[VIHUELA] Re: With/Without Bordones
On 16/04/2011 16:56, Chris Despopoulos wrote: I've recorded a few pieces now with a bordon on the D course -- Suite by Roncalli, Paracumbe, and Folias by Sanz. These are compared to similar recordings I did without the bordon. Oddly enough, the earth did not crack open and swallow my guitar, flaming toads did not fall from the sky, and gravity as we know it still holds sway. I'm inclined to view the results along the lines of speaking a language with an accent... Perhaps the emPHAsis is placed on differENT syllABles, but the import is generally the same, and the ability to move the listener rests entirely with the speaker regardless of his or her accent. I've found that the bordon reveals some aspects of a piece I may not have noticed otherwise, but nothing earth-shattering. I may try to record a few other pieces with a bordon just to be thorough. (And I suppose I should try this exercise with bordones on two courses...) For my own pleasure I want to get back to fully re-entrant tuning, but that's just a personal and possibly temporal preference. If you're interested, you can hear the results at: [1]http://cudspan.net/baroque/ Cheerscud -- Chris You certainly play with a lot of fire! I think the bordon on the D course does make quite a difference - a darker sound maybe, or more depth. And, of course you now have extra notes below the third course. How do you get that effect on the letter A (chord of G) in the first bar of the Roncalli Prelude? Stuart. References 1. http://cudspan.net/baroque/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: With/Without Bordones
Thanks for posting, Chris! I'm tending to prefer the re-entrant tuning, but I like the bourdons--at least in some passages--more than I thought I would. Most importantly, it's fun to listen and notice the differences. Best wishes, Jocelyn On 4/16/2011 11:56 AM, Chris Despopoulos [1]despopoulos_chr...@yahoo.com wrote: I've recorded a few pieces now with a bordon on the D course -- Suite by Roncalli, Paracumbe, and Folias by Sanz. These are compared to similar recordings I did without the bordon. Oddly enough, the earth did not crack open and swallow my guitar, flaming toads did not fall from the sky, and gravity as we know it still holds sway. I'm inclined to view the results along the lines of speaking a language with an accent... Perhaps the emPHAsis is placed on differENT syllABles, but the import is generally the same, and the ability to move the listener rests entirely with the speaker regardless of his or her accent. I've found that the bordon reveals some aspects of a piece I may not have noticed otherwise, but nothing earth-shattering. I may try to record a few other pieces with a bordon just to be thorough. (And I suppose I should try this exercise with bordones on two courses...) For my own pleasure I want to get back to fully re-entrant tuning, but that's just a personal and possibly temporal preference. If you're interested, you can hear the results at: [1][2]http://cudspan.net/baroque/ Cheerscud -- References 1. [3]http://cudspan.net/baroque/ 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:despopoulos_chr...@yahoo.com 2. http://cudspan.net/baroque/ 3. http://cudspan.net/baroque/ 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[VIHUELA] Re: With/Without Bordones
Hi Stuart... Thanks The effect on that A (er G) chord was taught to me in a class of rasgueados for baroque guitar... They called it a trill. Basically, it's alternating up/down strokes between two fingers. If U is up and D is down, then the gesture is: Da, Di, Ua, Ui -- repeated for the duration of the note. Yes, I use the ring finger. But it turns out I use the ring finger for nearly every rasgueado. I just have to shrug off any chastisement for anachronism there, because I don't know that I could manage it any other way. __ From: Stuart Walsh s.wa...@ntlworld.com To: Chris Despopoulos despopoulos_chr...@yahoo.com Cc: Vihuelalist vihuela@cs.dartmouth.edu Sent: Sat, April 16, 2011 1:55:20 PM Subject: Re: [VIHUELA] With/Without Bordones On 16/04/2011 16:56, Chris Despopoulos wrote: I've recorded a few pieces now with a bordon on the D course -- Suite by Roncalli, Paracumbe, and Folias by Sanz. These are compared to similar recordings I did without the bordon. Oddly enough, the earth did not crack open and swallow my guitar, flaming toads did not fall from the sky, and gravity as we know it still holds sway. I'm inclined to view the results along the lines of speaking a language with an accent... Perhaps the emPHAsis is placed on differENT syllABles, but the import is generally the same, and the ability to move the listener rests entirely with the speaker regardless of his or her accent. I've found that the bordon reveals some aspects of a piece I may not have noticed otherwise, but nothing earth-shattering. I may try to record a few other pieces with a bordon just to be thorough. (And I suppose I should try this exercise with bordones on two courses...) For my own pleasure I want to get back to fully re-entrant tuning, but that's just a personal and possibly temporal preference. If you're interested, you can hear the results at: [1][1]http://cudspan.net/baroque/ Cheerscud -- Chris You certainly play with a lot of fire! I think the bordon on the D course does make quite a difference - a darker sound maybe, or more depth. And, of course you now have extra notes below the third course. How do you get that effect on the letter A (chord of G) in the first bar of the Roncalli Prelude? Stuart. References 1. [2]http://cudspan.net/baroque/ 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://cudspan.net/baroque/ 2. http://cudspan.net/baroque/ 3. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
