[LUTE] Re: Capirola translation
So maybe like this? --Sarge On 9/26/2020 14:53, Jussi-Pekka Lajunen wrote: > I was responding to this: "Vidal obviously forgot to write the > beginning of the pavan, and adds the bars at the end of the piece." > > Like I said, it makes more sense to me, musically, to play that > section only before the preceding bars are repeated, but I admit that > the wording of the Vidal's instructions seem to support the assumption > quoted above. > > Frank A. Gerbode, M.D. kirjoitti 27.9.2020 klo 0.07: >> Did you mean like this? >> --Sarge >> >> On 9/25/2020 09:13, Jussi-Pekka Lajunen wrote: >>> Â Â Â Thank you! Interestingly that "beginning" does make more sense >>> to me >>> Â Â Â when played only when the piece is repeated. It makes me wonder if >>> Â Â Â Vidal really meant that this last strain is played as a >>> beginning of >>> Â Â Â the piece on both times or only on the second time. >>> >>> Â Â Â G. C. kirjoitti 25.9.2020 klo 12.52: >>> >>> Â Â Â 4. End of nr. 29 Padoana ala francesa: torna da capo ex q?; >>> Questo so >>> Â Â Â il principio d dita padoana [16 bars] va seguitando >>> Â Â Â Â Â Â poi la dita padoan in principio >>> Â Â Â Â Â Â "Go to the beginning from here. This is the beginning of the >>> said >>> Â Â Â pavan [16 bars] then follows the said pavan from the >>> Â Â Â Â Â Â beginning" >>> Â Â Â [As to 4. Vidal obviously forgot to write the beginning of the >>> pavan, >>> Â Â Â and adds the bars at the end of the piece. A closer look at the >>> end of >>> Â Â Â the piece in the facsimile shows this clearly, with a crossing >>> out of >>> Â Â Â the three first chords of the piece, and then the instructions >>> quoted >>> Â Â Â above] >>> >>> Â Â Â Virus-free. [1]www.avast.com >>> >>> Â Â Â On Thu, Sep 24, 2020 at 9:50 PM Jussi-Pekka Lajunen >>> Â Â Â <[2]jlaju...@gmail.com> wrote: >>> >>> Â Â Â Â Â Can anyone give me a translation of the texts on folio 48r of the >>> Â Â Â Â Â Capirola MS (the third page of Padoana alla Francese No. 2) or >>> Â Â Â Â Â explain >>> Â Â Â Â Â what they mean? >>> Â Â Â Â Â -- Jussi-Pekka Lajunen >>> Â Â Â Â Â To get on or off this list see list information at >>> [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >>> >>> Â Â Â -- >>> >>> References >>> >>> Â Â Â Visible links: >>> Â Â Â 1. >>> https://www.avast.com/sig-email?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail&utm_term=link >>> Â Â Â 2. mailto:jlaju...@gmail.com >>> Â Â Â 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >>> >>> Â Â Â Hidden links: >>> Â Â Â 5. >>> https://www.avast.com/sig-email?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail&utm_term=icon >>> >> > > -- Frank A. Gerbode, M.D. (sa...@gerbode.net) 11132 Dell Ave Forestville, CA 95436-9491 Home phone: 707-820-1759 Website: http://www.gerbode.net "The map may not be the territory, but it's all we've got." --
[LUTE] Re: Capirola translation
I was responding to this: "Vidal obviously forgot to write the beginning of the pavan, and adds the bars at the end of the piece." Like I said, it makes more sense to me, musically, to play that section only before the preceding bars are repeated, but I admit that the wording of the Vidal's instructions seem to support the assumption quoted above. Frank A. Gerbode, M.D. kirjoitti 27.9.2020 klo 0.07: Did you mean like this? --Sarge On 9/25/2020 09:13, Jussi-Pekka Lajunen wrote: Thank you! Interestingly that "beginning" does make more sense to me when played only when the piece is repeated. It makes me wonder if Vidal really meant that this last strain is played as a beginning of the piece on both times or only on the second time. G. C. kirjoitti 25.9.2020 klo 12.52: 4. End of nr. 29 Padoana ala francesa: torna da capo ex q?; Questo so il principio d dita padoana [16 bars] va seguitando poi la dita padoan in principio "Go to the beginning from here. This is the beginning of the said pavan [16 bars] then follows the said pavan from the beginning" [As to 4. Vidal obviously forgot to write the beginning of the pavan, and adds the bars at the end of the piece. A closer look at the end of the piece in the facsimile shows this clearly, with a crossing out of the three first chords of the piece, and then the instructions quoted above] Virus-free. [1]www.avast.com On Thu, Sep 24, 2020 at 9:50 PM Jussi-Pekka Lajunen <[2]jlaju...@gmail.com> wrote: Can anyone give me a translation of the texts on folio 48r of the Capirola MS (the third page of Padoana alla Francese No. 2) or explain what they mean? -- Jussi-Pekka Lajunen To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References Visible links: 1. https://www.avast.com/sig-email?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail&utm_term=link 2. mailto:jlaju...@gmail.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Hidden links: 5. https://www.avast.com/sig-email?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail&utm_term=icon
[LUTE] Re: Capirola translation
Did you mean like this? --Sarge On 9/25/2020 09:13, Jussi-Pekka Lajunen wrote: > Thank you! Interestingly that "beginning" does make more sense to me > when played only when the piece is repeated. It makes me wonder if > Vidal really meant that this last strain is played as a beginning of > the piece on both times or only on the second time. > > G. C. kirjoitti 25.9.2020 klo 12.52: > > 4. End of nr. 29 Padoana ala francesa: torna da capo ex q?; Questo so > il principio d dita padoana [16 bars] va seguitando >poi la dita padoan in principio >"Go to the beginning from here. This is the beginning of the said > pavan [16 bars] then follows the said pavan from the >beginning" > [As to 4. Vidal obviously forgot to write the beginning of the pavan, > and adds the bars at the end of the piece. A closer look at the end of > the piece in the facsimile shows this clearly, with a crossing out of > the three first chords of the piece, and then the instructions quoted > above] > > Virus-free. [1]www.avast.com > > On Thu, Sep 24, 2020 at 9:50 PM Jussi-Pekka Lajunen > <[2]jlaju...@gmail.com> wrote: > > Can anyone give me a translation of the texts on folio 48r of the > Capirola MS (the third page of Padoana alla Francese No. 2) or > explain > what they mean? > -- Jussi-Pekka Lajunen > To get on or off this list see list information at > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > > References > > Visible links: > 1. > https://www.avast.com/sig-email?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail&utm_term=link > 2. mailto:jlaju...@gmail.com > 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > Hidden links: > 5. > https://www.avast.com/sig-email?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail&utm_term=icon > -- Frank A. Gerbode, M.D. (sa...@gerbode.net) 11132 Dell Ave Forestville, CA 95436-9491 Home phone: 707-820-1759 Website: http://www.gerbode.net "The map may not be the territory, but it's all we've got." --
[LUTE] Re: Capirola translation
Thank you! Interestingly that "beginning" does make more sense to me when played only when the piece is repeated. It makes me wonder if Vidal really meant that this last strain is played as a beginning of the piece on both times or only on the second time. G. C. kirjoitti 25.9.2020 klo 12.52: 4. End of nr. 29 Padoana ala francesa: torna da capo ex q?; Questo so il principio d dita padoana [16 bars] va seguitando poi la dita padoan in principio "Go to the beginning from here. This is the beginning of the said pavan [16 bars] then follows the said pavan from the beginning" [As to 4. Vidal obviously forgot to write the beginning of the pavan, and adds the bars at the end of the piece. A closer look at the end of the piece in the facsimile shows this clearly, with a crossing out of the three first chords of the piece, and then the instructions quoted above] Virus-free. [1]www.avast.com On Thu, Sep 24, 2020 at 9:50 PM Jussi-Pekka Lajunen <[2]jlaju...@gmail.com> wrote: Can anyone give me a translation of the texts on folio 48r of the Capirola MS (the third page of Padoana alla Francese No. 2) or explain what they mean? -- Jussi-Pekka Lajunen To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References Visible links: 1. https://www.avast.com/sig-email?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail&utm_term=link 2. mailto:jlaju...@gmail.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Hidden links: 5. https://www.avast.com/sig-email?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail&utm_term=icon
[LUTE] Re: Capirola Zoology
That doesn't mean artists can correctly draw exotic animals... [1]https://www.zmescience.com/other/medieval-elephant-56720/ On 27.07.20 15:24, Bruno Cognyl-Fournier wrote: The African continent has been travelled to since the middle ages.. Le �dim. 26 juil. 2020 à �11:48, Tristan von Neumann <[2]tristanvonneum...@gmx.de> a écrit �: Just preparinig to print my own facsimile of Capirola... I was wondering: most animals look really realistic (yes I know, there's Griffons and Unicorns too and those do not exist). How did the illuminator (Mr. Vidal?) know how a Giraffe looks? [3]https://upload.wikimedia.org/wikipedia/commons/a/a7/Capirola_lute book.jpg The guy holding the leash also doesn't seem to be European. Is there any information about travels? The pictures just look too good, especially in the light of other animal representations of the time when people had not actually seen very much of exotic animals. (When depictions of an Elephant looked more like this: [4]https://upload.wikimedia.org/wikipedia/commons/thumb/2/26/Deinoth erium.png/1280px-Deinotherium.png) Or maybe Giraffes and Monkeys were held in private Zoos? Where would that be? Anyway, this book is highly enjoyable and it might finally teach me how to sight-read Italian tabs... To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. https://www.zmescience.com/other/medieval-elephant-56720/ 2. mailto:tristanvonneum...@gmx.de 3. https://upload.wikimedia.org/wikipedia/commons/a/a7/Capirola_lutebook.jpg 4. https://upload.wikimedia.org/wikipedia/commons/thumb/2/26/Deinotherium.png/1280px-Deinotherium.png 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola Zoology
See also this: https://www.researchgate.net/profile/Patricia_Lurati/publication/336944609_The_Merchant%27s_Eye_A_New_Perception_of_Exotic_Animals/links/5dbc0eda4585151435db7f1e/The-Merchants-Eye-A-New-Perception-of-Exotic-Animals.pdf "While in Egypt, in 1436, Ciriaco [d'Anconna] saw a giraffe, and the sketch he drew from life, now lost, was enormously successful in Europe, as its many copies show." You can see a copy of the sketch on page 4 of the pdf-file. Jussi-Pekka Lajunen kirjoitti 26.7.2020 klo 20.39: Maybe he had seen Domenico Ghirlandaio's fresco in the Tornabuoni Chapel in Florence? "The Adoration of the Magi by Domenico Ghirlandaio, part of a cycle in the Tornabuoni Chapel was painted just after the arrival of the Medici giraffe and shows the animal descending a hill on the right-hand side." https://en.wikipedia.org/wiki/Medici_giraffe#/media/File:Cappella_tornabuoni,_06,_adorazione_dei_magi.jpg Tristan von Neumann kirjoitti 26.7.2020 klo 18.40: How did the illuminator (Mr. Vidal?) know how a Giraffe looks? https://upload.wikimedia.org/wikipedia/commons/a/a7/Capirola_lutebook.jpg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola Zoology
[1]https://en.wikipedia.org/wiki/Medici_giraffe Sent from my iPad On 27 Jul 2020, at 1:43 am, Tristan von Neumann wrote: How did the illuminator (Mr. Vidal?) know how a Giraffe looks? https://upload.wikimedia.org/wikipedia/commons/a/a7/Capirola_lutebook.j pg -- References 1. https://en.wikipedia.org/wiki/Medici_giraffe To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola Zoology
Maybe he had seen Domenico Ghirlandaio's fresco in the Tornabuoni Chapel in Florence? "The Adoration of the Magi by Domenico Ghirlandaio, part of a cycle in the Tornabuoni Chapel was painted just after the arrival of the Medici giraffe and shows the animal descending a hill on the right-hand side." https://en.wikipedia.org/wiki/Medici_giraffe#/media/File:Cappella_tornabuoni,_06,_adorazione_dei_magi.jpg Tristan von Neumann kirjoitti 26.7.2020 klo 18.40: How did the illuminator (Mr. Vidal?) know how a Giraffe looks? https://upload.wikimedia.org/wikipedia/commons/a/a7/Capirola_lutebook.jpg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola Zoology
Although exotic animals like monkeys were kept in aristocratic menageries, giraffes were rarely seen in Europe. https://en.wikipedia.org/wiki/Medici_giraffe "The Medici giraffe was a giraffe presented to Lorenzo de' Medici in 1487 possibly by al-Ashraf Qaitbay, the Burji Sultan of Egypt, in an attempt to win the support of the Medici. It caused a great stir on its arrival in Florence: although the Medici maintained a large menagerie, and had previously featured a giant mannequin of a giraffe in the animal entertainments they provided to the citizenry, this was the first time a living example had been seen in the city. It was also reputedly the first living giraffe to be seen in Italy since the days of Ancient Rome. It did not survive for long and another giraffe was not seen in Europe for almost 300 years." Tristan von Neumann kirjoitti 26.7.2020 klo 18.40: Or maybe Giraffes and Monkeys were held in private Zoos? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola & buzzing like bray pins?
