> You may not be aware of this, but the russophone limerick culture is
larger
> than the anglophone, and it is almost as old, althogh it really started
> blossoming in the 70's.
> Russian, unlike English, is an easily rhyming language, so the rules of
the
> limericks in the former are more extensi
Thank you so much Dante.
Eugene.
--- Dante Rosati <[EMAIL PROTECTED]> wrote:
> here 'tis
>
> Dante
>
> > -Original Message-
> > From: Eugene Ivanov [mailto:[EMAIL PROTECTED]
> > Sent: Saturday, March 27, 2004 8:38 PM
> > To: Lute
> > Subject: Kapsberger's tocatta
> >
> >
> > Hello Lute
Hello Lute-lovers,
I really love and would like to play Kapsberger's Tocatta Arpegiata (the one that
Hopkinson Smith
plays - see http://www.hopkinsonsmith.com/discography.asp), but I couldn't find the
tabs. If
anyone knows an internet site that has the tabs and would point me to it, or anyone
h
Those of you who might want to take a closer look at the Royal College of
Music Torban in London can actually do that at
http://polyhymnion.org/torban/london
A big public bow to Aleksandr Batov for making this possible.
RT
>> However what I meant wasn't his
>> personality, but how much he euphoniously deviated from the rest of the
>> band.
>
> I wasn't referring to his personality either.
Ah...
RT
Dear Alain and All:
Alain makes a good point. I have been in classes and taken lessons on
continuo in which the teacher demonstrated via tablature easy fingerings (I
hesitate to write "correct") for continuo cliches such as 4-3 suspensions
and chord inversions. It certainly is a compact way to
Roman Turovsky at [EMAIL PROTECTED] wrote:
> However what I meant wasn't his
> personality, but how much he euphoniously deviated from the rest of the
> band.
I wasn't referring to his personality either.
Thank you all who answered this question. I can see that Nigel North is
going to be a good starting point for me to learn the intricacies of
continuo, but it will certainly not be the end of the journey.
Regards,
Craig
Herbert wrote:
>On Fri, 26 Mar 2004 [EMAIL PROTECTED] wrote:
>
> > ... is Russian, not English and the scansion isn't quite the same
> > between the two languages
>
>Russian has a reputation for being very different from English,
>and difficult to learn. The reputation is deserved.
Interesting t
> different, etc. And playing continuo is demanding and very fun!
> (Roman said he likes to row his lonely boat by himself. I prefer
> the great vessel of chamber music... :-)
> Arto
Being in the spotlight (even of one's own room) carries considerable
responsibility. It is not for everyone.
RT
___
>> ... is Russian, not English and the
>> scansion isn't quite the same
In fact, SCA never made it there.
Their academic medievalists are on good level though.
RT
>> between the two languages
On Fri, 26 Mar 2004 [EMAIL PROTECTED] wrote:
> ... is Russian, not English and the scansion isn't quite the same
> between the two languages
Russian has a reputation for being very different from English,
and difficult to learn. The reputation is deserved.
Dear David and all
On Sat, 27 Mar 2004, David Rastall wrote:
> Your intabulations may not work when you finally sit down with the rest
> of the ensemble: I think there needs to be a feeling of freedom to the
> continuo part which can be lost when one is relying on a fully
> written-out accom
> I am curious then as to your opinions on this particular suggestion of Mr.
> North's. Do you continuo players read tablature or standard notation?
'Standard' continuo notation, if there is such a thing. Whatever I find on
my music stand, basically: (un)figured bass, written out piano/organ
reduc
On Saturday, March 27, 2004, at 08:22 AM, [EMAIL PROTECTED] wrote:
> I am curious then as to your opinions on this particular suggestion of
> Mr.
> North's. Do you continuo players read tablature or standard notation?
> Is
> this suggestion only related to later period musical styles (17th -
>
When I attended James Tyler's class, he gave us both bass lines with
continuo figures and realized parts in tablature to play from, depending on
the piece. Continuo should be improvised, as long as it does not improvise
disaster, I suppose. But it is important to remain flexible and away from
t
The only intabulated continuo I know of is a collection of lute parts
for arias by Hasse, called *14 Stueck Hassische Opern Arien* (from
Cleofide), preserved in Leipzig (Mus. ms. III.11.46a). It has been
written for 13c D minor lute. The 1st course is used, so, it is probably
not intended for the n
>> Nigel North did something like that for Bach suites with the Brandenburg
>> Consort (and it was very nice), but I don't think every conductor would be
>> that tolerant.
>
> I have to register my amusement at the thought of a conductor "tolerating"
> Nigel North.
An unmarried one would have no p
Dear Craig and All:
Nigel is really preaching to the lute-geeks out there, who play mostly
solos or lute-song accompaniments in tablature. That's not continuo. In
most continuo situations:
1. There is no tablature;
2. One often must read from a plain bass line; and
3. Your consort mates mostly
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
> I am curious then as to your opinions on this particular suggestion of Mr.
> North's. Do you continuo players read tablature or standard notation? Is
> this suggestion only related to later period musical styles (17th - 18th c.
> versus late 16th c.)
Craig,
When I began playing theorbo two years ago, I immediately began reading
directly from bass lines, sometimes figured, sometimes not. I have
intabulated some chords and embellishments from time to time if I find
something special I don't want to forget, but for the most part I prefer
read
Dear All,
I have recently acquired Nigel North's book on continuo. I'm not far
through it yet, but he's made a statement in the second chapter that I'd
like to ask you all about. He suggests that a continuo player read standard
notation for the theorbo (archlute, etc.) rather than tablature. He
Dear All,=20
thanks for your help, once more. I really appreciate =
your effort.
Best regards,
Ariel.
--
> Francesco Cannova da Miolano
> Fell into a pole of guano
> His patrons said, "Nay...
> please play far away.."
> And all of his fortes were piano.
Francesco Canova Milano
Fell into a pool of guano.
Now he's sent to Segrate
with personae non-grate,
And all of his fortes went piano.
RT
>> I take extreme umbrage at this: I am usually extremely attentive to the #
> of
>> syllables per line.
>
> Limericks aren't Haiku.
>
> jm
You may not be aware of this, but the russophone limerick culture is larger
than the anglophone, and it is almost as old, althogh it really started
blossomin
> .. and it provides a certain color to the sound.
> A year or so ago I attended a performance of St.John passion which had a
> much to large choir and a double orchestra but just one archlute. And
> even there the archlute (okay - no baroque lute) was well hearable.
> Donatella made a good point:
.. and it provides a certain color to the sound.
A year or so ago I attended a performance of St.John passion which had a
much to large choir and a double orchestra but just one archlute. And
even there the archlute (okay - no baroque lute) was well hearable.
Donatella made a good point: It also
I will take donations for
rimes in "eck".
Beck, check, deck, fleck, heck, peck, trek,
Ron (UK)
..which is more than you can say about a second-row violinist
in the Philharmonics.
Steffen
Fri, 26 Mar 2004 20:19:05 -0500, Roman Turovsky <[EMAIL PROTECTED]>
skrev:
>> Also the theobo plays it's role in the baroque orchestra.
> As an internal metronome in polychoral music, to keep the beat whe
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