[VIHUELA] Re: Temperaments & Fretting on Early Guitars
I use 1/4-comma MT on my B-guitar when needed. High first fret with tastini (singular?) for g# on 3rd string (E-major chord!). David *** David van Ooijen [1]davidvanooi...@gmail.com [2]www.davidvanooijen.nl *** On Sun, 12 May 2019 at 10:05, Edward Yong <[3]edward.y...@gmail.com> wrote: Hi everyone! I'm thinking about exploring meantone on my renaissance and baroque guitars. At the moment they are in equal temperament, but I usually have my renaissance lute in 1/4 comma meantone and my baroque archlute in 1/6 comma (unless I'm doing earlier music). I was wondering about meantone on the two guitars, but was wondering whether there was any historical evidence for the use of meantone on renaissance and baroque guitars. Also evidence for tastini on them would be helpful! I have that helpful calculator for frets in various temperaments, but can't find anything for early guitars. Should I simply place them by ear or use ClearTune for placing frets in the appropriate temperaments? Best, Edward C. Yong ÃÿÃÃÿ ÷ûõúÃÃÿýùúÃý ÃñÃÃôÃÿüõïÿý õú õïà ñôÿùÿ õüõà õÃÃüÃø÷. Hæ litteræ electronicæ ab iPadis missæ sunt. æ¤é»åéµä»¶ç¼éäºèªå¾iPadã This e-mail was sent from my iPad. 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:davidvanooi...@gmail.com 2. http://www.davidvanooijen.nl/ 3. mailto:edward.y...@gmail.com 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Notation software recommendations?
I'm happy with Finale. I make several guitar arrangements a week with
it, and all my lute transcriptions.
David
On Fri, 21 Jul 2017 at 04:48, Nelson, Jocelyn <[1]nels...@ecu.edu>
wrote:
Thanks, Rocky! Finale was my notation software, like a million years
ago. I liked it, and it's nice to know it uses tab in case the early
music ones don't work out with my university.
J
From: Mjos & Larson <[2]rockype...@comcast.net>
Sent: Thursday, July 20, 2017 3:38 PM
To: Nelson, Jocelyn
Cc: DANIEL SHOSKES; Vihuelalist
Subject: Re: [VIHUELA] Notation software recommendations?
If you are already a Finale user, you might try that program's tab
options.
All my tab scores are done on a Mac using Finale (see one of my Ning
pages). David van Ooijen also uses Finale.
It's not particularly well set up to handle early music tablature,
but I'm happy with the results and with the help of some customized
fonts Finale handles most of my needs. There is a lot of control
over appearance available if one digs in to the detailed settings.
I can select and drag a system of tablature onto a regular staff
system and it will convert it to notation, though if there are more
than one note per "event" they convert to chards rather than
separate voices.
Finale can also convert notes on a staff to tab by selecting and
dragging the notes from a staff system onto a tab system.
â Rocky
On Jul 20, 2017, at 12:29 PM, Nelson, Jocelyn <[3]nels...@ecu.edu>
wrote:
> Thanks, Danny!
>
>
>
> From: [4]lute-...@cs.dartmouth.edu <[5]lute-...@cs.dartmouth.edu>
on behalf of DANIEL SHOSKES <[6]dshos...@mac.com>
> Sent: Thursday, July 20, 2017 1:25 PM
> To: Nelson, Jocelyn
> Cc: Vihuelalist
> Subject: [VIHUELA] Re: Notation software recommendations?
>
> I run Fronimo and Django on a Mac using VMware Fusion and it also
is a good solution.
>
>> On Jul 20, 2017, at 7:21 PM, Nelson, Jocelyn <[7]nels...@ecu.edu>
wrote:
>>
>> Thanks; I also see that the Fuenllana solos are there, which is
great,
>> but not the songs.
>>
>> Again, this is another designed for PC or Windows. Does anyone
find
>> success using it with supported systems as they show on the
Fandango
>> site? [1][8]http://fandango.musickshandmade.com/pages/fandangoâ
>>
>> Since I'm using my university's computer (and my dept will pay
for it),
>> I'm checking in with my IT folks about Parallels, which Rob
>> suggested, to make sure it's approved.
>>
>> I really appreciate all this quick help, thanks!
>>
>> Jocelyn
>>
__
>>
>> From: Azalais <[9]azal...@gmail.com>
>> Sent: Thursday, July 20, 2017 1:09 PM
>> To: Nelson, Jocelyn
>> Subject: Re: [VIHUELA] Re: Notation software recommendations?