This is the sound of the harp the description is referring to: https://www.youtube.com/watch?v=gBEKrC0ep_M On 02.12.19 09:40, G. C. wrote: To my ears, this sound, not unlike the sympathetic strings on the sitar, are rather interesting as a novelty. In the long run, I would probably grow tired of it, and yearn for the natural "silvery" sounding lute. But in small doses, absolutely! Perhaps combined with the famous thimbles? :) I have noticed the same effect on my silent guitar, when the strings are lowered too much, but not so defined. Quite pleasant in fact. G. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola & buzzing like bray pins?
To my ears, this sound, not unlike the sympathetic strings on the sitar, are rather interesting as a novelty. In the long run, I would probably grow tired of it, and yearn for the natural "silvery" sounding lute. But in small doses, absolutely! Perhaps combined with the famous thimbles? :) I have noticed the same effect on my silent guitar, when the strings are lowered too much, but not so defined. Quite pleasant in fact. G. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola & buzzing like bray pins?
Hi Theodore, That's a big question. But we still have very little evidence about this. Bor Zuljan has been experimenting with the âbray lute". Here is an example: [1]https://youtu.be/w2lQbXhITLY All the best, Guilherme Barroso Guilherme Barroso www.guilherme-barroso.com Em 2/12/2019, 00:32 +0100, theoj89...@new-old-mail.cs.dartmouth.edu escreveu: In reading about the use of bray pins on medieval and renaissance harps, I read the following: "The beautifully decorated Capirola lute book, written in Venice 1515-1520, states that a player should 'make it so that the first fret almost touches the strings, and so on to the end, because as the frets are nearer to the string, the strings sound like a harp, and the lute appears better.' In other words, lute strings should buzz against the frets." Does the Capirola book actually say this? And if so, might this be a recommendation for buzzing lute strings? Before amplification, brays on harps and snares on drums and such obviously were used to make the instrument 'cut through' ambient noise in order to be heard. Any evidence that lutes were used this way? Thoughts? Cheers, trj -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. https://youtu.be/w2lQbXhITLY
[LUTE] Re: Capirola Lute Book measurements
Thanks Bernd :) This is good - I can print it on A3 and cut and bind it in A5 and basically have the original format. :) Am 01.11.2017 um 16:38 schrieb Bernd Haegemann: 'allo Tristan, have a look here: http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/sources/Capirola_notice.pdf On 01.11.2017 16:00, Tristan von Neumann wrote: Ĥello Lutists, I'd love to print and bind my own Capirola Facsimile (I neither like black and white or double pages...). Unfortunately I couldn't find the original measurements. Is there any information out there about the actual size of the book(let)? Many thanks, Tristan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --- Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprüft. https://www.avast.com/antivirus
[LUTE] Re: Capirola Lute Book measurements
'allo Tristan, have a look here: http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/sources/Capirola_notice.pdf On 01.11.2017 16:00, Tristan von Neumann wrote: Ĥello Lutists, I'd love to print and bind my own Capirola Facsimile (I neither like black and white or double pages...). Unfortunately I couldn't find the original measurements. Is there any information out there about the actual size of the book(let)? Many thanks, Tristan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --- Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprüft. https://www.avast.com/antivirus
[LUTE] Re: Capirola
Yes, indeed, and the 50th anniversary of the "Summer of Love" :D G. On Mon, Jul 10, 2017 at 11:15 PM, Leonard Williams <[1]arc...@verizon.net> wrote: Is this year the 500th anniversary of the Capirola MS? Leonard To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:arc...@verizon.net 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola
it would appear so... 2017-07-10 17:15 GMT-04:00 Leonard Williams <[1]arc...@verizon.net>: Is this year the 500th anniversary of the Capirola MS? Leonard To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:arc...@verizon.net 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola lute book
The original Italian is given (with translation into English) in Otto Gombosi's edition (1955, rpt 1983), p. lxxxviii-xc (Italian), xc-xcii (English). Copy at Indiana U. of Penn. Sorry I forgot to send this earlier. Arthur. On 12/06/15, Leonard Williams<[1]arc...@verizon.net> wrote: A perhaps silly request: I'm looking for the original Italian text of the Capirola book. Yes, I have it in English; and, yes, I have a facsimile of the book itself. I would like it in printed Italian for my own adventures in that language; Vidal's cinquecento calligraphy is not always clear to me. Surprisingly, I couldn't locate it on the internet. Thanks and regards, Leonard Williams To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html References 1. mailto:arc...@verizon.net 2. http://www.cs.dartmouth.edu/
[LUTE] Re: Capirola lute book
On 2015-12-06 9:03 AM, David van Ooijen wrote: First back to a Bollywood song for my pupils (...!) Guitar, I hope, not lute! Geoff -- Geoff Gaherty Foxmead Observatory Coldwater, Ontario, Canada http://www.gaherty.ca http://starrynightskyevents.blogspot.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola lute book
It's in the Gombosi edition. I'll make you a scan later today. First back to a Bollywood song for my pupils (...!) David *** David van Ooijen [1]davidvanooi...@gmail.com [2]www.davidvanooijen.nl *** On 6 December 2015 at 14:57, Ron Andrico <[3]praelu...@hotmail.com> wrote: I'm not certain whether he included the original Italian but Federico Marincola provided his translation some years ago. His archived site can be found at [1][4]http://www.marincola.com/lutebot.html [2][pdf.jpg] The LuteBot Quarterly - Marincola From 1998 to 2000 I published online an Electronic Magazine called "The LuteBot Quarterly". It was quite successful: I had more than 500 subscribers! [3]Read more... RA From: [5]lute-...@cs.dartmouth.edu <[6]lute-...@cs.dartmouth.edu> on behalf of Leonard Williams <[7]arc...@verizon.net> Sent: Sunday, December 6, 2015 1:45 PM To: Lute List Subject: [LUTE] Capirola lute book A perhaps silly request: I'm looking for the original Italian text of the Capirola book. Yes, I have it in English; and, yes, I have a facsimile of the book itself. I would like it in printed Italian for my own adventures in that language; Vidal's cinquecento calligraphy is not always clear to me. Surprisingly, I couldn't locate it on the internet. Thanks and regards, Leonard Williams To get on or off this list see list information at [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [9]http://www.marincola.com/lutebot.html 2. [10]http://www.marincola.com/lutebot.html 3. [11]http://www.marincola.com/lutebot.html -- References 1. mailto:davidvanooi...@gmail.com 2. http://www.davidvanooijen.nl/ 3. mailto:praelu...@hotmail.com 4. http://www.marincola.com/lutebot.html 5. mailto:lute-...@cs.dartmouth.edu 6. mailto:lute-...@cs.dartmouth.edu 7. mailto:arc...@verizon.net 8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 9. http://www.marincola.com/lutebot.html 10. http://www.marincola.com/lutebot.html 11. http://www.marincola.com/lutebot.html
[LUTE] Re: Capirola!
Porca Vacca! I can't believe it!!! Oink! dt __ From: Sean Smith To: Daniel F Heiman ; lute Sent: Tue, November 8, 2011 6:22:19 AM Subject: [LUTE] Re: Capirola! Oh, this is beautiful! Many thanks to everyone who helped make this happen! Sean On Nov 8, 2011, at 5:17 AM, [1]heiman.dan...@juno.com wrote: As of today, there is a digital facsimile of the Capirola lutebook on line in a marvelous presentation, full color! [2]http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actua lites.asp Regards, Daniel To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:heiman.dan...@juno.com 2. http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actualites.asp 3. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[LUTE] Re: Capirola
This is a longtime wish come true, thanks to anyone involved! Grtz. Lex Op 8 nov 2011, om 13:26 heeft franco pavan het volgende geschreven: > -- Forwarded message -- > From: franco pavan <[1]f.pava...@gmail.com> > Date: 2011/11/8 > Subject: Capirola > To: > This is a dream... > [2]http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actua > lites.asp > many greetings and be happy with this marvelous on-line edition > Franco Pavan > > -- > > References > > 1. mailto:f.pava...@gmail.com > 2. > http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actualites.asp > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola!
Fan-tas-tic!! Thanks to everyone invloved in this project. 2011/11/8 Leonard Williams <[1]arc...@verizon.net> At last!! Vincenzo's student decorated this book so beautifully so that the maestro's music might live on despite changes in musical tastes. How appropriate that our new technologies should be used to further that cause. Imagine: only one copy in the world! Leonard On 11/8/11 8:17 AM, "[2]heiman.dan...@juno.com" <[3]heiman.dan...@juno.com> wrote: > As of today, there is a digital facsimile of the Capirola lutebook on line in > a marvelous presentation, full color! > > [4]http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actua lites.asp > > Regards, > > Daniel > > > > > To get on or off this list see list information at > [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Bruno Correia. Alaudista e Doutor em "Praticas Interpretativas" pela Universidade Federal do Estado do Rio de Janeiro. -- References 1. mailto:arc...@verizon.net 2. mailto:heiman.dan...@juno.com 3. mailto:heiman.dan...@juno.com 4. http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actualites.asp 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola!
At last!! Vincenzo's student decorated this book so beautifully so that the maestro's music might live on despite changes in musical tastes. How appropriate that our new technologies should be used to further that cause. Imagine: only one copy in the world! Leonard On 11/8/11 8:17 AM, "heiman.dan...@juno.com" wrote: > As of today, there is a digital facsimile of the Capirola lutebook on line in > a marvelous presentation, full color! > > http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actualites.asp > > Regards, > > Daniel > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola!
Wow is that cool or what? I love the magnify feature. Many thanks to all who engineered this. Dan On Nov 8, 2011, at 5:17 AM, heiman.dan...@juno.com wrote: > As of today, there is a digital facsimile of the Capirola lutebook on line in > a marvelous presentation, full color! > > http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actualites.asp > > Regards, > > Daniel > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola!
It looks great! I seldom write, but I do read these emails-- and I wait for such trinkets. Thanks Neil On Tue, Nov 8, 2011 at 9:31 AM, T.Kakinami <[1]tk...@orchid.plala.or.jp> wrote: Although I have a book of S.P.E.S. but this is very excellent! * Toshiaki Kakinami E-mail : [2]tk...@orchid.plala.or.jp Blog : [3]http://kakitoshilute.blogspot.com * -Original Message- From: [4]lute-...@cs.dartmouth.edu [mailto:[5]lute-...@cs.dartmouth.edu] On Behalf Of [6]heiman.dan...@juno.com Sent: Tuesday, November 08, 2011 10:17 PM To: [7]lute@cs.dartmouth.edu Subject: [LUTE] Capirola! As of today, there is a digital facsimile of the Capirola lutebook on line in a marvelous presentation, full color! [8]http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actua lites.as p Regards, Daniel To get on or off this list see list information at [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Neil James -- References 1. mailto:tk...@orchid.plala.or.jp 2. mailto:tk...@orchid.plala.or.jp 3. http://kakitoshilute.blogspot.com/ 4. mailto:lute-...@cs.dartmouth.edu 5. mailto:lute-...@cs.dartmouth.edu 6. mailto:heiman.dan...@juno.com 7. mailto:lute@cs.dartmouth.edu 8. http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actualites.asp 9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola!
