[LUTE] Re: Capirola translation

2020-09-27 Thread Frank A. Gerbode, M.D.
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:
>>>     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

2020-09-26 Thread Jussi-Pekka Lajunen
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. 
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[LUTE] Re: Capirola translation

2020-09-26 Thread Frank A. Gerbode, M.D.
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

2020-09-25 Thread Jussi-Pekka Lajunen
   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

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[LUTE] Re: Capirola Zoology

2020-07-27 Thread Tristan von Neumann
   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

2020-07-26 Thread Jussi-Pekka Lajunen

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 





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[LUTE] Re: Capirola Zoology

2020-07-26 Thread Andrew
   [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


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[LUTE] Re: Capirola Zoology

2020-07-26 Thread Jussi-Pekka Lajunen
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




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[LUTE] Re: Capirola Zoology

2020-07-26 Thread Jussi-Pekka Lajunen
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?





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[LUTE] Re: Capirola & buzzing like bray pins?

2019-12-02 Thread Tristan von Neumann

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.

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[LUTE] Re: Capirola & buzzing like bray pins?

2019-12-02 Thread G. C.
 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.

   --


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[LUTE] Re: Capirola & buzzing like bray pins?

2019-12-02 Thread Guilherme Barroso
   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
 --
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References

   1. https://youtu.be/w2lQbXhITLY



[LUTE] Re: Capirola Lute Book measurements

2017-11-01 Thread Tristan von Neumann

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



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[LUTE] Re: Capirola Lute Book measurements

2017-11-01 Thread 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




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[LUTE] Re: Capirola

2017-07-10 Thread G. C.
   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
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[LUTE] Re: Capirola

2017-07-10 Thread Bruno Cognyl-Fournier
   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

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References

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   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html



[LUTE] Re: Capirola lute book

2015-12-13 Thread AJN
   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
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References

   1. mailto:arc...@verizon.net
   2. http://www.cs.dartmouth.edu/



[LUTE] Re: Capirola lute book

2015-12-06 Thread Geoff Gaherty

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/



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[LUTE] Re: Capirola lute book

2015-12-06 Thread David van Ooijen
   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!

2011-11-26 Thread David Tayler
   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

2011-11-08 Thread Lex van Sante
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!

2011-11-08 Thread Bruno Correia
   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!

2011-11-08 Thread Leonard Williams
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!

2011-11-08 Thread Daniel Winheld
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!

2011-11-08 Thread N. James
   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!

2011-11-08 Thread T.Kakinami
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!

2011-11-08 Thread Sean Smith


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

2011-11-08 Thread franco pavan
   -- 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

2010-11-17 Thread Stephan Olbertz
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

2010-11-17 Thread 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







[LUTE] Re: Capirola

2010-11-17 Thread Edward Martin
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

2010-11-17 Thread Nancy Carlin
   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

2010-11-17 Thread Denys Stephens
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
  
   /[ ]
   /   \
  |  *  |
  \_=_/





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[LUTE] Re: Capirola

2010-05-20 Thread Bruno Correia
   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

2010-05-20 Thread Denys Stephens
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...





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[LUTE] Re: Capirola

2009-05-22 Thread wikla

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



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[LUTE] Re: Capirola

2009-05-22 Thread Edward Martin
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

2007-07-31 Thread G. Crona
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

2007-07-26 Thread David Rastall
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]




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[LUTE] Re: Capirola question

2007-07-26 Thread Ralf Mattes
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

2007-07-26 Thread Orphenica

   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

2007-07-25 Thread Andreas Schlegel
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

2007-07-25 Thread 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 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

2007-07-25 Thread gary digman
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

2007-07-25 Thread ConoS

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





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[LUTE] Re: Capirola question, now lute & classical guitar

2007-07-25 Thread David Tayler
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.



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[LUTE] Re: Capirola question

2007-07-25 Thread Stephan Olbertz
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



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[LUTE] Re: Capirola question

2007-07-24 Thread David Tayler
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

2007-07-24 Thread denysstephens
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
 
 


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[LUTE] Re: Capirola question

2007-07-23 Thread David Tayler
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

2007-07-23 Thread Denys Stephens
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

2007-07-23 Thread Stephan Olbertz
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



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[LUTE] Re: Capirola question

2007-07-23 Thread David Rastall
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]




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[LUTE] Re: Capirola question

2007-07-23 Thread Ed Durbrow
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/



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[LUTE] Re: Capirola question

2007-07-23 Thread Edward Martin
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

2007-07-23 Thread David Tayler
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.



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[LUTE] Re: Capirola question

2007-07-23 Thread Ed Durbrow
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/



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[LUTE] Re: Capirola question

2007-07-22 Thread David Tayler
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

2007-07-22 Thread David Rastall
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



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[LUTE] Re: Capirola question

2007-07-22 Thread David Tayler
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



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[LUTE] Re: Capirola question

2007-07-22 Thread Martin Shepherd

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

2007-07-22 Thread David Tayler
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

2007-07-22 Thread Guy Smith
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





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