>>
>> ps. I just checked the Fandango library and the Fuenllana
pieces are
>> not there... yet. sorry.
>> On Thu, Jul 20, 2017 at 1:02 PM, Azalais
<[2][10]azal...@gmail.com> wrote:
>>
>> Fandango (Formerly known as Django) Is excellent and also
gives you
>> access to an extensive library of pieces.
>> It also allows you to import midi files, and allows for
tweaking the
>> string tuning, staves, and instrument configuration to suit
your
>> tablature preferences. (There are also interesting fonts and
glyphs for
>> making the sheets look very much like the original facsimiles,
or
>> standard notation (or both). The author and many members of
this group
>> use it, so help is always available too. [In fact, I would
guess that
>> the Fuenllana pieces are already in the library for immediate
download!
>> [3][11]http://fandango.musickshandmade.com/
>>
>> On Thu, Jul 20, 2017 at 12:51 PM, Nelson, Jocelyn
<[4][12]nels...@ecu.edu>
>> wrote:
>>
>> Does Fronimo work on mac? I used it some years ago on a PC,
but I'm
>> using a mac now.
>> J
>>
>> From: Rob MacKillop <[5][13]robmackil...@gmail.com>
>> Sent: Thursday, July 20, 2017 12:47 PM
[VIHUELA] Re: De Visee
Dear Monica This discussion cropped up on Facebook lately. I'll copy the response I gave there: Toyohiko is speculating on how De Visée's retirement from public life might have influenced his compositions for Baroque lute, and links that to his own position in life and to his interpretations of De Visée's music. I quote from the booklet: This is all my imagination and conjecture [...] it was this imagination that drove me to perform the pieces ... In other words, the story in the CD-booklet is about motivation and inspiration, not about historical facts. David On 6 August 2013 14:49, Monica Hall mjlh...@tiscali.co.uk wrote: I just read in a review of Toyohiko Satoh's latest recording of De Visee that De Visee was born in a little village called Viseu in Portugal near Coimbra where he learnt the guitar. After studying at university he moved to Paris where he studied the guitar with Corbetta and the viol with Fourqueray. Has anyone else heard this and does anyone know the source of the information? -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: G chord on Baroque Guitar
On 13 September 2012 17:04, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote: To reduce to absurdity: if we eliminate, say, all thirds from a chord 'Absurdity' another word for 'power chords' or for the music in which these chords commonly are used? ;-) David - not waiting for an answer to a hypothetical question. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: G chord on Baroque Guitar
On 9 September 2012 19:03, Edward Chrysogonus Yong ky...@pacific.net.sg wrote: Hi chaps, I'm slightly curious about the G chord on the Baroque Guitar. Sources like the Alfabeto seem to indicate it should be played 20033, but is there any reason why this is preferred over 20003? Like the same preference in (acoustic) pop these days: perhaps just to avoid the double third and get a nice strong fifth. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: G chord on Baroque Guitar
On 9 September 2012 23:08, Monica Hall mjlh...@tiscali.co.uk wrote: I don't think that doubling the 3rd is an issue or that what people learn in their harmony lessons today is particularly relevant. I doubt whether guitarists at the beginning of the 17th century thought in those terms. Neither do today's guitarists who chose for 33002(3), but their ears tell them it's the better choice. In harmony lessons you just learn to give names to what your ears already told you. In other words, don't turn the argument around. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Sanz
I have the Minkoff of 1976 (Swiss francs ... ;-) David On 6 August 2012 16:06, Monica Hall mjlh...@tiscali.co.uk wrote: Dear Collective Wisdom A couple of queries about Sanz. I have the facsimile published by the Instituto Fernando el Catolico in 1966. However there has been a more recent facsimile published. Can anyone give me the details of the publisher and date. It is actually on Amazon but they didn't seem to give the details. Also I believe Rodrigo de Zayas did a transcription of it. Does anyone have publication details of this. Thanks. Monica -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl ***
[VIHUELA] Re: Sanz
On 6 August 2012 19:43, Rockford Mjos rm...@comcast.net wrote: De Zayas also published a transcription of Sanz (I can't remember how with Libro Primero [Part One] -- from Passacalle to Passacalle sobre la D..Noviembre 1674. Guitar Review GR-42, continued with Part II -- with Jacaras and the D major Canarios. I have copies and can scan if you want. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Sanz
On 6 August 2012 21:23, Monica Hall mjlh...@tiscali.co.uk wrote: Incidentally - we have just beaten the Netherlands in some horse jumping competition! I never jumped over a horse, fell off one once, though. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] early music in the 19th century