Although I have a book of S.P.E.S. but this is very excellent! * Toshiaki Kakinami E-mail : tk...@orchid.plala.or.jp Blog : http://kakitoshilute.blogspot.com * -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of heiman.dan...@juno.com Sent: Tuesday, November 08, 2011 10:17 PM To: lute@cs.dartmouth.edu Subject: [LUTE] Capirola! As of today, there is a digital facsimile of the Capirola lutebook on line in a marvelous presentation, full color! http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actualites.as p Regards, Daniel To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola!
Oh, this is beautiful! Many thanks to everyone who helped make this happen! Sean On Nov 8, 2011, at 5:17 AM, heiman.dan...@juno.com wrote: As of today, there is a digital facsimile of the Capirola lutebook on line in a marvelous presentation, full color! http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actualites.asp Regards, Daniel To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola
-- Forwarded message -- From: franco pavan <[1]f.pava...@gmail.com> Date: 2011/11/8 Subject: Capirola To: This is a dream... [2]http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actua lites.asp many greetings and be happy with this marvelous on-line edition Franco Pavan -- References 1. mailto:f.pava...@gmail.com 2. http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actualites.asp To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola
Just take it to a print shop, they make cheap colour laser copies nowadays. Use thick quality paper and let them bind it - voilá Regards, Stephan Am 18.11.2010, 02:24 Uhr, schrieb Sean Smith : Full color ricercars, some of the finest motet settings on the planet, 14th century chansons, giraffes, hippogriffs, peacocks, cheetahs, monkeys, monkey riding cheetah!, bunnies, lions, unicorns AND the family dog? What's not to like? Most enchanted evenings with lute do not involve firing up the computer; this book trebly so. It's definitely worth an ink cartridge or three, Denys. thanks for the good news, Leonard! Sean On Nov 17, 2010, at 1:36 PM, Denys Stephens wrote: Dear Leonard, That's very good news! Thanks for forwarding this. They must surely have made colour photos of the manuscript - so we may at last be able to see it all in its full glory and find out how much of a part colour plays in the notation. The downside is that we probably will never now see a colour facsimile, and It would have been really nice to have seen it done to the same standard as the Verlag Pesaro copy. I wonder how many of us devote the time and ink cartridges to printing out PDF copies of lute books and creating full hard copies? In my case it's none! That's one of the reasons why the Lute Society has elected to print colour facsimilies of the English manuscripts like Dd.2.11 - viewing an on screen image is never quite the same as holding a reproduction of the original in your hands. Fortunately we can keep the cost down by not charging for any of the work apart from the things we can't do ourselves - mainly printing and postage. There would surely be scope for the lute societies around the world to work with libraries and museums to get more lute books in print. But perhaps those of us that like books are out of sync with the rest of the world, and in future everyone will want to play from their ipads? Best wishes, Denys -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Leonard Williams Sent: 16 November 2010 21:30 To: Lute List Subject: [LUTE] Capirola I recently wrote to the Newberry Library in Chicago, inquiring about the possibility of their producing a full color Capirola facsimile at any time. Here's the answer (though there is some uncertainty about the color aspect): Dear Mr. Williams, As it happens, the entire Capirola manuscript is going to be reproduced on the "Ricercar" site maintained by the Centre d'Etudes Superieures de la Renaissance, in Tours, France. Here's the URL for the section of their site that is dedicated to lute manuscripts and publications: http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/ The Capirola, as you will see, is not there yet. The photography has been done, however. I'm not sure what their time-table is, for mounting the Capirola. If you're curious to know, you could write to them directly. As you point out, it would be very expensive to produce a full color facsimile. To do that we would need a major subvention. Sincerely yours, Carla Zecher Director Center for Renaissance Studies The Newberry Library Regards, Leonard Williams /[ ] / \ | * | \_=_/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[LUTE] Re: Capirola
Full color ricercars, some of the finest motet settings on the planet, 14th century chansons, giraffes, hippogriffs, peacocks, cheetahs, monkeys, monkey riding cheetah!, bunnies, lions, unicorns AND the family dog? What's not to like? Most enchanted evenings with lute do not involve firing up the computer; this book trebly so. It's definitely worth an ink cartridge or three, Denys. thanks for the good news, Leonard! Sean On Nov 17, 2010, at 1:36 PM, Denys Stephens wrote: Dear Leonard, That's very good news! Thanks for forwarding this. They must surely have made colour photos of the manuscript - so we may at last be able to see it all in its full glory and find out how much of a part colour plays in the notation. The downside is that we probably will never now see a colour facsimile, and It would have been really nice to have seen it done to the same standard as the Verlag Pesaro copy. I wonder how many of us devote the time and ink cartridges to printing out PDF copies of lute books and creating full hard copies? In my case it's none! That's one of the reasons why the Lute Society has elected to print colour facsimilies of the English manuscripts like Dd.2.11 - viewing an on screen image is never quite the same as holding a reproduction of the original in your hands. Fortunately we can keep the cost down by not charging for any of the work apart from the things we can't do ourselves - mainly printing and postage. There would surely be scope for the lute societies around the world to work with libraries and museums to get more lute books in print. But perhaps those of us that like books are out of sync with the rest of the world, and in future everyone will want to play from their ipads? Best wishes, Denys -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Leonard Williams Sent: 16 November 2010 21:30 To: Lute List Subject: [LUTE] Capirola I recently wrote to the Newberry Library in Chicago, inquiring about the possibility of their producing a full color Capirola facsimile at any time. Here's the answer (though there is some uncertainty about the color aspect): Dear Mr. Williams, As it happens, the entire Capirola manuscript is going to be reproduced on the "Ricercar" site maintained by the Centre d'Etudes Superieures de la Renaissance, in Tours, France. Here's the URL for the section of their site that is dedicated to lute manuscripts and publications: http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/ The Capirola, as you will see, is not there yet. The photography has been done, however. I'm not sure what their time-table is, for mounting the Capirola. If you're curious to know, you could write to them directly. As you point out, it would be very expensive to produce a full color facsimile. To do that we would need a major subvention. Sincerely yours, Carla Zecher Director Center for Renaissance Studies The Newberry Library 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: Capirola
Leonard and Denys, I for one, have said for years that a full color reproduction of Capirola would be marvelous! Although Milan has been available for quite some time in various formats, I bought this summer the Spanish Vihuela Society's new full color facsimile, and it is glorious! ed At 03:36 PM 11/17/2010, Denys Stephens wrote: >Dear Leonard, >That's very good news! Thanks for forwarding this. They must surely have >made colour photos of the manuscript - so we may at last be able to >see it all in its full glory and find out how much of a part colour plays >in the notation. > >The downside is that we probably will never now see a colour facsimile, and >It would have been really nice to have seen it done to the same standard as >the Verlag Pesaro copy. I wonder how many of us devote the time and >ink cartridges to printing out PDF copies of lute books and creating full >hard copies? In my case it's none! That's one of the reasons why the Lute >Society has elected to print colour facsimilies of the English manuscripts >like Dd.2.11 - viewing an on screen image is never quite the same as holding >a reproduction of the original in your hands. Fortunately we can keep the >cost >down by not charging for any of the work apart from the things we can't do >ourselves - mainly printing and postage. There would surely be scope for >the lute societies around the world to work with libraries and museums to >get more lute books in print. But perhaps those of us that like books >are out of sync with the rest of the world, and in future everyone will >want to play from their ipads? > >Best wishes, > >Denys > > > > >-Original Message- >From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf >Of Leonard Williams >Sent: 16 November 2010 21:30 >To: Lute List >Subject: [LUTE] Capirola > > I recently wrote to the Newberry Library in Chicago, inquiring about >the possibility of their producing a full color Capirola facsimile at any >time. Here's the answer (though there is some uncertainty about the color >aspect): > >Dear Mr. Williams, > >As it happens, the entire Capirola manuscript is going to be reproduced >on the "Ricercar" site maintained by the Centre d'Etudes Superieures de >la Renaissance, in Tours, France. Here's the URL for the section of >their site that is dedicated to lute manuscripts and publications: > >http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/ > >The Capirola, as you will see, is not there yet. The photography has >been done, however. I'm not sure what their time-table is, for mounting >the Capirola. If you're curious to know, you could write to them directly. > >As you point out, it would be very expensive to produce a full color >facsimile. To do that we would need a major subvention. > >Sincerely yours, >Carla Zecher > >Director >Center for Renaissance Studies >The Newberry Library > > >Regards, >Leonard Williams > >/[ ] >/ \ > | * | > \_=_/ > > > > > >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=1660298871&ref=name http://www.myspace.com/edslute
[LUTE] Re: Capirola
I got my copy of Dd.2.11 in yesterday's mail and you folks did a wonderful job on this! After c3 hours I have had a chance to flip the pages and play some of the music. I love the color because I can finally see the tops of the pages. In the old microfilm I have of this manuscript, the dark parts came out black and it was impossible to figure out the music. The new edition is large enough so it's really easy to see. About printing out things available on the computer - I do this if it's something I think I will want to come back to repeatedly. I also often print out Julia Craig-McFeeley's list of the contents (of English music) so I can read through the music on the music stand, and get into about titles and concordances. With my own copy I can write notes on the side of the page. Also if the original is not wonderful it's possible to run it through Photoshop, 1 page at a time. Nancy Dear Leonard, That's very good news! Thanks for forwarding this. They must surely have made colour photos of the manuscript - so we may at last be able to see it all in its full glory and find out how much of a part colour plays in the notation. The downside is that we probably will never now see a colour facsimile, and It would have been really nice to have seen it done to the same standard as the Verlag Pesaro copy. I wonder how many of us devote the time and ink cartridges to printing out PDF copies of lute books and creating full hard copies? In my case it's none! That's one of the reasons why the Lute Society has elected to print colour facsimilies of the English manuscripts like Dd.2.11 - viewing an on screen image is never quite the same as holding a reproduction of the original in your hands. Fortunately we can keep the cost down by not charging for any of the work apart from the things we can't do ourselves - mainly printing and postage. There would surely be scope for the lute societies around the world to work with libraries and museums to get more lute books in print. But perhaps those of us that like books are out of sync with the rest of the world, and in future everyone will want to play from their ipads? Best wishes, Denys -Original Message- From: lute-...@cs.dartmouth.edu [[1] mailto:lute-...@cs.dartmouth.edu] On Behalf Of Leonard Williams Sent: 16 November 2010 21:30 To: Lute List Subject: [LUTE] Capirola I recently wrote to the Newberry Library in Chicago, inquiring about the possibility of their producing a full color Capirola facsimile at any time. Here's the answer (though there is some uncertainty about the color aspect): Dear Mr. Williams, As it happens, the entire Capirola manuscript is going to be reproduced on the "Ricercar" site maintained by the Centre d'Etudes Superieures de la Renaissance, in Tours, France. Here's the URL for the section of their site that is dedicated to lute manuscripts and publications: [2]http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/ The Capirola, as you will see, is not there yet. The photography has been done, however. I'm not sure what their time-table is, for mounting the Capirola. If you're curious to know, you could write to them directly. As you point out, it would be very expensive to produce a full color facsimile. To do that we would need a major subvention. Sincerely yours, Carla Zecher Director Center for Renaissance Studies The Newberry Library Regards, Leonard Williams /[ ] / \ | * | \_=_/ To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Nancy Carlin Associates P.O. Box 6499 Concord, CA 94524 USA phone 925/686-5800 fax 925/680-2582 web sites - [4]www.nancycarlinassociates.com [5]www.groundsanddivisions.info Representing: FROM WALES - Crasdant & Carreg Lafar, FROM ENGLAND - Jez Lowe & Jez Lowe & The Bad Pennies, and now representing EARLY MUSIC - The Venere Lute Quartet, The Good Pennyworths & Morrongiello & Young Administrator THE LUTE SOCIETY OF AMERICA web site - [6]http://LuteSocietyofAmerica.org -- References 1. mailto:lute-...@cs.dartmouth.edu 2. http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/ 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 4. http://www.nancycarlinassociates.com/ 5. http://www.groundsanddivisions.info/ 6. http://lutesocietyofamerica.org/
