This is not some 20th-century liberal revisionist
view of history; it is the way music was taught in the Baroque period.
Beyond
acquiring the basic disciplines involved in learning to play their
instruments,
musicians based their choices of which articulations to use upon how
tasteful
and
@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu
Sent: Thursday, 1 September 2011, 12:47
Subject: [BAROQUE-LUTE] Re: Hammering on and snapping off
Absolutely. It suffices to look at the theorbo preludes of de Visee
in
the Saizenay Ms.
Best,
B
On 1 September 2011 13:45, Rob MacKillop
There was an interview with Nigel North in a recent issue of the LSA
quarterly (xlv/2, summer 2010), where he referred to those written out final
phrases with many flags in English manuscripts around 1600. IIRC he said
that the fact that they are written out, doesn't mean you have to hit each
note
Samson willsam...@yahoo.co.uk;
baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu
Sent: Thursday, 1 September 2011, 12:47
Subject: [BAROQUE-LUTE] Re: Hammering on and snapping off
Absolutely. It suffices to look at the theorbo preludes of de Visee
in
the Saizenay Ms
@cs.dartmouth.edu
Sent: Thursday, 1 September 2011, 14:38
Subject: [BAROQUE-LUTE] Re: Hammering on and snapping off
was a phrase in Vieux Gaultier's Tombeau de Mezangeau (bar 2,
second
third and fourth notes) that is a damn sight easier to play using
hammer-on. To my biased ear
Mathias,
--- On Thu, 9/1/11, Mathias Rösel mathias.roe...@t-online.de wrote:
The 1669 print was supervised by Gaultier himself. So it is
safe to say that
the tablature shows his intentions. At this particular
place, however, it
shows that no slur is intended since there is no slur
sign.
Mathias,
--- On Thu, 9/1/11, Mathias Rösel mathias.roe...@t-online.de wrote:
We will never know what exactly Denis Gaultier intended
because we cannot
ask him any more.
Right. I tried calling but he must have turned his cell phone off.
We may assume, however, that the
tablature
Dear Chris,
pls keep trying to get in touch and tell us once you succeed. I should to
ask him some questions.
Right. We can not assume, however, that the print represents some pseudo-
Platonic ultimate version that Gaultier set down for once and for all.
(From
what we know of 17th century
If anyone who has not seen that interview with Nigel, would like a copy
I have some spares. Snail mail only, so if you think I don't have your
address include it.
Nancy
At 05:59 AM 9/1/2011, Mathias Roesel wrote:
There was an interview with Nigel North in a recent issue of the
On Sep 1, 2011, at 4:51 PM, Mathias Rösel wrote:
Denis Gaultier was so highly respected as lute player
and composer that the very text of his music was set down ... well,
yes,
once and for all. He doesn't serve as a model for those 17th century
liberties that you claim, I'm afraid.
Well
The beautiful thing about galant era music is the detail they put in their
scripts. They would notate a phrase with each note plucked then reiterate the
phrase with einfalls or abzug noted as a variant voice, often with
quot;pianoquot; notated so you don#39;t overplay the downbeat. They had
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