Napoléon Coste was interested in music by Robert de Visée. See four of his arrangements here: http://youtu.be/Ypx1_5daSpQ David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Early music in the 19th century
On 3 May 2012 14:21, Stewart McCoy lu...@tiscali.co.uk wrote: Coste's take on Robert de Visée. Somehow it sounds very 19th century. I think so too. But I like Coste a lot, so that's all right with me. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: early music in the 19th century
On 3 May 2012 22:33, Stuart Walsh s.wa...@ntlworld.com wrote: (And you both have posh sound set-ups?) Anything but. Just a mic (Rode NT-1) rather bothersome in view. Haven't found a way yet to angle the camera so that the mic is not obstruction view to the hands (actually, I did find a way - see my MeesterDavidGitaar channel aimed at my pupils who must see my hands - but that makes my elegant Fabricatore look like a fat-bellied steelstring ...) David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Taro Takeuchi videos
Both videos removed by user. What a pity, I would have loved to see Taro so his strumming. David Taro has developed a striking way of strumming. He says it has nothing to do with flamenco. http://www.youtube.com/watch?v=6r0iO5p0ydUfeature=related And some 'English guitar' pieces. The last one is played on a 'pianoforte guitar', Possibly he's the first to revive this in modern times. http://www.youtube.com/watch?v=v9xhQdslzH8 -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Baxa de contrapunto
Thanks to all who responded. I'll have enough to chat my way through the concert coming Sunday. Espeically Juan Pablo's story is good, as the theme of my concert will be 'Spanish Music in Flemish Sources and Flemish Music in Spanish Sources - Music from Phalése and Narváez' on lute and vihuela. Will be fun! David On 8 December 2011 17:43, Juan Pablo Pira p...@asies.org.gt wrote: I have no source for this, but I remember someone telling me that baxa=baja=Low refers to the Low Countries, so it could be Dance from the Netherlands, as opposed to Alta (if it exists at all), that would be a German dance... maybe an Allemande. JP To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl ***
[VIHUELA] intabulations from Gery de Ghersem?
Belgium ensemble Currende recorded a mass by Gery de Ghersem (1573-1630) : Missa Ave Virgo Sanctissima. Are there any known intabulations of music by De Ghersem? Brown lists none, but there might be mss. Any lead appreciated. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Passing dissonances (was Marini, Granata etc)
On 11 May 2011 15:49, Monica Hall mjlh...@tiscali.co.uk wrote: The alfabeto is misleading. As ever Which is a good summary of the discussion. ;-) David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Composition of short songs in early 17th century Italy - was Marini - was Grenerin
player in an established ensemble (both incidentally also academic musicologists!) And this is supposed to be a recommendation ... ? ;-) David - sorry, couldn't resist To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Early guitar image
It´s an engraving from 1847, perhaps not the most reliable source for a ´proper´ 5-course Baroque guitar. Weird bridge position (and size!), just for starters. David On 17 April 2011 19:01, Nelson, Jocelyn nels...@ecu.edu wrote: Dear List, Does this look like a 5-course baroque guitar to you? I’m wondering whether to use this as an illustration of an “early guitar” and perhaps be even more specific (5-course?), but I wanted to see what list members think. I need to use a public domain image. Here’s the link: http://www.istockphoto.com/stock-photo-7536315-love.php Many thanks, Jocelyn To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl ***
[VIHUELA] Re: Renaissance Guitar Podcast
On 2 March 2011 20:06, Nelson, Jocelyn nels...@ecu.edu wrote: If you click the link below, youąre on your way to my 16 minute podcast, http://www.ecu.edu/cs-admin/mktg/treasured_tunes_jocelyn_nelson_podcast.cfm That was nice! Thank you for sharing. And an interesting fretting scheme you have: double ninth fret? David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Polyphony/Counterpoint
On 11 February 2011 14:18, Monica Hall mjlh...@tiscali.co.uk wrote: Interesting Dutch dictionary you have, that uses German for some of its definitions. ;-) Are they not to some extent interchangeable? Auch, that hurt! I suppose it was the inimitable Oscar Wilde who said something to the extent that Britain and the United States were two nations divided by a common language. You can be certain the division between the Dutch and the German, let alone the division between their languages, is incomparably bigger. Anyway, looking up the definition of a Dutch word in a German dictionary would certainly not be deemed socially acceptable, let alone proper scholarly behaviour. David - for the less observant persons on this list: this was a message with a ;-) -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Invertible counterpoint