[LUTE] Re: Capirola
Dear Leonard, That's very good news! Thanks for forwarding this. They must surely have made colour photos of the manuscript - so we may at last be able to see it all in its full glory and find out how much of a part colour plays in the notation. The downside is that we probably will never now see a colour facsimile, and It would have been really nice to have seen it done to the same standard as the Verlag Pesaro copy. I wonder how many of us devote the time and ink cartridges to printing out PDF copies of lute books and creating full hard copies? In my case it's none! That's one of the reasons why the Lute Society has elected to print colour facsimilies of the English manuscripts like Dd.2.11 - viewing an on screen image is never quite the same as holding a reproduction of the original in your hands. Fortunately we can keep the cost down by not charging for any of the work apart from the things we can't do ourselves - mainly printing and postage. There would surely be scope for the lute societies around the world to work with libraries and museums to get more lute books in print. But perhaps those of us that like books are out of sync with the rest of the world, and in future everyone will want to play from their ipads? Best wishes, Denys -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Leonard Williams Sent: 16 November 2010 21:30 To: Lute List Subject: [LUTE] Capirola I recently wrote to the Newberry Library in Chicago, inquiring about the possibility of their producing a full color Capirola facsimile at any time. Here's the answer (though there is some uncertainty about the color aspect): Dear Mr. Williams, As it happens, the entire Capirola manuscript is going to be reproduced on the "Ricercar" site maintained by the Centre d'Etudes Superieures de la Renaissance, in Tours, France. Here's the URL for the section of their site that is dedicated to lute manuscripts and publications: http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/ The Capirola, as you will see, is not there yet. The photography has been done, however. I'm not sure what their time-table is, for mounting the Capirola. If you're curious to know, you could write to them directly. As you point out, it would be very expensive to produce a full color facsimile. To do that we would need a major subvention. Sincerely yours, Carla Zecher Director Center for Renaissance Studies The Newberry Library 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: Capirola
Hi Denys, thanks for the info. I'll check Gombosi's text. Best wishes. 2010/5/20 Denys Stephens <[1]denyssteph...@ukonline.co.uk> Dear Bruno, The best study of the Capirola Ms. is the Otto Gombosi edition published by SMA in 1955 - it's a work of truly outstanding scholarship and essential reading for those interested in the early Italian repertoire. The Federico Marincola translation of the instructions is extremely valuable too, but it's good to have Gombosi's version on hand when you read it as the different nuances of interpretation give a better understanding. I'm certainly not a linguist myself, but I understand that the major difficulty is that there was no unified Italian language at that time and the scribe Vitali wrote in the Venetian dialect - something that's a specialist subject in itself. One of the passages in Gombosi's book reads as follows: "Upward strokes of the right hand are carefully marked by a dot underneath the corresponding numeral. Diagonal lines mark the holding of certain frets while other parts move on. Special signs indicate the beginning (w)and end (n) of tenuto passages." (Note: my use of 'w' and 'n' above is the closest approximation I can get here to the real signs as they are both semi-circular shapes. Hopefully you will recognise them in the manuscript. Vitali, the creator of the manuscript, was very careful to explain the necessity of holding the appropriate fretted notes to achieve a sustained sound - it's important to bear in mind that polyphonic lute playing was still a new idea then.) The passage continues: "A unique feature of this tablature is the use of symbols for certain ornaments and the dividing of the middle course into separately played strings. The former involves two signs: one for 'tremolo,' a trill-like alternation of main note and its upper auxiliary, the other for 'tremolo on one tone' obviously meaning an alternation of the first fret with the open string, and so on, a mordant-like effect. The first is symbolised by adding after the number of the fret of the main tone that of the auxiliary tone written above it in red dots e.g. 3; the second ornament is marked by putting two red dots above the number. For the divided mezzana course the corresponding line of the tablature is split up into two." I hope this will be helpful as a start. I suspect that the Capirola manuscript still has its undiscovered secrets. The absence of a colour facsimile is a real problem. I remember hearing Paul O'Dette say at a masterclass that the manuscript includes markings in colours that don't even show up in the monochrome facsimile. And all of the very early manuscripts have notational peculiarities that may never be fully understood. Best wishes, Denys -Original Message- From: [2]lute-...@cs.dartmouth.edu [mailto:[3]lute-...@cs.dartmouth.edu] On Behalf Of Bruno Correia Sent: 19 May 2010 23:33 To: List LUTELIST Subject: [LUTE] Capirola Does anyone understand the meaning of all the signs marked in the Capirola manuscript? I do have have it, but I don't have enough Italian to read it. The English version by Marincola is not suficient to fully understand all the signs... -- To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:denyssteph...@ukonline.co.uk 2. mailto:lute-...@cs.dartmouth.edu 3. mailto:lute-...@cs.dartmouth.edu 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola
Dear Bruno, The best study of the Capirola Ms. is the Otto Gombosi edition published by SMA in 1955 - it's a work of truly outstanding scholarship and essential reading for those interested in the early Italian repertoire. The Federico Marincola translation of the instructions is extremely valuable too, but it's good to have Gombosi's version on hand when you read it as the different nuances of interpretation give a better understanding. I'm certainly not a linguist myself, but I understand that the major difficulty is that there was no unified Italian language at that time and the scribe Vitali wrote in the Venetian dialect - something that's a specialist subject in itself. One of the passages in Gombosi's book reads as follows: "Upward strokes of the right hand are carefully marked by a dot underneath the corresponding numeral. Diagonal lines mark the holding of certain frets while other parts move on. Special signs indicate the beginning (w)and end (n) of tenuto passages." (Note: my use of 'w' and 'n' above is the closest approximation I can get here to the real signs as they are both semi-circular shapes. Hopefully you will recognise them in the manuscript. Vitali, the creator of the manuscript, was very careful to explain the necessity of holding the appropriate fretted notes to achieve a sustained sound - it's important to bear in mind that polyphonic lute playing was still a new idea then.) The passage continues: "A unique feature of this tablature is the use of symbols for certain ornaments and the dividing of the middle course into separately played strings. The former involves two signs: one for 'tremolo,' a trill-like alternation of main note and its upper auxiliary, the other for 'tremolo on one tone' obviously meaning an alternation of the first fret with the open string, and so on, a mordant-like effect. The first is symbolised by adding after the number of the fret of the main tone that of the auxiliary tone written above it in red dots e.g. 3; the second ornament is marked by putting two red dots above the number. For the divided mezzana course the corresponding line of the tablature is split up into two." I hope this will be helpful as a start. I suspect that the Capirola manuscript still has its undiscovered secrets. The absence of a colour facsimile is a real problem. I remember hearing Paul O'Dette say at a masterclass that the manuscript includes markings in colours that don't even show up in the monochrome facsimile. And all of the very early manuscripts have notational peculiarities that may never be fully understood. Best wishes, Denys -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Bruno Correia Sent: 19 May 2010 23:33 To: List LUTELIST Subject: [LUTE] Capirola Does anyone understand the meaning of all the signs marked in the Capirola manuscript? I do have have it, but I don't have enough Italian to read it. The English version by Marincola is not suficient to fully understand all the signs... -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola
Dear Edward, Luca and others On 5/22/2009, "Edward Martin" wrote: > There is no on-line facsimile of Capirola. I have wished, for years, that > someone would publish a high quality color facsimile and I have asked > various publishers if they would be interested, but the reply was that the > cost would be very prohibitive. I recall a few years back that I looked at > the Newberry Library web site, and it had one or 2 pages, but certainly, > the entire book is not available in color. > > Are there any very wealthy people on the list willing to do it? Well, if the museum would accept photogaphing this ms., today the cost of digital colour photographing the ms. are very low; finding a web site for that small amount of Megabytes is not difficult. So: Has anbody asked the (American? USA'ian?) museum, if they allow photographing this important ms. "Capirola"? If they do not allow that, couldn't they by themselves publish it in their www-pages? Any Lute List member living near that museum? Go there and explain the benefits of being good... ;-) Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola
Dear Luca and all, There is no on-line facsimile of Capirola. I have wished, for years, that someone would publish a high quality color facsimile and I have asked various publishers if they would be interested, but the reply was that the cost would be very prohibitive. I recall a few years back that I looked at the Newberry Library web site, and it had one or 2 pages, but certainly, the entire book is not available in color. Are there any very wealthy people on the list willing to do it? ed At 07:16 PM 5/22/2009 +0200, Luca Manassero wrote: >Dear Collective Wisdom, > >as many between us, I prefer to play using (when available) a > fac-simile: it may sound a little fondamentalist, but it adds some > (hidden?) pleasure. >In the case of the excessively beautiful Capirola's book the pleasure is >partially "diminished" by the fact the SPES fac-simile I have does NOT >reproduce all colours: understandable, but really some sort of a shame, >especially when you read Vidal's first page. > >Does anyone knows of an on-line fac-simile of Capirola? While printing the >original colours would most probably make the fac-simile too expensive to >be appealing, an on-line reproduction would be "just right". > >Thank you in advance, > >Luca > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >No virus found in this incoming message. >Checked by AVG - www.avg.com >Version: 8.5.339 / Virus Database: 270.12.36/2128 - Release Date: 05/22/09 >06:03:00 Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202
[LUTE] Re: Capirola question II and first results in Homerecording
Hi Werner, I'm afraid _that_ "i" is just a bleeding from the previous page. (You'll find a lot of strange signs in Capirola under the magnifying glass that are just due to "bleeding"! Incidentally, two dots over a cypher in Capirola does not mean a right hand fingering, but is a "mordent" ornament. Best G. PS. Pls. find attached, my Fronimo version of the Capirola in Italian tab. - Original Message - From: "Orphenica" <[EMAIL PROTECTED]> To: "Lute Net" Sent: Tuesday, July 31, 2007 10:57 AM Subject: [LUTE] Capirola question II and first results in Homerecording > > Hi all, > I think we discussed it some month ago, but I can't find it anymore. > In Recherchar decimo from the Capirola Lute book, which I started with > for > learning Italian tab, > above the last bar, we can find something that looks like the letter "i" > . > Does it mean, > that the whole piece shall be repeated: i like item or iterate or > idem??? > [1]http://www.bogulamedia.de/lute/capirola10.jpg > @David von Ooijen and other home recorders: > A homerecording of this piece can be found here. > [2]http://www.bogulamedia.de/lute/CapirolaRX.mp3 > I used a digital USB microphone, which I put on a music stand, > in about 50 cm distance from the lower part of th soundbound. > I put a piece of cloth between the mic and the stand to reduce impact > noise. > Thanks >we > Eugene C. Braig IV schrieb: > > At 07:16 AM 7/26/2007, Martyn Hodgson wrote: > > > You asked for speculation: > > > Thanks for your insightful speculation, Martyn. I like the G to g' or A > to > a' concept with a single diatonic bass...sort of like an archlute > light. This is receiving similar discussion on another forum where I > posted. It's interesting that these were built with a construction to > obviously parallel a soprano instrument with many extant examples, a > sizeable repertoire, known tuning with a somewhat different placement of > the third (g-b-e'-a'-d"-g"), and semi-standardized naming convention > (photo > for your amusement, Martyn, knowing it can't go to the list). > > > > > Having said this, I would welcome observations on what the instruments > called for by Giuliani and Hoffmann actually were: Hladky (1970s) in his > modern publication of these pieces suggests a sort of bass mandolin (like > the modern Mandolone/Mandocello'?) but tuned as a 5 string cello (ie C G d > a e') but gives no source for this suggestion. Certainly, the 'liuto' > parts in the quartets look more like cello writing than any contemporary > Mandora/Gallichon or Guitar writing (ie with their chords and arpeggios) > and would be perfectly playable with a plectrum. > > > Such tuning (mandoloncello/mando-cello + e') parallels the Neapolitan-type > liuto cantabile/liuto moderno that Raffaele Calace (1863-1934) claimed to > have invented ca. 1900. He wrote a great deal for virtuosic plectrum > technique on such an instrument, but I'm not aware of any physical > evidence > for something similar a century before. I believe Christian Schneider and > his quartet recorded several Hoffmann and Giuliani chamber works with a > liuto cantabile. There are occasional very large 4-course things from the > mid 1700s that are similar to early Neapolitan mandolins (e.g., the famous > Vinaccia dated 1744 or an undated di Maria with a scale length of 776 > mm). Given the massive scale, it's often speculated these were tuned in > fourths rather than Neapolitan-like fifths in spite of construction (e.g., > Morey 1993), but I'm not aware of any period documentation of their tuning > either. > > Best, > Eugene > -- > > To get on or off this list see list information at > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > References > > 1. http://www.bogulamedia.de/lute/capirola10.jpg > 2. http://www.bogulamedia.de/lute/CapirolaRX.mp3 > 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Re: Capirola question, now lute & classical guitar
