- Original Message -
From: "Vance Wood" <[EMAIL PROTECTED]>
To: "bill sterling" <[EMAIL PROTECTED]>
Sent: Sunday, December 14, 2003 9:56 PM
Subject: Re: calling Dr. Helmholtz...
> Hi Bill:
>
> Freud said it best: "Sometimes a cigar is just a cigar". I was once told
> that the rose was
I worried about that too,
On my simplified model, I calculated between 109 and 139 Hz
depending on the percent of the rose that was open.
The actual resonance I found was a little above 116 hz, about A#.
Not too bad. especially since I expected my rose to fall between the the
upper and lower figure
Okay, I'll admit that I'm too lazy to try the experiment myself. I'll
take everyone's word for it. But what, then, is the effect of the
lattice-like rose on the sound of a lute? Is it simply a combination
of the areas of all of the openings, or is more happening? Does
something different ha
Sorry if this repeats the obvious, but I wasn't surprised to see Luys
instead of Luis, having seen similar variants in the El Maestro
introduction:
traydo (traido)
haueys (habeis)
vereys (vereis)
-- David
Both TLdeVictoria and delEncina were clergymen, but the difference in
mindset is rather noticeable
RT
__
Roman M. Turovsky
http://turovsky.org
http://polyhymnion.org
> Dear Jurek and All:
> Just because Francesco didn't include any dances in his publications
> doesn
At 23:59 14-12-2003, Roman Turovsky wrote:
>It depends entirely on how foppish one wants to look.
>RT
Oh, I've a reputation for being something of a dandy already, so it's quite
alright. What would musicians in the "good old days" have done?
Ed
++
Dear Dr. Helmholtz:
I tried the experiment with an empty 12 oz. bottle. Using my Korg tuner I
found that I was able to
alter the pitch from an f# down to an e, even an eb. The higher pitch came with the
completely open bottle
neck; to get the lower pitch I placed my finger across the f
Dear Monica,
most enlightening and intresting. New Grove lists a comprehensive
bibliography on the net. NB. the first item on their list:
A. Paz y Melia: 'Coplas de Juan Fernandez en contra D. Luis de Milan',
Revista de archivos, bibliotecas, y museos, vi (1876), 258, 275
and the one you quote a
> Hi Chaps,
> a completely superficial question follows.
> I'm doing a series of Christmas concerts in Singapore next week, and was
> hoping for some ideas to doll up my archlute a little. The concerts are all
> light baroque stuff, so I thought it might be nice to add a bit of
> decoration to the
Ed,
I said "unique". His and Neapolitan both denote the top line as the highest
string. I see this as him having modified Neapolitan tab, and therefore
having had some contact with it. I consider it a "superior" kind of
tablature, as it is so "easy" to read (subjective). Not strangely it is the
mo
Dear Goran,
Milan did not use Neapolitan tab. that system used a "1" as an
open string, where in Milan's tab, a "0" was used.
ed
At 11:54 AM 12/14/03 +0100, G.R. Crona wrote:
>Also his unique (and in my view superior) use of
>Neapolitan TAB.
>
>Funny how threads on this list sudden
In a message dated 12/14/03 9:18:56 AM Eastern Standard Time,
[EMAIL PROTECTED] writes:
> I have quicktime .avi files of RF and Pat O'Brien demonstrating thumb
> under RH technique
As was posted recently, there are also some silent video files showing
showing videos of several professional lute
Well, in his book on Milan, Luis Gasser suggests that Milan may have been a
Jewish converso.Apparently Jewish converts often chose names of towns as
their surnames. The duchy of Milan in Italy was a Spanish Hapsburg
possession. Also Milah apparently is the Hebrew word for circumcision!
Cheers
M
Already my first attempt to email the files failed due to their large
size. Instead I have posted them on my ftp site:
ftp://ftp.dshoskes.com
ronrighthand.avi and Pat right hand.avi
I was afraid I'd be asked that. Ruiz de Ribayaz writes in such a
convoluted style that I have only ever read the chapters on the guitar and
general music theory attentively. So I can't describe harp notation in
detail especially as I don't play the harp!.
However, it uses 4 lines which represe
Perhaps Luis Milan's tab should simply be called "Milan tablature", rather
than "Spanish", since
none (I believe) of the other Spanish composers used it, preferring the Italian style.