On 5 February 2011 09:26, Monica Hall mjlh...@tiscali.co.uk wrote: to him on the guitar (with bordons) he was unable to hear any of the 6/4 chords. If he can't hear them I doubt whether most other people can. On the other hand, some people are _extremely_ sensitive to inversions. I have to play a programme of modern music on archlute (high octaves on 6 and 7 only) these days, and in one session with the composer of some of the pieces he kept stopping me because he was so bothered with the weird inversions I was playing. Yes, those octave strings I don't even hear anymore. Reminds me of the recorder player I used tp play with. Whenever I accompanied him on Baroque guitar, in plucking but even in strumming, he kept nagging me about 'impossible' inversions. It's all in the ear of the beholder. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Invertible counterpoint
On 5 February 2011 10:40, Monica Hall mjlh...@tiscali.co.uk wrote: Presumably this composer is still alive and has different sensibilities from 17th century guitarists. Indeed, it is safe to assume dead composers will have different sensibilities than the ones that have not yet reached that crowning stage in their careers. David - alive, last time I checked -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Pisador online facsimile
Hi Rocky Thanks for the links, and thank to Peter Martin for the Zoho list; impressive! David On 13 December 2010 07:00, Mjos Larson rockype...@earthlink.net wrote: Pisador online facsimile. Ning EGV member Arthur J. Ness has sent news of a new publication available online in the UR Research collection [Sibley Music Library at Eastman]: Publication Name: Libro de musica de vihuela / agora nueuamente compuesto por Diego Pisador. https://urresearch.rochester.edu/ institutionalPublicationPublicView.action? institutionalItemId 697versionNumber=1 --- You can also search for other facsimile publications at: http://creator.zoho.com/peterskeeter/ -- R -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl ***
[VIHUELA] Re: antiqua (guatemala) vihuela manuscript
Taco's message from the lute list. Dear all, A few weeks ago I happened to be in Antiqua in Quatemala. They have a tiny museum containing old manuscrips and books which were printed in 16th and 17th century in quatemala. Among the books shown there were 4 books containing music and one manuscript where the description mentioned that it was about vihuela tuning. 23 pages following were to contain religious music. Of course it would have been nice if this manuscript contains vihuela tablature, but the museum description didn't mention this, although it looks like that the music was intended to be played on vihuela. Unfortunately there was nobody available to provide more information. I made 2 pictures of the pages and will put them on a website this week. Anybody more info about this book? Taco To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] vihuela in Andalucia?
I'll be in Granada, Cordoba and Sevilla this Summer. Any tips on visiting a guitar shop that stocks vihuelas? David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: R- or B-guitar kit?
Dank je wel, Waling en Jelma. David On Wed, May 12, 2010 at 12:26 AM, Waling Tiersma waling.tier...@gmail.com wrote: Hi David and others, I know of several suppliers of kits. Don't know the quality ot the kits however. http://www.masterkit.com/rwc/ formerly the Renaissance Workshop. They used to have a kit for renaissance guitar and vihuela. I couldn't find them on the current website http://www.lute.net/news1.htm Guiseppe Tumiati in Italy One could however consider to skip the kit and start from scratch... Especially the renaissance-guitar is not to difficult (less ornamented) After a visit to the workshop of Sebastián Núñez a couple of years ago I made my first renaissance guitar from a raw piece of maple based on a drawing by Sebastián. Sebastian suggested to carve the instrument from solid wood. For an instrument like the 4c. guitar this method is - as I agree with Sebastian - quite conceivable. (And many descendants in latin america) By carving you eliminate making of mold and bending the wood. It requires however that you know somebody with a bandsaw to saw the raw model of the instrument. Building from the raw material was very rewarding, and a lot cheaper than buying a kit. I've built 2 other 4c. guitars exactly like the first. They seem to be equally succesfull If needed I'll gladly supply further details. My experiences can be seen/read on http://guitarra-renacentista.blogspot.com/ Waling Tiersma, P.S. You might warn your collegue that building your own instrument is quite addictive. I couldn stop after the first and am working on my 8th. instrument now. 2010/5/11 David van Ooijen davidvanooi...@gmail.com Collected Wisdom A guitar colleague of mine is looking for a Renaissance or Baroque guitar kit. DIY wishes. Any advice or suggestions for him? David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl ***
[VIHUELA] R- or B-guitar kit?