On Jul 25, 2007, at 6:11 AM, David Tayler wrote: > I do think we have to get away from any idea that one style is better, > or more "authentic", that is the undercurrent that prevents us from > exploring all the possibilities of the instrument, limiting us > somewhat to Historically Blurry Performances. I think that applies to a good deal of renaissance music, and all 19th- and 20th-century music; but I don't think it applies to Baroque music. IMO to achieve a Historically Focused Performance of Baroque music one needs to understand what it is that makes Baroque music tick. And it's not by ANY means the same as what makes Romantic music tick. Isn't that axiomatic to what the entire early- music movement is all about? The best way to bring out the enchanting, bewitching qualities of the lute, which are after all what makes our music so special, is IMO to be historical, with as few concessions to modernity as possible. There's entirely too much Brahms-In-A-Powdered-Wig out there. I think our job as early-music players is to demonstrate that we can do as well with Historically Informed Performances, if not much, much better, than those who give Historically Oblivious Performances. Strictly my own opinions. I await the flames. David Rastall [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question
On Wed, 2007-07-25 at 22:32 -0700, gary digman wrote: > F. C. da Milano played viol as well as lute This might very likely have been a `viola da mano' (italian form of a vihuela) ... > and used "fingerpicks" on the > lute. De Visee played lute, theorbo and guitar. Paul O'dette, Hopkinson > Smith, Rolf Lislevand, Jacob Lindberg et al all play lute, guitar, bandora, > cittern, theorbo, etc. Yes, but there is a substantial difference between a baroque guitar and a modern one. BTW - at least some of the players aren't too fanatic to use the (however) "authentic" technique on the instruments you mention. I've seen thumb-under in late german baroque music performances ... > When playing lute, use "lute technique", when playing > guitar use guitar technique. I must confess I don't see what the problem (or > "gap") is. Lute technique is not the opposite of guitar technique, they're > just different, they're not mutually exclusive. Well - is that really true? As long as you have long flamenco-style fingernails it's pretty much impossible to play renaissance lute and get that delicate Paul O'Dette sound (careful: I'm _not_ saying that you can't get a beautiful sound - just that certain techniques don't work as long as you use nails). Another thing I noticed: players being used to contemporary guitar technique sometimes have, erm, suboptimal righ hand positions on large lutes (Baroque lutes/Theorbos) and end up in a playing position that _can_ lead to severe injuries. Just be careful. HTH Ralf Mattes > All the Best, > Gary > > ----- Original Message - > From: "Stephan Olbertz" <[EMAIL PROTECTED]> > To: > Sent: Wednesday, July 25, 2007 1:01 AM > Subject: [LUTE] Re: Capirola question > > > > Am 24 Jul 2007 um 2:50 hat gary digman geschrieben: > > > > > Does somebody have a problem with playing both or even more instruments, > not > > > necessarily at the same time, "not that there's anything wrong with > that"? > > > > As far as I can see, lute and guitar are as seperated in the > conservatories and so on as > > cembalo and piano, probably even more, because you still have some > pianists who > > occasionaly try to accompany someone on the cembalo. While we usually > think that the HIP > > movement has resulted in a gap between lute and classical guitar, it's > interesting to see that > > it still can be reasonable to play lute instruments with guitar technique > (with only minor > > adjustments). > > > > Regards, > > > > Stephan > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > > > -- > > No virus found in this incoming message. > > Checked by AVG Free Edition. > > Version: 7.5.463 / Virus Database: 269.10.11/909 - Release Date: 7/20/2007 > 4:39 PM > > > > >
[LUTE] Re: Capirola question, now lute & classical guitar
Hi all, I find it really amazing what a long thread of meandering discussion developed out of the mere question whether a dot in a 500 year old manuscript is a dot or just flyspeck. ;-) [1]http://bogulamedia.de/aa/capi1.jpg Thanks for your answers. Although I have read the Capirola lutebook foreword in the translation of F. Marincola and did not find anything about it, for me it seems quite obvious, that the dot on the top means "play with the thumb" and the double dot in bar 13 of Rch primo means "play with the middlefinger". Which loosens the strict alternation scheme of thumb-index towards a more economical way of playing. (without being unhistorical) we Andreas Schlegel schrieb: Dear Gary That's partially correct. BUT: Modern string material allows other (modern and in history never possible or needed) techniques as historic ones. F.ex. dampening is first of all a problem of modern bass strings. If we wish to understand the acoustic of a historic instrument and use modern strings, that's so intelligent as to discuss on the performance of a Ford T with modern F1 tyres. We have to search the unity between instrument, strings and player. If somebody says: I like the sound of Pyramid and nylon top strings, he will play in a different way on a acousticly different instrument from a lutenist who like to understand the unity between historical "exact" understood and built instrument and the "historical" made strings (we know not so much as we think on the string fabrication...) - and who likes to adapt his technique to this feeled and heard unity. But you're right in the sense that the most important is the music: Interesting played music in a historically impossible manner is also for me "better" as a boring played "well informed" performance... And I think there are very good reasons to search and search on the way to this unity - and with the "correct" string material we will find the REASONS FOR THE TECHNIQUES we can see on pictures or read from in letters etc.! Andreas Am 26.07.2007 um 07:48 schrieb gary digman: As far as technique is concerned, I wonder if there ever was an historical concensus on how the lute should be played. Sometimes it seems there are as many approaches to technique as there are lutenists and everybody's complaining about how the other guy plays. Kind of like today. So, I guess my question is, "Is there an "Historical Lute" that can be contrasted to a "Modern Lute" as far as technique is concerned?" Does not every modern approach have a precedent in history, i.e. thumb under v. thumb out, nails v. flesh, hand extended v. hand near bridge, etc? Gary - Original Message - From: "David Tayler" [2]<[EMAIL PROTECTED]> To: "lute-cs.dartmouth.edu" [3] Sent: Wednesday, July 25, 2007 3:11 AM Subject: [LUTE] Re: Capirola question, now lute & classical guitar Stephan hat geschrieben: As far as I can see, lute and guitar are as separated in the conservatories and so on as cembalo and piano, probably even more, because you still have some pianists who occasionaly try to accompany someone on the cembalo. While we usually think that the HIP movement has resulted in a gap between lute and classical guitar, it's interesting to see that it still can be reasonable to play lute instruments with guitar technique (with only minor adjustments). DT writes: I think these are very interesting and important points, but it is perhaps not an either/or scenario. Of course it is reasonable to play any way you wish. Obviously, there is no real authenticity police, and that's a good thing. On the other hand, the rise of the professional class has for better or for worse created a situation in which historical performance per se is in the minority at the orchestra level, yet still persists in lute circles and other circles as well. One of the beauties of the movement is that it embraces such a wide field of diverse & interesting viewpoints. If we consider for a moment that HP (setting aside HIP as it has no real antonym) represents a broad spectrum of possibilities, we see at one end the "As Historical as Possible" (must be AHAP) and at the other end, modern techniques, literature and materials. Many players fall somewhere in between--thumb under, modern strings. Some players go the historical limit, including raising their own sheep. Others like the convenience and sound of modern developments. But this is the strength of the instrument. In this respect, it may be, and this is a point of debate, that the parallel is not harpsicord and piano at all, but modern recorder vs historical recorder, modern cello vs historical cello, and, of course modern lute and historical lute. Most "baroque" orchestral string players play hybrid instruments: heavier bows, half mode
[LUTE] Re: Capirola question, now lute & classical guitar
Dear Gary That's partially correct. BUT: Modern string material allows other (modern and in history never possible or needed) techniques as historic ones. F.ex. dampening is first of all a problem of modern bass strings. If we wish to understand the acoustic of a historic instrument and use modern strings, that's so intelligent as to discuss on the performance of a Ford T with modern F1 tyres. We have to search the unity between instrument, strings and player. If somebody says: I like the sound of Pyramid and nylon top strings, he will play in a different way on a acousticly different instrument from a lutenist who like to understand the unity between historical "exact" understood and built instrument and the "historical" made strings (we know not so much as we think on the string fabrication...) - and who likes to adapt his technique to this feeled and heard unity. But you're right in the sense that the most important is the music: Interesting played music in a historically impossible manner is also for me "better" as a boring played "well informed" performance... And I think there are very good reasons to search and search on the way to this unity - and with the "correct" string material we will find the REASONS FOR THE TECHNIQUES we can see on pictures or read from in letters etc.! Andreas Am 26.07.2007 um 07:48 schrieb gary digman: > As far as technique is concerned, I wonder if there ever was an > historical > concensus on how the lute should be played. Sometimes it seems > there are as > many approaches to technique as there are lutenists and everybody's > complaining about how the other guy plays. Kind of like today. So, > I guess > my question is, "Is there an "Historical Lute" that can be > contrasted to a > "Modern Lute" as far as technique is concerned?" Does not every modern > approach have a precedent in history, i.e. thumb under v. thumb > out, nails > v. flesh, hand extended v. hand near bridge, etc? > > Gary > > - Original Message - > From: "David Tayler" <[EMAIL PROTECTED]> > To: "lute-cs.dartmouth.edu" > Sent: Wednesday, July 25, 2007 3:11 AM > Subject: [LUTE] Re: Capirola question, now lute & classical guitar > > >> Stephan hat geschrieben: >> As far as I can see, lute and guitar are as separated in the >> conservatories and so on as >> cembalo and piano, probably even more, because you still have some >> pianists who >> occasionaly try to accompany someone on the cembalo. While we usually >> think that the HIP >> movement has resulted in a gap between lute and classical guitar, >> it's interesting to see that >> it still can be reasonable to play lute instruments with guitar >> technique (with only minor >> adjustments). >> >> DT writes: >> I think these are very interesting and important points, but it is >> perhaps not an either/or scenario. Of course it is reasonable to play >> any way you wish. Obviously, there is no real authenticity police, >> and that's a good thing. On the other hand, the rise of the >> professional class has for better or for worse created a situation in >> which historical performance per se is in the minority at the >> orchestra level, yet still persists in lute circles and other circles >> as well. One of the beauties of the movement is that it embraces such >> a wide field of diverse & interesting viewpoints. >> If we consider for a moment that HP (setting aside HIP as it has no >> real antonym) represents a broad spectrum of possibilities, we see at >> one end the "As Historical as Possible" (must be AHAP) and at the >> other end, modern techniques, literature and materials. Many players >> fall somewhere in between--thumb under, modern strings. Some players >> go the historical limit, including raising their own sheep. Others >> like the convenience and sound of modern developments. >> But this is the strength of the instrument. >> In this respect, it may be, and this is a point of debate, that the >> parallel is not harpsicord and piano at all, but modern recorder vs >> historical recorder, modern cello vs historical cello, and, of course >> modern lute and historical lute. >> Most "baroque" orchestral string players play hybrid instruments: >> heavier bows, half modern strings, etc. >> The extension of the professional movement results in the >> disappearance of the AHAP instruments. For example, almost all >> recorders have modern windways and fingerings because the originals >> are too soft for modern use. The may l
[LUTE] Re: Capirola question, now lute & classical guitar
