Arto,
I seem to remember a few pieces from Robarts that use p-i alternation for
runs from the bass to the treble. I don't have it with me now, but a chaconne
in F Major by Ennemond Gaultier comes to mind. For new-comers to the b-lute
this is a very helpful book for learning the French rep
Thanks to all with your help in identifying the piece. If you at home guessed
Rondo in D, K. 485, you win! The thing that threw me off in finding this piece
was that Mozart used a different rhythmic notation in the first measure from
Carulli - I must have flipped right past it in haste. He wr
Great work! Thanks.
Chris
--- On Thu, 3/4/10, Andreas Schlegel wrote:
> From: Andreas Schlegel
> Subject: [BAROQUE-LUTE] B-Bc FA VI 10
> To: "lute list" , "BAROQUE-LUTE Lutelist"
>
> Date: Thursday, March 4, 2010, 2:55 AM
> Hello
>
> Here's a link to a reproduction of B-Bc FA VI 10 includi
Nicolas,
It never really stopped. Quantz talks about it in 1752, so no need to shy
away from swinging Bach or Weiss in the right contexts.
But it goes much further: Very compelling evidence comes in the form of
recordings from the late 19th/early 20th century. Up through the 1930's you'
Mathias,
No need to get testy. Ich äffe Sie nicht. I use my tuner to get my open
strings and frets about right in Kirnberger III, then I adjust slightly
according to what sounds good to my ear. What on earth would be funny about
that?
Herr Wilke
--- On Sun, 12/13/09, "Mathias Rösel"
Monsieur Mathias,
Nothing to it. I don't know exactly how accurate my tuner is and I frankly
don't care as long as it's in the ballpark. I never just go by the tuner;
there's always some degree of adjustment by ear so technically I'm never
strictly playing in any temperament. This is und
Herr Roesel,
I used the most historically accurate method: an electronic tuner. ;-)
Once got the open strings, I fidgeted frets around by ear depending on the key
and context (which is actually the historical precedent). If needed, I would
sometimes re-finger passages to include different f
I've found that Kirnberger III works pretty well. I used it for a while
although I'm back to ET nowadays.
Chris
--- On Fri, 12/11/09, Edward Martin wrote:
> From: Edward Martin
> Subject: [BAROQUE-LUTE] Re: D-minor tuning and ET? Remedy?
> To: ""Mathias Rösel"" ,
> baroque-lute@cs.dartmouth
Earl,
Well said. These were the issues I touched upon, but didn't get into as
much detail as yourself.
It strikes me the matter of French lute music in later Germanic lands was
much like the relationship between American blues and the British Invasion
bands in the 1960's. All of the
Mathias,
No time to adequately respond to this now, but here's a few points:
Bernd mentioned Weiss's take on "L'amant malheureux" by Gallot appearing in the
London Ms. There's also an example like the Lord Danby book, compiled in
Hamburg by an Englishman. This book contains solo lute arran
Ed, et al,
It may be a problem for us, but it wasn't for them. French lute music
remained current throughout the German baroque. The Gaultier/Mouton "La Belle
Homicide" shows up in the Augsburg ms. right alongside Falckenhagen, Hagen,
Kleinknecht and Haydn. It and a host of other French
Dale,
--- On Mon, 10/26/09, Dale Young wrote:
> There is the litho of the greatest
> lutenist/composer ever, Adam Falckenhagen with his lute.
I was ready to have a beer with you until this. Its has been scientifically
proven that Hagen is the greatest lute composer of all time. No known phot
Sterling,
I'll concede first of all that I haven't made up my mind about the
matter. Right now I'm back to an octave on the 6th after having used a unison
for the past year. Maybe. But I'm inclined to go uni again.
As you say, it is possible to develop a right hand touch so as to
I believe I'll third that. I went from an octave to a unison on my old lute
but now have an octave 6th on the new lute. I'm finding it very, very
difficult to make sense of melodies on the sixth course that must be played
with the fingers when the thumb is playing a diapason at the same time.