Collected Wisdom A guitar colleague of mine is looking for a Renaissance or Baroque guitar kit. DIY wishes. Any advice or suggestions for him? David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Codex Zuola
This list does not cease to amaze me. Any questions it will answer! On Sat, Apr 10, 2010 at 4:26 PM, Monica Hall mjlh...@tiscali.co.uk wrote: It is by Carlos Vega and was published by the University of Buenas Aires University Press in 1931! more about what you want to know maybe I could scan some pages. I am looking for songs. Suitable for a recital with Spanish and S-American songs, sung by a soprano and all accompanied on baroque guitar by me. But I have my 19th century guitar for the second half, and I come from another concert with an archlute, so, in the end songs with any accompaniment will do. I have made a preliminary programme with some Spanish baroque songs, Marin, songs from the Trujillo ms and solo music by Sanz and Murcia. A few Sor sequidillas to end with. If these could be replaced by songs from the Codex Zuola, I'd be pleased, and the organisers too, I imagine If you could scan a few of the songs, the transcriptions would be easiest to digest I suppose, I would be very pleased. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] lyrics to Guardama las Vacas and Conde Claros
I know it's a recurring question, with recurring answers, but please forgive my inability to work with the archives. And, actually, posing the question anew usually brings forth a plethora of additional information. So, can some kind soul send me the lyrics (in Spanish, and preferably with English translation) of the two songs above found as instrumental pieces with de Narváez? David - grateful as ever -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Web pages
On Tue, Mar 16, 2010 at 8:28 AM, Lex Eisenhardt eisenha...@planet.nl wrote: If you have time, you should go to http://cid-8fbb9aaef9718a0a.skydrive.live.com/self.aspx/.Public/The%20Five-Course%20Guitar%20and%20Seventeenth-Century%20Harmony%20Alfabeto%20and%20Italian%20Song.pdf Thank you, whoever made this available. But to open, one needs to change the extension pdf_ to pdf David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: New Year gift
Thank you so much, a true New Year's gift for many! David On Tue, Jan 5, 2010 at 7:29 PM, John Griffiths jag...@me.com wrote: Dear list members, For those of you who are interested in the vihuela, I have just published a new bilingual internet version of my 2003 book Tañer vihuela según Juan Bermudo. It is a method of learning to play the vihuela based on the pedagogical principles elaborated by Bermudo in his 1555 Declaración de instrumentos musicales. You can find it at: http://www.vihuelagriffiths.com/JohnGriffiths/Vihuela_playing.html It comprises a selection of twenty pieces following the order suggested by Bermudo. For each piece, I have included the original tablature, plus analytical transcriptions for instruments in G (lutes and vihuelas) and for instruments in E (especially for modern guitarists). The material can be used for individual study or for group learning. All the music, tablature and transcriptions, is in downloadable pdf format. I hope you will find it useful. Good wishes, John Griffiths To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl ***
[VIHUELA] turtle guitar?
A friend of mine was given pictures of a 6-string instrument. Modern tuning mechanism. Moveable bridge. String attached with metal plate at butt end. Turle back. Like charango, but different animal. Anybody knows off-hand what he's looking at? I can send the picures on request. Off-list, naturally. any help appreciated David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Campion
On Fri, Aug 14, 2009 at 12:44 PM, Monica Hallmjlh...@tiscali.co.uk wrote: I think the point does seem to be that it is easier to place the accompanying voices on the guitar in the right order because there is no need to think third course is highest. . tackling the theorbo when obviously the player will have to start upside down thinking! As Arto pointed out before, this is a misconception by non-theorbo players, if you don't mind me saying so; no negative implications intended whatsoever. Theorbo players don't 'think upside down' or 'third course is highest'. A theorbo is just what it is, weird when you start on it, coming from lute or guitar. But once you're used to it, it's just what it is, as are baroque guitars, ukeleles and all the other reentrant strung instruments. Chord shapes in their 'natural' order with highest voice above, bass below, will come naturally to mind as well as fingers. The instrument has its own logic and chord shapes. Campion does have a point, of course, that on a theorbo it's hard to play four part harmonies with the highest voice in a high enough register. That is a lot easier on a guitar, although there the lower voices will be missing, obviously. Playing a condensed score of a four part setting will more likely than not end up with voices in some sort of reversed order, because often there is no possibility to play the upper voices high enough, and _not_ because the chord shapes of a non-re-entrant instrument are used on a theorbo. It's a limitation of the