As far as technique is concerned, I wonder if there ever was an historical concensus on how the lute should be played. Sometimes it seems there are as many approaches to technique as there are lutenists and everybody's complaining about how the other guy plays. Kind of like today. So, I guess my question is, "Is there an "Historical Lute" that can be contrasted to a "Modern Lute" as far as technique is concerned?" Does not every modern approach have a precedent in history, i.e. thumb under v. thumb out, nails v. flesh, hand extended v. hand near bridge, etc? Gary - Original Message - From: "David Tayler" <[EMAIL PROTECTED]> To: "lute-cs.dartmouth.edu" Sent: Wednesday, July 25, 2007 3:11 AM Subject: [LUTE] Re: Capirola question, now lute & classical guitar > Stephan hat geschrieben: > As far as I can see, lute and guitar are as separated in the > conservatories and so on as > cembalo and piano, probably even more, because you still have some > pianists who > occasionaly try to accompany someone on the cembalo. While we usually > think that the HIP > movement has resulted in a gap between lute and classical guitar, > it's interesting to see that > it still can be reasonable to play lute instruments with guitar > technique (with only minor > adjustments). > > DT writes: > I think these are very interesting and important points, but it is > perhaps not an either/or scenario. Of course it is reasonable to play > any way you wish. Obviously, there is no real authenticity police, > and that's a good thing. On the other hand, the rise of the > professional class has for better or for worse created a situation in > which historical performance per se is in the minority at the > orchestra level, yet still persists in lute circles and other circles > as well. One of the beauties of the movement is that it embraces such > a wide field of diverse & interesting viewpoints. > If we consider for a moment that HP (setting aside HIP as it has no > real antonym) represents a broad spectrum of possibilities, we see at > one end the "As Historical as Possible" (must be AHAP) and at the > other end, modern techniques, literature and materials. Many players > fall somewhere in between--thumb under, modern strings. Some players > go the historical limit, including raising their own sheep. Others > like the convenience and sound of modern developments. > But this is the strength of the instrument. > In this respect, it may be, and this is a point of debate, that the > parallel is not harpsicord and piano at all, but modern recorder vs > historical recorder, modern cello vs historical cello, and, of course > modern lute and historical lute. > Most "baroque" orchestral string players play hybrid instruments: > heavier bows, half modern strings, etc. > The extension of the professional movement results in the > disappearance of the AHAP instruments. For example, almost all > recorders have modern windways and fingerings because the originals > are too soft for modern use. The may look like old instruments, but > they are a fusion of old and new. A famous recorder builder once told > me he had not made a narrow windway recorder in twenty years. > The lute is one of the few instruments where you still see a very few > historical style instruments and players, but this is mostly for solo > repertory, songs & duets. The old style theorbos with gut strings, > often with double courses (though not always), have been replaced by > high tension, single strung instruments, mostly strummed, where the > loud instrument gets the gig, ironically in a way similar to the way > Stradivarius usurped Steiner. > > I think the conservatory is really the only institution that keeps > the historical side alive, and so the separation is good, others may > feel differently; in the US if I spent $40,000 at a conservatory I > would want a job when I got out. > > It may ultimately be a sign of progress if the lute & ren/baroque/ec > guitar takes the stance that there is modern lute and historical > lute, and things in between. Why shouldn't someone be able to really > study modern lute (including Hindemith's Concerto, although I suppose > there would be those who would play it on a Hauser), and seriously > include contemporary music? At the Hague, it is expected that people > play both modern and historical recorder, and the juxtaposition in > style & sound throws the differences in the instruments into relief. > Not to mention that the most progressive of the modern lutes is far > more suited to play in a modern orchestra. I know there is some work > being done in this area, but it could be widely formalized. > This woul
[LUTE] Re: Capirola question
F. C. da Milano played viol as well as lute and used "fingerpicks" on the lute. De Visee played lute, theorbo and guitar. Paul O'dette, Hopkinson Smith, Rolf Lislevand, Jacob Lindberg et al all play lute, guitar, bandora, cittern, theorbo, etc. When playing lute, use "lute technique", when playing guitar use guitar technique. I must confess I don't see what the problem (or "gap") is. Lute technique is not the opposite of guitar technique, they're just different, they're not mutually exclusive. All the Best, Gary - Original Message - From: "Stephan Olbertz" <[EMAIL PROTECTED]> To: Sent: Wednesday, July 25, 2007 1:01 AM Subject: [LUTE] Re: Capirola question > Am 24 Jul 2007 um 2:50 hat gary digman geschrieben: > > > Does somebody have a problem with playing both or even more instruments, not > > necessarily at the same time, "not that there's anything wrong with that"? > > As far as I can see, lute and guitar are as seperated in the conservatories and so on as > cembalo and piano, probably even more, because you still have some pianists who > occasionaly try to accompany someone on the cembalo. While we usually think that the HIP > movement has resulted in a gap between lute and classical guitar, it's interesting to see that > it still can be reasonable to play lute instruments with guitar technique (with only minor > adjustments). > > Regards, > > Stephan > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > -- > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.5.463 / Virus Database: 269.10.11/909 - Release Date: 7/20/2007 4:39 PM > >
[LUTE] Re: Capirola question, now lute & classical guitar
In a message dated 7/25/07 1:01:29 AM, [EMAIL PROTECTED] writes: > it's interesting to see that > it still can be reasonable to play lute instruments with guitar technique > (with only minor > adjustments). > While I may be wrong, I believe that Gary was not referring to playing the lute with "guitar" technique, but playing two different instruments with two different, but complimentary techniques. As David has so cleary pointed out there are a myriad of a lute techniques (and a plethora of different instrumnets), and some of these come closer to "modern" guitar technique and some come closer to the technique that was used by someone such as Fernando Sor. RS ** Get a sneak peek of the all-new AOL at http://discover.aol.com/memed/aolcom30tour -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question, now lute & classical guitar
Stephan hat geschrieben: As far as I can see, lute and guitar are as separated in the conservatories and so on as cembalo and piano, probably even more, because you still have some pianists who occasionaly try to accompany someone on the cembalo. While we usually think that the HIP movement has resulted in a gap between lute and classical guitar, it's interesting to see that it still can be reasonable to play lute instruments with guitar technique (with only minor adjustments). DT writes: I think these are very interesting and important points, but it is perhaps not an either/or scenario. Of course it is reasonable to play any way you wish. Obviously, there is no real authenticity police, and that's a good thing. On the other hand, the rise of the professional class has for better or for worse created a situation in which historical performance per se is in the minority at the orchestra level, yet still persists in lute circles and other circles as well. One of the beauties of the movement is that it embraces such a wide field of diverse & interesting viewpoints. If we consider for a moment that HP (setting aside HIP as it has no real antonym) represents a broad spectrum of possibilities, we see at one end the "As Historical as Possible" (must be AHAP) and at the other end, modern techniques, literature and materials. Many players fall somewhere in between--thumb under, modern strings. Some players go the historical limit, including raising their own sheep. Others like the convenience and sound of modern developments. But this is the strength of the instrument. In this respect, it may be, and this is a point of debate, that the parallel is not harpsicord and piano at all, but modern recorder vs historical recorder, modern cello vs historical cello, and, of course modern lute and historical lute. Most "baroque" orchestral string players play hybrid instruments: heavier bows, half modern strings, etc. The extension of the professional movement results in the disappearance of the AHAP instruments. For example, almost all recorders have modern windways and fingerings because the originals are too soft for modern use. The may look like old instruments, but they are a fusion of old and new. A famous recorder builder once told me he had not made a narrow windway recorder in twenty years. The lute is one of the few instruments where you still see a very few historical style instruments and players, but this is mostly for solo repertory, songs & duets. The old style theorbos with gut strings, often with double courses (though not always), have been replaced by high tension, single strung instruments, mostly strummed, where the loud instrument gets the gig, ironically in a way similar to the way Stradivarius usurped Steiner. I think the conservatory is really the only institution that keeps the historical side alive, and so the separation is good, others may feel differently; in the US if I spent $40,000 at a conservatory I would want a job when I got out. It may ultimately be a sign of progress if the lute & ren/baroque/ec guitar takes the stance that there is modern lute and historical lute, and things in between. Why shouldn't someone be able to really study modern lute (including Hindemith's Concerto, although I suppose there would be those who would play it on a Hauser), and seriously include contemporary music? At the Hague, it is expected that people play both modern and historical recorder, and the juxtaposition in style & sound throws the differences in the instruments into relief. Not to mention that the most progressive of the modern lutes is far more suited to play in a modern orchestra. I know there is some work being done in this area, but it could be widely formalized. This would then free the modern lute to explore extended techniques, as is done with all other instruments, recorder, harpsichord, etc. Certainly the result has been for the recorder that the historical end is, if anything, now more developed. So I think it is good that there is a refuge from professionalism of sorts in Conservatory, and it not only reasonable but practical to explore other options. I think we need a formal modern lute (which I would argue we already have), and that such an idea would be good for all aspects of the lute/guitar. Others may feel it is all one lute. I do think we have to get away from any idea that one style is better, or more "authentic", that is the undercurrent that prevents us from exploring all the possibilities of the instrument, limiting us somewhat to Historically Blurry Performances. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question
Am 24 Jul 2007 um 2:50 hat gary digman geschrieben: > Does somebody have a problem with playing both or even more instruments, not > necessarily at the same time, "not that there's anything wrong with that"? As far as I can see, lute and guitar are as seperated in the conservatories and so on as cembalo and piano, probably even more, because you still have some pianists who occasionaly try to accompany someone on the cembalo. While we usually think that the HIP movement has resulted in a gap between lute and classical guitar, it's interesting to see that it still can be reasonable to play lute instruments with guitar technique (with only minor adjustments). Regards, Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question
Absolutely. I was only speaking of Capirola, where there are so many ornament signs. I think it may well be the thumb, as I said before, and having looked again, that seems more likely than ornaments, as you say. It is also possible that Vitali copied from a collection of different pieces, which could explain why the dot appears in only some of the pieces. It is a very curious ms in many repects, I always assumed the easy pieces were for students, but now that I look at it again I see no reason that every single one should be by one composer. It would be nice to see the original. d At 01:26 AM 7/24/2007, you wrote: >Dear David, >When you see the strict alternation of the dots above >and below successive notes in the few early sources >where it is used, the intention is very clear that it >represents right hand thumb and forefinger. It's really >not plausible that in a running passage every other note >has an ornament.It's only where it's used sporadically >as in Capirola that it's meaning becomes more ambiguous. >But it seems highly probable that Vitali used what must have >been a well understood convention in his time. An accessible >example of early tablature using this feature is the piece >from the FribourgMs. which can be found in Crawford Young's >facsimile of the Pesaro Ms. > >Best wishes, > >Denys > > > > >I think you can make a good case for the thumb dot, and I even spent >some trying to see if the above dot appeared in places where you be >inclined to use the wrong finger, so that the dot fuctions similar to >a cautionary accidental. > >And this may well be. >However, the most common use of the dot above a symbol that is not >mensural is for an ornament, so I don't think one can be certain >unless you could show >that an ornament was not possible, which we can't do. > >Likewise, we can't really show that the above dot only occurs in >treacherous places--sometimes it does, and sometimes it does not. > >Lastly, a dot in one ms often means something different in another ms. > >For example, in some sources, the dot is arbitrary, and in others it is not. >Some Francesco sources use the dot to avoid a string crossing, others do not. >In handwritten sources, it is fascinating to see in the original dots >and various other marks in different shades of ink, just as one would >bow an orchestral part. Of course in Capirola, there is the color as well. > >I think the thumb is certainly a possibilty. >dt > > > > >Concerning the dot above tablature letters found > >in a few places in the Capirola manuscript, I feel > >sure that Martin's opinion that it denotes a note > >played with the right hand thumb is correct. I included > >a discussion of this notation in the introduction to > >the Lute Society edition of British Library Add. > >Ms.31389. Two pieces in that manuscript very clearly > >use dots above and below notes to indicate right hand > >thumb and forefinger respectively. This notation is > >also found in the lute piece from the Fribourg manuscript > >and the lute book of Ludwig Iselin. My suspicion is that > >it was used as a teaching device to make the thumb - forefinger > >alternation very clear for beginners. We find a vestigal use of > >it in the Caprirola manuscript - I would agree with Martin that > >it's sometimes used there to show departures from the norm. It's > >significant that it occurs in the 'Vilanela,' which is surely > >one of the simple pieces that Vitali says Vincenzo gave him > >at the start of his instruction. By the time of the Capirola Ms. > >the use of the dot below a letter to indicate the forefinger > >seems to have been considered self evident for thumb / forefinger > >alternation. (It already was in the Petrucci publications > >several years earlier). > > > >The very interesting feature found in Ms. 31389 is > >that there are passages noted using the right hand thumb to > >play a succession of consecutive notes - this is usually > >regarded as a much later technique. > > > >Best wishes, > > > >Denys > > > > >-- >This mail sent through http://www.ukonline.net > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question