In the olden days they transposed because the organ was in high pitch, the wind
instruments were in low pitch and everybody else chugged along in the middle.
(Bach writes out parts in three different keys.) The big issue that has yet to
be adequately addressed is how they solved the problem of
Howard,
In the Rosani Lutebook there is an anonymous sonata in D minor that has a
Minuetto with a Variazione. The minuet just says "Minuetto," while the
variation, filled with faster note values, is labeled "un poco moderato." This
could be taken to imply that some sort of tempo slowing
Chris,
More lefties: I just remembered the oud and rebec players from the
Cantigas de Santa Maria. Both fellows are playing left-handed so maybe this
was somehow flipped as well. But why/how? I'm sure the camera obscura wasn't
in use then. It can be seen here:
http://www.pbm.com/~li
David,
--- On Fri, 5/8/09, David van Ooijen wrote:
> From: David van Ooijen
> Subject: [BAROQUE-LUTE] Re: Dutch theorbo painting online
> To: baroque-lute@cs.dartmouth.edu
> Date: Friday, May 8, 2009, 5:39 PM
> On Fri, May 8, 2009 at 11:08 PM,
> wrote:
> >> And upside down, at that.
> > And n
Danny,
There's evidence to support either note.
Using the A-natural, beginning at m. 20, we have a V-I-V7/V-V in C major.
(In figures that would be 5/3-6/4-#7/4/2-5/3 over a G pedal.) A fairly
straightforward Baroque progression. If you use an Ab in the penultimate
measure, that
--- Benjamin Narvey wrote:
>But presumably wound strings were being used for
> at least the 12th and
>13th courses of the rider lutes? Although,
> perhaps these were loaded
>strings. At any rate, plain gut could not
> possibly achieve those
>pitches at such a short string lengt
Theo,
Yes, history is not linear. Baron, coming after
Weiss, is pictured with a 12-course lute on one head
stock - no rider or swan neck. Most of his music is
for 12 course lute as well and those pieces that
require the 13th appear to have had it written in
later.
It is also interesting
I don't know whether its a modern practice. Absence
of written evidence may mean that it was done so often
that it didn't need mentioning.
Even with modern strings, I'm becoming convinced that
we fixate on it a little too much. It is much more
obvious for the player than for the listener. Since
Hello Fonts of Wisdom,
I'm wanting to do some experimenting with
different bass strings for my bass rider 13-course.
Does anyone have experience using harp strings?
I've noticed that Bow Brand has gut strings for around
$20 a piece. If this even works, its not terribly
cheap, but acce
--- Michael Gillespie <[EMAIL PROTECTED]> wrote:
> Also, (just
> a thought) did the
> baroque masters compose in tablature? (that seems
> absurd). Are there any
> sources for learning notation on the lute.
>
I wouldn't compose in tab myself, but I don't see why
a baroque lutenist-composer would
Lute fanatics,
Thanks to Roman's advice, I've been sucessful in
uploading my latest video to Google video (YouTube
wouldn't take it!)
It can be seen here:
http://video.google.com/videoplay?docid=5455753827662903605
This is a first take. Not perfect, but comments
welcome.
Chris
Henk,
At the end of the third movement rondo from
Sonata II by Friedrick Wilhelm Rust(?) in Krakow 40150
there are two short passages written with all open
strings marked "all'8va." These passages are followed
by "loco" when fretted notes re-appear. This is not
absolute proof of harmonics,
Sterling and Roman,
Those passages in Hagen in which a melodic line is
passed from the 5th to the 6th course sometimes
consist of just a note or two on the 6th course. At a
slow tempo, one may be able to alter his or her
technique so that just the lower string of the course
sounds. When the
--- Rob <[EMAIL PROTECTED]> wrote:
> >>> Would be a good idea if you provide an italian
> tab version too, because
> this makes it easier to compare with the original
> version.
> Taco<<<
>
> But that would be illegal, unless I was given
> permission to provide a
> facsimile, which is not the ca
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