instrument, low tessitura, not a limitation of the player, chord shapes for the left hand taken from the lute and used without adaptions on a theorbo. I, for example, don't even see the connection when playing continuo on a lute tuned in a', or a therobo tuned in a. I don't use the same chord shapes, I have a different set for each instrument. As a matter of fact, I had to learn playing continuo on a lute in a' long after I could play continuo on a theorbo in a. As far as my mind works, there is no connection between lute and theorbo for continuo playing. Sorry to labour the point so extensively, but I detect this flawed train of thought more often. And Campion certainly has a point about easy transport. Regretfully, when I bring my baroque guitar, I usually also have to bring my theorbo. |-( David - learning continuo in d-minor now, everything from scratch again! *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Chitarra atiorbata/Guitarre theorbee
On Mon, Jul 20, 2009 at 9:18 AM, Martyn Hodgsonhodgsonmar...@yahoo.co.uk wrote: Are there any extant theorboes/archlutes or early records of such with extended basses of string length only 90/100cm? I don't know, it was my solution to the practical problems of modern travel. There are no contemporary records telling us what Piccinini did when he had to board a plane with his archlute. Joking aside, sure, there's no historical proof, but no existing proof of existence does not proof it didn't exist. The proof of the pudding etc. and my lute works. Two friends of mine have something similar: neck extensions of about 100cm (110cm?) and single basses. One friend uses all modern strings, goes to low F' by the way, but the other friend is an all-gut player. But do carry on about theorboed guitars, all I had to say was that 106cm, single plain gut, G', a'=440Hz works for me and makes flight attendants less nervous than my theorbo on the seat next to me. But it's not 90cm, it's not on a guitar, it's not on a historical instrument, so don't let it distract you. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Chitarra atiorbata/Guitarre theorbee
On Sun, Jul 19, 2009 at 5:51 PM, Martyn Hodgsonhodgsonmar...@yahoo.co.uk wrote: Has anyone actually played one of these instruments in with a basses of length only around 90cm (as seems to be depicted) and with plain gut (and no octave doubling as on the liuto attiorbato Not a guitar. I have a smallish 440Hz archlute 61/106cm, going to low G' with single plain gut basses. Good sound, no problem. Yes, my 140-something-cm theorbo is better, and I'm sure a 200cm theorbo is even better - size does matter - but still, 106cm to low G' is good enough for most practical purposes. It depends a little on what I want to play with it: Monteverdi with a full orchestra and choir is possible, but obviously not ideal. The top is more of a problem there, by the way, the basses are strong enough. Delicate solo playing, quite nicely in balance with the top of the instrument. Solo singer in a not too big concert hall or church, no problem. But indeed, not the depth or sustain of the 140cm theorbo. It has a less relaxed feel to it, when I'm aiming at a similar level of volume, is perhaps the best way of describing it. Point is, 106cm is quite ok for low single basses in plain gut. 90cm is a bit shorter, but fiddle with tuning and/or pitch, and it might not be that far removed. David - baroque guitar with just five coures, but boy, can that be loud! -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Baroque guitar in Vienna
Losy/Logy lived and worked in Prague. He wrote music for baroque guitar. Try the vihuela list, that's where the b-guitar people hang out. David On Sun, Jun 21, 2009 at 2:28 AM, Gmail Manuel Minguillon Nietomaminguil...@gmail.com wrote: Dear Collective wisdom, I am looking for evidences of use of the baroque guitar as a continuo instrument in Vienna. I am recording some sonatas by Johann Caspar Kerll, who lived in munich and Vienna, and I have been ask about the evidences of using a baroque guitar as a continuo instrument in some of the pieces. Thank you so much in advance, Best wishes Manuel Minguillon Nieto [1]www.manuelminguillon.com [2]i...@manuelminguillon.com -- References 1. http://www.manuelminguillon.com/ 2. mailto:i...@manuelminguillon.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl ***
[VIHUELA] Re: [VIHUELA] RE: [VIHUELA] Péñola, early referenc es
On Sun, May 24, 2009 at 1:55 AM, Nelson, Jocelyn nels...@ecu.edu wrote: I'm working up to Don Quixote. I read it a few years ago, in English, and it was so much fun! Just many, many pages. A few references to music, not much. David - reading Proust now. Even more pages ... -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: [VIHUELA] Re: [VIHUELA] Re: [VIHUELA] RE: [VIHUE LA] Péñola, early references
