On Dec 3, 2011, at 1:57 AM, Martyn Hodgson wrote:
> Thank you for this Howard and for your time.
And thank you for restating what you'd already written. Since I've already
responded to it, I'll spare the list further comment.
--
To get on or off this list see list information at
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uot;howard posner"
Sent: Saturday, December 03, 2011 4:57 AM
Subject: [BAROQUE-LUTE] Re: Male alto in Lute songs? wasTransposing lute
tablature on sight
Thank you for this Howard and for your time.
My starting point in any discussion on performance practice is a
belief that the p
Diary which lists many international concerts,
festivals, conferences, workshops and lectures...
Martyn
--- On Fri, 2/12/11, howard posner wrote:
From: howard posner
Subject: [BAROQUE-LUTE] Re: Male alto in Lute songs? wasTransposing
lute tablature on sight
To:
tments of performance.
RT
- Original Message -
From: "Roman Turovsky"
To: "Baroque lute Dmth" ; "lute mailing
list
list" ; "howard posner"
Sent: Friday, December 02, 2011 2:07 PM
Subject: Re: [BAROQUE-LUTE] Re: Male alto in Lute songs? wasTrans
t;
> - Original Message -
> From: "Roman Turovsky"
> To: "Baroque lute Dmth" ; "lute mailing
list
>
> list" ; "howard posner"
> Sent: Friday, December 02, 2011 2:07 PM
> Subject: Re: [BAROQUE-LUTE] Re: Male alto in Lute songs?
quot; ; "howard posner"
Sent: Friday, December 02, 2011 2:07 PM
Subject: Re: [BAROQUE-LUTE] Re: Male alto in Lute songs? wasTransposing lute
tablature on sight
The "most-accomplished players" are usually the ones own several variously
pitched lutes, for said occacions.
RT
The "most-accomplished players" are usually the ones own several variously
pitched lutes, for said occacions.
RT
- Original Message -
On Dec 2, 2011, at 10:48 AM, Nancy Carlin wrote:
A while back on the lute list there was a link to Hector Sequera's
dissertation about Paston - ve
On Dec 2, 2011, at 10:48 AM, Nancy Carlin wrote:
> A while back on the lute list there was a link to Hector Sequera's
> dissertation about Paston - very interesting. It's 100 years earlier,
Actually, Paston, being Elizabethan, is the period we're talking about. You
were led astray by my ex
A while back on the lute list there was a link to Hector Sequera's
dissertation about Paston - very interesting. It's 100 years earlier,
but goes into a lot of detail about the various keys in the Paston
manuscripts and the sizes of lutes that would have been available to
Paston. It
From: "howard posner"
On Dec 2, 2011, at 7:58 AM, Martyn Hodgson wrote:
I see several fundamental flaws in your conclusion.
First, male altos' range considerations are no different from those of
female altos or baritones or basses. So male altos are relevant > to the
question of transposing
On Dec 2, 2011, at 7:58 AM, Martyn Hodgson wrote:
> As David Hill points out (have you bothered
> to read his paper?) the voice generally expected when the songs were
> composed was soprano/tenor. As he says, the male alto, to take David
> Van Oijan's personal preference, was certainly ar
Howard,
You seem not to have read the mailings (yet again) and have therefore
missed the entire point. As David Hill points out (have you bothered
to read his paper?) the voice generally expected when the songs were
composed was soprano/tenor. As he says, the male alto, to take D
>>I'm afraid I'm going to mention the dreaded 'e' word again: what
evidence have you that the male alto ('countertenor') voice was used
historically to perform lute songs?
Aw come on Martyn! You'll be telling us next that lute players didn't
wear jester outfits or sing 'Hey N
On 1 December 2011 11:51, Martyn Hodgson wrote:
> I'm afraid I'm going to mention the dreaded 'e' word again: what evidence
> have you that the male alto ('countertenor') voice was used historically to
> perform lute songs?
Oh dear, caught by the Early Music Police! And there was I thinking I
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