i didn't know furniture makers had groupies but you could ask her not
to make so much noise.
On Lunedì, lug 26, 2004, at 17:04 Europe/Rome, Herbert Ward wrote:
Can anyone recommend a table fan which operates very quietly?
Dear All,
Sorry to bother you all again, but I've just realised that my various =
computer problems need never darken your door again (they will continue =
to darken mine for some time to come, of course, but you will be =
spared).
Thanks to forwarding, my website and email addresses can stay
Hi all,
I'm playing some pieces by Francesco da Milano, which are technically not too
demanding. The problem I find is in recognising all the imitations in the
various voices. In staff notation these would be obvious, but I find myself
initially going plink-plonk-plonk-plink till my ear tells
Hello Everyone,
I have the CNRS edition of Vallet and I'm wondering (not being able to speak
or read French) if the fingerings for the right and left hands notated in
the tablature are editorial? My feeling is that they are not, but as I'm
encountering some interesting fingerings I'm very
Dear Tom,
The thing to do, as you have already noticed,
is to use your ears - in learning a new piece you
need to explore the way the voices work for you
and bring it out in your performance. We don't have
Francesco's works in mensural notation except in modern
editions - which are an editor's
RichardTomBeck wrote:
I'm playing some pieces by Francesco da Milano, which are technically not too
demanding. The problem I find is in recognising all the imitations in the
various voices. In staff notation these would be obvious, but I find myself
initially going plink-plonk-plonk-plink till my
The pieces by FdM I'm playing are Fantasias 31, 32, 41, 81 and Ricercars 4,=
=20
67. I appreciate what you say, Ed, about them being more difficult than migh=
t=20
at first appear, but these at least are within the limits of other pieces I=20
have negotiated until now. There's nothing I can't get
Tom (et al)--
Ed's suggestion of following a voice as far as you can is a good one. For
practice, get hold of someting simple like Valderrano's duos, where the two voices
are quite apparent. To help keep those voices in mind as you play, you could try
using different colored highlighters
Hello, all!
Speaking of Francesco da Milano, does anyone know of a playable edition =
of his works? I have access to the Ness edition, but, given the numerous =
page turns, I find it impossible to play from it. I have thought about =
retyping every piece into Fronimo, but that would take a very
Dear Stephen,
I remember being driven to distraction by all those page turns too. That
one and the CNRS N. Vallet (the facsimile has only a few page
turns--hooray). Yes, the piano reduction is a help for some and often gives
some good suggestions from the editor for voicing and those
does anyone have paulo galvao's email or postal address? i have an old
hotmail address for him that doesn't seem to be working.
Paulo Galvão [EMAIL PROTECTED]
RT
__
Roman M. Turovsky
http://polyhymnion.org/swv
From: doc rossi [EMAIL PROTECTED]
Date: Wed, 28 Jul 2004 04:15:15 +0200
To: Lute Net [EMAIL PROTECTED]
Subject: paulo galvao
does anyone have paulo galvao's email or postal address? i have an old
Write it out in staff notation is an obvious answer. If not to play from,
then at least to study the counterpoint from. It's a bother, but worth while
the effort if you're confused. I often encounter places I'm not sure about,
that have more than one solution or that I'd have never recognised just
Speaking of Francesco da Milano, does anyone know of a playable edition =
of his works?
The facsimile of many/most/all? of the books are available (I have some
Minkoff and Arnaldo Forni here).
David
The pieces by FdM I'm playing are Fantasias 31, 32, 41, 81 and Ricercars 4,=
=20
67.
So those are Ness numbers?
I just couldn't believe the music would actually be so barren and aimless,=20
but only after a while did it occur to me that there might be more to it tha=
n=20
that.
FdaM is one of
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