On Sun, May 24, 2009 at 10:13 AM, Rob MacKillop luteplay...@googlemail.com wrote: in the garden, and having run through the frets of the vihuela and tuned it as best he knew, he spat, I was playing a programme of music around Don Quijote with a Spanish group (La Grande Chapelle) in 2005: many festivals in Spain because the first part of the book was published in 1605. It was a good programme with fun music, as a musicologist had taken (quite a lot of) trouble to collect music with texts relating to Don Quijote, ballads taken from the book and music from the time of Cervantes. In the 'house of Cervantes' in Alcala de Henares there's a vihuela on display. But no spitting. David - will try to behave more authentic on stage cleared his throat, and then, with a slightly coarse but well tuned voice, he sang the following Romance that he himself had written that day Cervantes, 1615. Rob 2009/5/24 David van Ooijen [1]davidvanooi...@gmail.com On Sun, May 24, 2009 at 1:55 AM, Nelson, Jocelyn [2]nels...@ecu.edu wrote: I'm working up to Don Quixote. I read it a few years ago, in English, and it was so much fun! Just many, many pages. A few references to music, not much. David - reading Proust now. Even more pages ... -- *** David van Ooijen [3]davidvanooi...@gmail.com [4]www.davidvanooijen.nl *** To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:davidvanooi...@gmail.com 2. mailto:nels...@ecu.edu 3. mailto:davidvanooi...@gmail.com 4. http://www.davidvanooijen.nl/ 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl ***
[VIHUELA] Re: Narvaez songs
On Mon, May 11, 2009 at 8:55 AM, Rob MacKillop luteplay...@googlemail.com wrote: Is there a modern edition of Narvaez's songs? I started to do my own, Rob Jacobs, 'A Spanish Renaissance Songbook' (Pennsylvania State University Press, 1988) has five. Vihuela parts in treble and bass clef. Concordances, critical notes and translation of lyrics. The Monumentos de la Música Espoanola, 3rd volume, Barcelona 1945, ed. Pujol) should be a modern edition with readable lyrics. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: [VIHUELA] Händel - Cantata Spagnuola
On Sat, May 9, 2009 at 8:07 AM, Mjos Larson rockype...@earthlink.net wrote: I have been thinking to ask this group for ideas and suggestions on approaching Händel's No se emendera jamas (Cantata Spagnuola a voce sola e Chitarra) for some time. Or do do we take the subtitle literally that it is only voice and guitar? If there is a continuo line, I think it is safe to assume a continuo instrument/group was expected. I would check the Baerenreiter edition if I were you (is it Baerenreiter?), I will do next time I'm in the NMI if you don't have a library with a complete set of Handel nearby Yes, the range, aside from notational conventions of 'wrong' octave, is a bit of a problem on a baroque guitar. Nice find, by the way! David Then we have a bit of a range problem with the written bass line and upper part (assuming my octave transposition of the upper voice). Does someone have knowledge of the original notation to be able to comment on the faithfulness Chysander's edition? He claims it is faithful here: http://daten.digitale-sammlungen.de/~db/0001/bsb00016889/images/index.html?seite=7 -- R To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl ***
[VIHUELA] Re: [VIHUELA] Re: [VIHUELA] Händel - Cantata Spagnu ola
On Sat, May 9, 2009 at 10:04 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote: Without having seen the original MS it's difficult to be sure if Chrysander's edition is wholly accurate, certainly his naming the two upper staves of the system as for guitar seems editorial (since he places the chittara in brackets). It would also be revealing to see if this MS usually identifies a particular instrument on the top line or if it was assumed (a violin, oboe or flute perhaps). Further, if the upper line is played an octave down (as you rightly suggest more in the period guitar tessitura) it crosses the bass line (eg bar 2). I suggest it more likely that the composer simply expected the guitar to play along as continuo (hence second line down duplicating the bass stave) and that a violin, or flute or oboe played the melodic upper line. the bass then played by cello with/without keyboard. You might be absolutely right, and not having the original in front of us leaves all of our speculations rather academic, but I would think the continuo line to be played by whatever continuo group available or deemed appropriate and the top line to be played on a guitar of some sort. Actually, guitar in hand I find it not so much of a puzzle to fit it in a working tessitura on the instrument, just play as is but, indeed, an octave lower. Voice crossing with bass line, always in this cadens, but the guitar bass has an octave jump to emphasize what's the harmony - what to do about reentrant tuning with such octave jump in the bass is yet another question, not one that would have bothered Handel when writing this part, I imagine. Lovely 'Spanish' parallel chord progression by the way, and the constant play with B-flat C-sharp, too: flamenco! On the other hand, but we might have the wrong instrument in mind. Who knows, one of Handel's theorbo men might have had a guitar with a tuning that worked very well for this part or, more likely, Handel just left it to the guitarist to figure out what to do with the part. If he expected a violin to play the melody, it would surely say violin? It's a cantata for 'Voce sola e Chitarra', that suggests to me a guitar would play the solo voice. In whatever way, by including strumming chords when there's just a continuo bass for example, I certainly couldn't resist when playing through. I'll check the Baerenreiter next time in the library, perhaps it has something more to say. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: four-course guitar music 'plus diminuees'
