strumming when i sing (as for modern folk music or renaissance music I am playing casually by ear, but the more complex the plucking gets the less able I am to sing and play together; even when I am off-book for the music. Curiously, it is proven that I can dance and play a crumhorn or bass recorder. Dont worry too much if this is a skill that takes you time to develop, some parts of the brain are used in common with vocalization and reading, at least you should have the piece memorized in both aspects. -- 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: Amarilli
And I can't even do the singing with strumming very well. It's one of the reasons that I was attracted to lute and then classical guitar (yes, the other way 'round from most!) back in 1970 instead of wanting to be a folk-singer. But perhaps some list members more talented in this skill have better advice Best, and keep playing and/or singing, Chris. dem...@suffolk.lib.ny.us 3/20/2010 11:12 AM Hello. In addition to learning the lute, I have started formal vocal training. In choosing to sing Caccini I have hit the how do you play and sing at the same time? problem. some can, others cant. I can do strumming when i sing (as for modern folk music or renaissance music I am playing casually by ear, but the more complex the plucking gets the less able I am to sing and play together; even when I am off-book for the music. Curiously, it is proven that I can dance and play a crumhorn or bass recorder. Dont worry too much if this is a skill that takes you time to develop, some parts of the brain are used in common with vocalization and reading, at least you should have the piece memorized in both aspects. -- Dana Emery 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
[LUTE] Re: Amarilli
This is for dunces like me who have problems thinking about more than one thing at a time. The one thing that makes complex contrapuntal lines easy to manipulate on the Lute is the use of tablature (in my opinion). Now I know there are those out there that can recognize the counterpoint just by looking at the tab, and some of you can probably hear it as well. Because this is not true with me I must assume that there is one other dummy like me that usually has to play through something before gathering an understanding of what the piece is about, especially if I have never heard it. So---what does this mean? Tablature's magic is centered in its linear relationships. You can divide up the entire composition into vertical relationships clearly seen in the tablature, where it is possible to at the least get all of the notes in the right place at the right time, after which you can start getting your mind and understanding around the actual spirit of the music and not just the mechanics. When you add a voice, especially your own, instead of trying to sing the piece with all of its independent elements, and play the instrumental part with all of its independent elements and make them work together without short circuiting your brain, it is easier to learn your vocal part into the same vertical relationship with the music as the individual parts of the instrumental are to each other. In short, learn the mechanics first; then as the mechanics start to make sense the music will start to manifest itself. I suppose it could be called a cheater's method but it is the only way it works for me. - Original Message - From: Eleanor Smith s0347...@sms.ed.ac.uk To: probe...@acm.org; Mark Probert probe...@gmail.com Cc: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Friday, March 19, 2010 4:45 AM Subject: [LUTE] Re: Amarilli My trick when accompanying myself singing is to get the vocal part learnt to the point where I no longer need the music or to concentrate that hard ... and then it's just my hands (in my case on a harpsichord) I need to worry about - having said that I often accompany myself when learning notes but usually at the piano where all note-bashing sins can be assisted by pedals! Best, Elly Hello. In addition to learning the lute, I have started formal vocal training. In choosing to sing Caccini I have hit the how do you play and sing at the same time? problem. Any cunning ideas? And when reading from a figured bass how dense is the chordal underlay? Less than with a separate Singer? Thanks Regards .. mark -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Ms Eleanor Smith, MMus PhD Candidate: Organology University of Edinburgh c/o St Cecilia's Hall 220 Cowgate, Niddry Street Edinburgh EH1 1LJ -- The University of Edinburgh is a charitable body, registered in Scotland, with registration number SC005336. __ Information from ESET NOD32 Antivirus, version of virus signature database 4957 (20100319) __ The message was checked by ESET NOD32 Antivirus. http://www.eset.com __ Information from ESET NOD32 Antivirus, version of virus signature database 4957 (20100319) __ The message was checked by ESET NOD32 Antivirus. http://www.eset.com
[LUTE] Re: Amarilli
For best results, standing is a must. I resisted this for years, but then I realized that sitting AND holding the lute is just not good for the voice. It can be done, but it can be done better standing. Sitting is perhaps a bit better for the lute, but most lute parts can be played standing. After learning perfectly the song from a vocal technical point of view, you could then try transitioning to sitting, but not till the technique is in place. It is usually very easier to memorize the song, or partially memorize the song, then read the lute part. I have no trouble memorizing both, but then I memorize the vocal part and the texts anyway even if I'm not singing because it makes me a better accompanist. When I was a student, all our recitals had to be from memory anyway, (the jury system) so I just got into the habit. A helpful tip is to recite the poem to scope out all the important accents and line breaks and so on, then as a starting tempo take a notch slower than the text reciting speed. This will ensure that the rhetoric is not lost. And, lastly, before singing Amarilli, one should read the preface to Caccini's book, especially where he talks about how to start a song, it is readily available in a translation by Wiley Coyote. Without the instructions the music will be somewhat plain, though still beautiful, of course. There are two versions; most people sing the version with the coda, however, the earlier version has no coda. dt At 01:45 AM 3/19/2010, you wrote: My trick when accompanying myself singing is to get the vocal part learnt to the point where I no longer need the music or to concentrate that hard ... and then it's just my hands (in my case on a harpsichord) I need to worry about - having said that I often accompany myself when learning notes but usually at the piano where all note-bashing sins can be assisted by pedals! Best, Elly Hello. In addition to learning the lute, I have started formal vocal training. In choosing to sing Caccini I have hit the how do you play and sing at the same time? problem. Any cunning ideas? And when reading from a figured bass how dense is the chordal underlay? Less than with a separate Singer? Thanks Regards .. mark -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Ms Eleanor Smith, MMus PhD Candidate: Organology University of Edinburgh c/o St Cecilia's Hall 220 Cowgate, Niddry Street Edinburgh EH1 1LJ -- The University of Edinburgh is a charitable body, registered in Scotland, with registration number SC005336.
[BAROQUE-LUTE] Re: Amarilli
Greetings, Roland. I just dig out the old LP, and it states, The highly ornamented version sung on this record to the accompaniment of the viol, is from GB Lbm Edgerton MS 2871, pp.94-95. The popularity of this song in England is shown by its presence in several other MSS of the time. I hope this helps. ed At 12:53 PM 2/4/2010, Roland Hayes wrote: I am trying to find the source (ms) for Nigel Rogers's ornamented version on the cd (reissued) A Musical Banquet. I think the original album notes had this info but the cd notes are cut off (nice!!) Does anybody know? r -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202 http://www.facebook.com/profile.php?id=1660298871ref=name http://www.myspace.com/edslute