Dear David, When you see the strict alternation of the dots above and below successive notes in the few early sources where it is used, the intention is very clear that it represents right hand thumb and forefinger. It's really not plausible that in a running passage every other note has an ornament.It's only where it's used sporadically as in Capirola that it's meaning becomes more ambiguous. But it seems highly probable that Vitali used what must have been a well understood convention in his time. An accessible example of early tablature using this feature is the piece from the FribourgMs. which can be found in Crawford Young's facsimile of the Pesaro Ms. Best wishes, Denys I think you can make a good case for the thumb dot, and I even spent some trying to see if the above dot appeared in places where you be inclined to use the wrong finger, so that the dot fuctions similar to a cautionary accidental. And this may well be. However, the most common use of the dot above a symbol that is not mensural is for an ornament, so I don't think one can be certain unless you could show that an ornament was not possible, which we can't do. Likewise, we can't really show that the above dot only occurs in treacherous places--sometimes it does, and sometimes it does not. Lastly, a dot in one ms often means something different in another ms. For example, in some sources, the dot is arbitrary, and in others it is not. Some Francesco sources use the dot to avoid a string crossing, others do not. In handwritten sources, it is fascinating to see in the original dots and various other marks in different shades of ink, just as one would bow an orchestral part. Of course in Capirola, there is the color as well. I think the thumb is certainly a possibilty. dt >Concerning the dot above tablature letters found >in a few places in the Capirola manuscript, I feel >sure that Martin's opinion that it denotes a note >played with the right hand thumb is correct. I included >a discussion of this notation in the introduction to >the Lute Society edition of British Library Add. >Ms.31389. Two pieces in that manuscript very clearly >use dots above and below notes to indicate right hand >thumb and forefinger respectively. This notation is >also found in the lute piece from the Fribourg manuscript >and the lute book of Ludwig Iselin. My suspicion is that >it was used as a teaching device to make the thumb - forefinger >alternation very clear for beginners. We find a vestigal use of >it in the Caprirola manuscript - I would agree with Martin that >it's sometimes used there to show departures from the norm. It's >significant that it occurs in the 'Vilanela,' which is surely >one of the simple pieces that Vitali says Vincenzo gave him >at the start of his instruction. By the time of the Capirola Ms. >the use of the dot below a letter to indicate the forefinger >seems to have been considered self evident for thumb / forefinger >alternation. (It already was in the Petrucci publications >several years earlier). > >The very interesting feature found in Ms. 31389 is >that there are passages noted using the right hand thumb to >play a succession of consecutive notes - this is usually >regarded as a much later technique. > >Best wishes, > >Denys -- This mail sent through http://www.ukonline.net To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question
I think you can make a good case for the thumb dot, and I even spent some trying to see if the above dot appeared in places where you be inclined to use the wrong finger, so that the dot fuctions similar to a cautionary accidental. And this may well be. However, the most common use of the dot above a symbol that is not mensural is for an ornament, so I don't think one can be certain unless you could show that an ornament was not possible, which we can't do. Likewise, we can't really show that the above dot only occurs in treacherous places--sometimes it does, and sometimes it does not. Lastly, a dot in one ms often means something different in another ms. For example, in some sources, the dot is arbitrary, and in others it is not. Some Francesco sources use the dot to avoid a string crossing, others do not. In handwritten sources, it is fascinating to see in the original dots and various other marks in different shades of ink, just as one would bow an orchestral part. Of course in Capirola, there is the color as well. I think the thumb is certainly a possibilty. dt >Concerning the dot above tablature letters found >in a few places in the Capirola manuscript, I feel >sure that Martin's opinion that it denotes a note >played with the right hand thumb is correct. I included >a discussion of this notation in the introduction to >the Lute Society edition of British Library Add. >Ms.31389. Two pieces in that manuscript very clearly >use dots above and below notes to indicate right hand >thumb and forefinger respectively. This notation is >also found in the lute piece from the Fribourg manuscript >and the lute book of Ludwig Iselin. My suspicion is that >it was used as a teaching device to make the thumb - forefinger >alternation very clear for beginners. We find a vestigal use of >it in the Caprirola manuscript - I would agree with Martin that >it's sometimes used there to show departures from the norm. It's >significant that it occurs in the 'Vilanela,' which is surely >one of the simple pieces that Vitali says Vincenzo gave him >at the start of his instruction. By the time of the Capirola Ms. >the use of the dot below a letter to indicate the forefinger >seems to have been considered self evident for thumb / forefinger >alternation. (It already was in the Petrucci publications >several years earlier). > >The very interesting feature found in Ms. 31389 is >that there are passages noted using the right hand thumb to >play a succession of consecutive notes - this is usually >regarded as a much later technique. > >Best wishes, > >Denys > > > > > >-Original Message- >From: Martin Shepherd [mailto:[EMAIL PROTECTED] >Sent: 22 July 2007 22:56 >To: lute@cs.dartmouth.edu >Subject: [LUTE] Re: Capirola question > > >Well spotted! This occurs in the first piece in the book too - and it has >puzzled me for a while. My preliminary conclusion is that it indicates use >of the thumb, especially when you would normally expect to use another >finger. For instance, in bar 8 of the first piece: > >3 >-2-0-2--- >- >-0--- >-4--- >- > >the dot appears on the second and third notes. Using the usual thumb-index >alternation, one would expect the second note to be played with the first >finger. Playing it with the thumb is perhaps more comfortable and gives >better continuity of tone to the bass line. > >In bars 11-13 of the Recerchar Primo we have: > >-0-2-|-3-|-| >-|-0-|---2-3---| >-|---|---0-| >-|---|-| >-|---|-| >--0--|---|-0---| > >where the open 5th course in the second bar has the mystery dot, in this >case I think because the bass line is syncopated and it makes sense for the >thumb to play this note so that the articulation of the rising scale works >properly. > >Another interesting example is in the 8th bar of line 3, where the dot is >applied to a 2nd fret on the 4th course, presumably to avoid getting too >strong an effect of the upper octave of the 4th course when the phrase >crosses from open 3rd course to 4th course and back again. > >After these first few pieces, he seems to have abandoned this piece of >notation. > >Just for the record, the interpretation of ornament signs in this book is >difficult, but the distinction between the two signs is definitely nothing >to do with an 18th C question about whether or not "trills" >begin on the upper note or the main note! It seems that the red dotted >number indicates a shake between the main note and the red note (probably >starting with the main note) while the two dots above a note in
[LUTE] Re: Capirola question
Dear All, Concerning the dot above tablature letters found in a few places in the Capirola manuscript, I feel sure that Martin's opinion that it denotes a note played with the right hand thumb is correct. I included a discussion of this notation in the introduction to the Lute Society edition of British Library Add. Ms.31389. Two pieces in that manuscript very clearly use dots above and below notes to indicate right hand thumb and forefinger respectively. This notation is also found in the lute piece from the Fribourg manuscript and the lute book of Ludwig Iselin. My suspicion is that it was used as a teaching device to make the thumb - forefinger alternation very clear for beginners. We find a vestigal use of it in the Caprirola manuscript - I would agree with Martin that it's sometimes used there to show departures from the norm. It's significant that it occurs in the 'Vilanela,' which is surely one of the simple pieces that Vitali says Vincenzo gave him at the start of his instruction. By the time of the Capirola Ms. the use of the dot below a letter to indicate the forefinger seems to have been considered self evident for thumb / forefinger alternation. (It already was in the Petrucci publications several years earlier). The very interesting feature found in Ms. 31389 is that there are passages noted using the right hand thumb to play a succession of consecutive notes - this is usually regarded as a much later technique. Best wishes, Denys -Original Message- From: Martin Shepherd [mailto:[EMAIL PROTECTED] Sent: 22 July 2007 22:56 To: lute@cs.dartmouth.edu Subject: [LUTE] Re: Capirola question Well spotted! This occurs in the first piece in the book too - and it has puzzled me for a while. My preliminary conclusion is that it indicates use of the thumb, especially when you would normally expect to use another finger. For instance, in bar 8 of the first piece: 3 -2-0-2--- - -0--- -4--- - the dot appears on the second and third notes. Using the usual thumb-index alternation, one would expect the second note to be played with the first finger. Playing it with the thumb is perhaps more comfortable and gives better continuity of tone to the bass line. In bars 11-13 of the Recerchar Primo we have: -0-2-|-3-|-| -|-0-|---2-3---| -|---|---0-| -|---|-| -|---|-| --0--|---|-0---| where the open 5th course in the second bar has the mystery dot, in this case I think because the bass line is syncopated and it makes sense for the thumb to play this note so that the articulation of the rising scale works properly. Another interesting example is in the 8th bar of line 3, where the dot is applied to a 2nd fret on the 4th course, presumably to avoid getting too strong an effect of the upper octave of the 4th course when the phrase crosses from open 3rd course to 4th course and back again. After these first few pieces, he seems to have abandoned this piece of notation. Just for the record, the interpretation of ornament signs in this book is difficult, but the distinction between the two signs is definitely nothing to do with an 18th C question about whether or not "trills" begin on the upper note or the main note! It seems that the red dotted number indicates a shake between the main note and the red note (probably starting with the main note) while the two dots above a note indicates a lower mordent or a fall. As far as my limited Italian takes me, the line at the bottom means "start on the first string as you see here, and continue as above". It involves more or less an octave repetition of the opening phrase. Best wishes, Martin Orphenica wrote: >Oh, collective Lute Wisdom of the world, > >Im trying to get into the works of Vinzenco Capirola and bought a >facsimile of his works. > >Apart from struggling with the "antipodal" charme of Italian tab, I >stumbled accross some fingering hints (?) in the Richerchar primo. Here >my questions: >Is a dot to the upper (left) of a number a thumb indicator and a double >dot under a cypher a suggestion to use the middle finger (the latter >might be flyspeck). > >A scan of the first tab line from R1 can be found here (it's the last >two bars, I refer to): >http://bogulamedia.de/aa/capi1.jpg > >Another miracle is the last line of the first page of the Richerchar >primo, does anybody out there in lute space know, what this means: >http://bogulamedia.de/aa/capi2.jpg > >Some answers might be found in the preface of the lute manuscript, but >unfortunately my Italian is not even sufficient to distinguish >Parpadelle from Orichiette. Is there an English translation of the foreword? > > >Thank your for your time and expertise > > Werner > > > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >
[LUTE] Re: Capirola question
Am 23 Jul 2007 um 10:39 hat David Rastall geschrieben: > And now after 35 years of lute revival, we seem to be exploring thumb- > out again. Pretty soon we'll be ready to agree that Julian Bream > was right after all. ;-) That would give us some more doubling or converting guitarists, which seem to be desperetaly needed judging from the numbers. A nice 10 course and a theorbo in every guitar class, I'd say Regards, Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question
On Jul 23, 2007, at 7:17 AM, Edward Martin wrote: > I think Michael Schaffer was one of the first in our times to explore > "thumb under". And now after 35 years of lute revival, we seem to be exploring thumb- out again. Pretty soon we'll be ready to agree that Julian Bream was right after all. ;-) David Rastall [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question