Another likely name
for it might be "modern tab" or "guitar tab", since that is the format currently use
My number one suggestion: get a lesson, even if you have to fly halfway
across the country to do so (like I do!) and/or come to the LSA annual
workshop and have a few lessons by different teachers. I struggled with
thumb under based on book tutor descriptions for 2 months and thought I
had it, only
> Leonard Williams wrote:
>> Wales/Gales,
>
> Just for the record, the proper name is Cymru. Wales is a Saxon word
> meaning foreign.
Which returns us to the question of Welscher Dantz. Obviously there is no
reason whatsoever to limit the translation to Italian only.
RT
__
Roman M. Tu
Dear Göran,
You refer to Milan's tablature as Neapolitan. There seems to be some
confusion about this, if only in my own mind.
Milan's tablature for vihuela has open strings notated as 0. A chord
of F major (assuming G tuning) would look like
=2=
=3=
=3=
=0=
===
===
Milano's tablature for viola
Dear Jose Luis,
Many thanks for your help. By now you will have seen my message to
Antonio, so I shan't repeat myself.
Best wishes,
Stewart.
- Original Message -
From: "J.Luis Rojo" <[EMAIL PROTECTED]>
To: "Stewart McCoy" <[EMAIL PROTECTED]>
Cc: "Lute Net" <[EMAIL PROTECTED]>
Sent: Sun
Dear Antonio,
Many thanks indeed for putting me on the right track. :-)
My hypothesis was based on the fact that similar things occurred in
the transition from Vulgar Latin to French. According to Alfred
Ewart, _The French Language_ (London: Faber and Faber Ltd, 1933),
the letter B of Classical L
At 01:43 13.12.03 -0600, you wrote:
>Dear Arto and friends,
>
>Roman is completely right. There is abundant Spanish
>iconography from the 15th century, less so from the
>16th, showing lutes. I don`t have the information
>about the sources at hand right now, but if there is
>interest I could compile
Dear Stewart,
At the moment, in the Community of "Castilla y Leon", cradle of the
Castilian language, in te practice is not pronunciation difference
between the "v" and the "b" (and also very few people pronounce
differentl "y" of "ll"!)
Best,
Jose Luis
Stewart McCoy wrote:
>Dear Edward,
>
>As
Dear Arthur,
when reading the postings of this thread, it suddenly struck me: Luís de
Milán... Luigi da Milano. Was he actually an Italian? Or did he get his
epithet from having spent part of his life in Milano? In those days,
surnames often indicated provenance. His music was quite italianate and
Very eloquently spoken, Leonard,
a thought-provoking posting in the Christmas spirit indeed.
A happy X-mas to you and your's!
Göran
- Original Message -
From: "Leonard Williams" <[EMAIL PROTECTED]>
To: "LuteNet" <[EMAIL PROTECTED]>
Sent: 14. desember 2003 04:16
Subject: Reflections on o
Dear Peter,
You wrote:
"If we have a look on 16th century lute tablatures, it is also
obvious, that some musicians published only 'serious/highbrow' music.
Look at for example the editions of Francesco da Milano or Bakfark:
Only 'serious/highbrow' music like fantasies and intabulation
But what cruel person put an S in lisp!
As I understand it, the discrepancy between Ariel's Estevan and
Esteban, or Roman's biguela and vihuela, arise because of the
bi-labial fricative.
The letters V and F are called labio-dental fricatives, because
their sound is made by rubbing a lip against t
No, not really. But I take the opportunity to apologise to the list for some
of my pontifications with only a general knowledge of music, and my usual
certainty. (My wife says "ask Murphy the time and he'll tell you how to
build a watch"). My copy of Damiani's "Method" arrived in the the mail today
Fricative, expletive deleted. I don't speak Spanish, but I understand it is
an old language with many variations. Like the British Isles, and the rest
of Europe, there were native speakers of languages before the Roman
invasions. Local populations have taken the Romance of the capital (pun
intended
Dear Antonio and all,
Thank you for the precisions regarding Spanish. I think we should also bear
in mind that this also fits in with the whole principle of sound mutation
which once experienced in a living (so-called Celtic language) context makes
one aware of the fragile connection between soun
Dear Stewart and friends,
Your hypothesis is indeed interesting and well argued,
but I'm afraid it's not quite correct. Your arguments
are based on certain modern phonetical values, but in
Spanish - indeed even in modern Spanish - things are
not always what they seem. Let us start with the b and
v
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