On Wed, Apr 1, 2009 at 9:31 AM, David van Ooijen davidvanooi...@gmail.com wrote: On Wed, Apr 1, 2009 at 12:06 AM, Stuart Walsh s.wa...@ntlworld.com wrote: I did mean this piece. Here's a tiny snippet of the man in full flight: http://www.pluckedturkeys.co.uk/PoD.mp3 Now that really is virtuoso playing. Quite astonishing. But a bit surprising Well done, obviously, but I don't think this is all _that_ fast ... With a bit of practice we can all reach speeds like these. I should know, because I am not a particular fast player, but listen to this: http://home.planet.nl/~ooije006/david/soundclips_p_bestanden/Canzon_Terzi.mp3 :-) (For more browse the Soundclips section of my website.) On top of that, small instruments go fatser than bigger ones. And fat instruments go slower ... david -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: thumb-index
Great list! The best answers where those that directed me back to my own bookshelves. Diana Poulton on page 58 of her renaissance lute method: Venegas de Henestrosa 'Libro de Cifra Nuevo' (Alcala de Henares, 1557) - Figueta castellano (Spanish figueta) = thumb index with thumb out - Figueta extranjera (foreign figueta) = thumb index with thumb in Any mention of the word before this? David - grateful On Tue, Nov 4, 2008 at 9:53 AM, David van Ooijen [EMAIL PROTECTED] wrote: OK, try again. Can someone shed light on the various words for thumb-index technique, where they come from, who first used them, sources, c. David - jokes appreciated, but serious comments welcome, too -- *** David van Ooijen [EMAIL PROTECTED] www.davidvanooijen.nl *** -- *** David van Ooijen [EMAIL PROTECTED] www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] origin of the word figueta
Who used the word first, do I spell it correctly, has it a (Spanish?) dictionary meaning, where does it come from, c. David - curious -- *** David van Ooijen [EMAIL PROTECTED] www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: arch-guitar
basses would most likely have been of gut and, due to the relatively short string length, therefore at the higher octave. Still figuring out the 'features' of gmail, so correct me if I missed something... String length of ca 116cm, single strings, plain gut, a'=440Hz You should be able to go down to around E-flat (according to the Kürschner slide rule on 'what works for what type of string'). That would make A well within the safety zone. From personal experience, as opposed to slide rules, I can say single basses on three archlutes I've seen, heard and in one case play a lot with neck extensions of around that string length (mine at 106cm, a friend's at 110 and the other friend's something similar), single basses are no problem. Mine goes down to G, both my friend's instruments to F. So, I'd say going down to a mere A on something around 116cm is well within possibilities. And considering you're not likely to play Maria Vespers or other big continuo jobs on an instrument like that, but rather modest solo music in an intimate setting, I think it's no problem at all. David - not denying bigger is better, of course www.davidvanooijen.nl To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: Alfabeto songs and editions
Hi Rocky often uses a system of modern chord names in his scores -- C = C major chord, c = c minor, etc. I couldn't find your scores on your page, just a reference to this email. Can you tell us where they are? Concerning modern chord names for alfabetto, there are pro and cons, obviously. I am a bad alfabetto reader, play from the bass line when playing baroque guitar, but modern chord symbols I understand immediately. I write these in myself if the figures are too complicated to 'figure' out instantly what a strummably solution would be. I find that a reason _not_ to use modern chord symbols in a modern edition of alfabetto songs. How am I ever going to learn alfabetto if the modern editions don't use it anymore? Not your problem, clearly mine, but still, on a broader scale, how are we going to ensure that our cultural heritage remains understandable if we have a spelling reform every 10 years (Dutch practice that succeeded in alienating readers from literature of just half a century ago), transcribe all lute music in French tablature (anybody out there that reads German tab? or even just Italian tab or [EMAIL PROTECTED] Napolitan than the ever-present but not ever-appropriate French tablature) or refuse to read anything else than g- and f-clefs in their 'proper' places. What was that about David T's lute-dsp? I think it can be summarised as: be flexible, and that means be able to handle all sorts of notation. And on another note, I know music is only alive when sounding, but to me alfabetto feels like baroque guitar song, playing from modern chords feels like House of the Rising Song. Vihuela music in French tab, Caccini with written out accompaniments, I know it was done by Phalese and Robert Dowland respectively, but it feels like eating sushi with knife and fork or drinking wine from a plastic cup.