Paul Odette told me: When I arrived in Basel in 1973 I was amazed to hear some of the other students playing without nails and making an exquisite sound. I cut off my nails, but discovered that the quick of my nails are so high that I ended up scratching across the end of the nail rather than stiking the string with the flesh. Eugen Dombois, my teacher in Basel, suggested that I try the thumb under technique, which had recently been rediscovered by Sigmar Salzburg, an amateur lutenist in Hannover. He showed it to Michael Schaeffer, who gave a demonstration of it for us in Basel. I tried it a few months later and found it suited my physiology very well. So this is around '73, that is why I thought David predates most of us. On Jul 23, 2007, at 8:17 PM, Edward Martin wrote: > I think Michael Schaffer was one of the first in our times to explore > "thumb under". 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: Capirola question
I think Michael Schaffer was one of the first in our times to explore "thumb under". ed At 02:25 AM 7/23/2007 -0700, David Tayler wrote: >I think I'm just old :) >Perhaps Dombois was one of the first? I've never really thought about it. > >dt > > >At 01:47 AM 7/23/2007, you wrote: > >Jeez David, you must hold the record as the earliest switcher to thumb > under. > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >-- >No virus found in this incoming message. >Checked by AVG Free Edition. >Version: 7.5.476 / Virus Database: 269.10.14/912 - Release Date: 7/22/2007 >7:02 PM Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: [EMAIL PROTECTED] voice: (218) 728-1202
[LUTE] Re: Capirola question
I think I'm just old :) Perhaps Dombois was one of the first? I've never really thought about it. dt At 01:47 AM 7/23/2007, you wrote: >Jeez David, you must hold the record as the earliest switcher to thumb under. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question
Jeez David, you must hold the record as the earliest switcher to thumb under. On Jul 23, 2007, at 4:13 AM, David Tayler wrote: > As a somewhat younger lute player in 1971, I read the introduction > and was shocked that the information was different > from what all my teachers were telling me, so I switched to thumb > under. 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: Capirola question
Mr Rastall makes an excellent point. At 08:31 PM 7/22/2007, you wrote: >On Jul 22, 2007, at 8:35 PM, David Tayler wrote: > > > It used to be unheard of to use the main note trill in > > later baroque music, but now it is relatively common; the next step > > is the use of the above note trill in early baroque music as well as > > in renaissance music, shaping & resolving the trill according to the > > style of the time. > >I agree with you, but one has to ask: the style of which time >exactly? If a certain Baroque figure used to be unheard of but is >now in common usage, does that indicate that we "know better" >nowadays, or are we simply operating according to the caprices of our >own time (as people have always done in the past)? Sort of like our >current version of "thumb-out." which is not at all like the thumb- >out of most of the old paintings, but rather our own modern >adaptation of thumb-under: a kind of thumb-sometimes-slipping-behind- >the-fingers-and-the-rest-of-the-time-almost-parallel-to-them. > >DR > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question
On Jul 22, 2007, at 8:35 PM, David Tayler wrote: > It used to be unheard of to use the main note trill in > later baroque music, but now it is relatively common; the next step > is the use of the above note trill in early baroque music as well as > in renaissance music, shaping & resolving the trill according to the > style of the time. I agree with you, but one has to ask: the style of which time exactly? If a certain Baroque figure used to be unheard of but is now in common usage, does that indicate that we "know better" nowadays, or are we simply operating according to the caprices of our own time (as people have always done in the past)? Sort of like our current version of "thumb-out." which is not at all like the thumb- out of most of the old paintings, but rather our own modern adaptation of thumb-under: a kind of thumb-sometimes-slipping-behind- the-fingers-and-the-rest-of-the-time-almost-parallel-to-them. DR To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question
DT writes >A new examination of treatises up through Vivaldi shows that the >main note trill was in continuous use through the renaissance and baroque. I think the tracing of the trill through the renaissance into the high baroque is one of the main interpretive differences in modern performance practice in the last ten years, as well as one of the most interesting, and has an immediate effect on solo lute music. Obviously Capirola is a long way from Vivaldi, but that has more to do with the underlying music than the trill itself. Others may disagree, and of course one can read the originals in a myriad of ways, but I think the source material is conclusive, particularly in regard to the choir tutors. The trill itself is sourced to the middle ages, but beginning in the renaissance we see written out examples, of which Capirola is one of the earliest. It used to be unheard of to use the main note trill in later baroque music, but now it is relatively common; the next step is the use of the above note trill in early baroque music as well as in renaissance music, shaping & resolving the trill according to the style of the time. dt Martin writes >Just for the record, the interpretation of ornament signs in this book >is difficult, but the distinction between the two signs is definitely >nothing to do with an 18th C question about whether or not "trills" >begin on the upper note or the main note! It seems that the red dotted >number indicates a shake between the main note and the red note >(probably starting with the main note) while the two dots above a note >indicates a lower mordent or a fall. > >As far as my limited Italian takes me, the line at the bottom means >"start on the first string as you see here, and continue as above". It >involves more or less an octave repetition of the opening phrase. > >Best wishes, > >Martin At 02:56 PM 7/22/2007, you wrote: >Well spotted! This occurs in the first piece in the book too - and it >has puzzled me for a while. My preliminary conclusion is that it >indicates use of the thumb, especially when you would normally expect to >use another finger. For instance, in bar 8 of the first piece: > >3 >-2-0-2--- >- >-0--- >-4--- >- > >the dot appears on the second and third notes. Using the usual >thumb-index alternation, one would expect the second note to be played >with the first finger. Playing it with the thumb is perhaps more >comfortable and gives better continuity of tone to the bass line. > >I To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola question
Well spotted! This occurs in the first piece in the book too - and it has puzzled me for a while. My preliminary conclusion is that it indicates use of the thumb, especially when you would normally expect to use another finger. For instance, in bar 8 of the first piece: 3 -2-0-2--- - -0--- -4--- - the dot appears on the second and third notes. Using the usual thumb-index alternation, one would expect the second note to be played with the first finger. Playing it with the thumb is perhaps more comfortable and gives better continuity of tone to the bass line. In bars 11-13 of the Recerchar Primo we have: -0-2-|-3-|-| -|-0-|---2-3---| -|---|---0-| -|---|-| -|---|-| --0--|---|-0---| where the open 5th course in the second bar has the mystery dot, in this case I think because the bass line is syncopated and it makes sense for the thumb to play this note so that the articulation of the rising scale works properly. Another interesting example is in the 8th bar of line 3, where the dot is applied to a 2nd fret on the 4th course, presumably to avoid getting too strong an effect of the upper octave of the 4th course when the phrase crosses from open 3rd course to 4th course and back again. After these first few pieces, he seems to have abandoned this piece of notation. Just for the record, the interpretation of ornament signs in this book is difficult, but the distinction between the two signs is definitely nothing to do with an 18th C question about whether or not "trills" begin on the upper note or the main note! It seems that the red dotted number indicates a shake between the main note and the red note (probably starting with the main note) while the two dots above a note indicates a lower mordent or a fall. As far as my limited Italian takes me, the line at the bottom means "start on the first string as you see here, and continue as above". It involves more or less an octave repetition of the opening phrase. Best wishes, Martin Orphenica wrote: >Oh, collective Lute Wisdom of the world, > >Im trying to get into the works of Vinzenco Capirola and bought a >facsimile of his works. > >Apart from struggling with the "antipodal" charme of Italian tab, I >stumbled accross some fingering hints (?) in the Richerchar primo. Here >my questions: >Is a dot to the upper (left) of a number a thumb indicator and a double >dot under a cypher a suggestion to use the middle finger (the latter >might be flyspeck). > >A scan of the first tab line from R1 can be found here (it's the last >two bars, I refer to): >http://bogulamedia.de/aa/capi1.jpg > >Another miracle is the last line of the first page of the Richerchar >primo, does anybody out there in lute space know, what this means: >http://bogulamedia.de/aa/capi2.jpg > >Some answers might be found in the preface of the lute manuscript, but >unfortunately my Italian is not even sufficient to distinguish >Parpadelle from Orichiette. Is there an English translation of the foreword? > > >Thank your for your time and expertise > > Werner > > > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >
[LUTE] Re: Capirola question
Capirola uses his own system of ornamentation & fingering, and there is even a system for dividing the the paired courses and playing some extra "impossible" notes. If you look at the color facsimile, you will see some of these in red. For this reason, the trills are often left out or misinterpreted. The edition, transcription, translation & commentary by the iconoclast & musicologist Otto Gombosi Otto Gombosi, "Compositione di Meser Vincenzo Capirola", Societe' de Musique d'Autrefois, 1955 Is currently the gold standard. Any good library will have it. Several interesting points here: 1. The earliest occurence of the juxtaposition of "above note trill" and "main note trill" spelled out, even though this is routinely cited as being from 1680, 160 years later. 2. Gombosi as a teacher produced some of the greatest musicologists and lute scholars. 3. The ricercares are different from other early lute sources, and exhibit an unique structure 4. The fact that there is a vast range in the skill level of the pieces suggests that the book was a tutor of some sort. 5. A number of details, such as the split courses, suggest that this book represents at least a generation of development in technique & style back into the unknown repertory of the 15th century. One could therefore do a reconstruction based on earlier sources, using capirola as a logical endpoint. Everyone should read the introduction, it is crucial to an understanding of the early repertory. Marincola's palimpsest, by Marincola, Bailes & Wilson (that would be a fun concert) is a fine place to start, though Gombosi's translation is fine and the diagrams are easier on the eyes. http://www.marincola.com/lutebot1.txt As a somewhat younger lute player in 1971, I read the introduction and was shocked that the information was different from what all my teachers were telling me, so I switched to thumb under. At that time, there were very few thumb under players: they were like three-wheeled Morgans. dt At 10:42 AM 7/22/2007, you wrote: >Try Frederico Marincola's web site. Lutebot #1 has a translation of at least >part of the Capirola text. http://www.marincola.com/ > > >Guy > > >-Original Message- >From: Orphenica [mailto:[EMAIL PROTECTED] >Sent: Sunday, July 22, 2007 5:12 AM >To: Bernd Haegemann >Cc: lute@cs.dartmouth.edu >Subject: [LUTE] Capirola question > >Oh, collective Lute Wisdom of the world, > >Im trying to get into the works of Vinzenco Capirola and bought a >facsimile of his works. > >Apart from struggling with the "antipodal" charme of Italian tab, I >stumbled accross some fingering hints (?) in the Richerchar primo. Here >my questions: >Is a dot to the upper (left) of a number a thumb indicator and a double >dot under a cypher a suggestion to use the middle finger (the latter >might be flyspeck). > >A scan of the first tab line from R1 can be found here (it's the last >two bars, I refer to): >http://bogulamedia.de/aa/capi1.jpg > >Another miracle is the last line of the first page of the Richerchar >primo, does anybody out there in lute space know, what this means: >http://bogulamedia.de/aa/capi2.jpg > >Some answers might be found in the preface of the lute manuscript, but >unfortunately my Italian is not even sufficient to distinguish >Parpadelle from Orichiette. Is there an English translation of the foreword? > > >Thank your for your time and expertise > > Werner > > > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: Capirola question
Try Frederico Marincola's web site. Lutebot #1 has a translation of at least part of the Capirola text. http://www.marincola.com/ Guy -Original Message- From: Orphenica [mailto:[EMAIL PROTECTED] Sent: Sunday, July 22, 2007 5:12 AM To: Bernd Haegemann Cc: lute@cs.dartmouth.edu Subject: [LUTE] Capirola question Oh, collective Lute Wisdom of the world, Im trying to get into the works of Vinzenco Capirola and bought a facsimile of his works. Apart from struggling with the "antipodal" charme of Italian tab, I stumbled accross some fingering hints (?) in the Richerchar primo. Here my questions: Is a dot to the upper (left) of a number a thumb indicator and a double dot under a cypher a suggestion to use the middle finger (the latter might be flyspeck). A scan of the first tab line from R1 can be found here (it's the last two bars, I refer to): http://bogulamedia.de/aa/capi1.jpg Another miracle is the last line of the first page of the Richerchar primo, does anybody out there in lute space know, what this means: http://bogulamedia.de/aa/capi2.jpg Some answers might be found in the preface of the lute manuscript, but unfortunately my Italian is not even sufficient to distinguish Parpadelle from Orichiette. Is there an English translation of the foreword? Thank your for your time and expertise Werner To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html