I'll go out on a limb here, Daniel, and please forgive me if you get better
input elsewhere. Yes, I know it's a little bind moggling.
First off, you might try using G or C as your tonic since more of your
average lute music is in those scales. A is a little problematic since it
often requires
Many old paintings (of skill and sensitivity) depict a young woman holding
a nude Christ, with the baby wearing an adult-like face and making a
religious hand symbol.
These depictions conflict with modern taste in a number of ways. Most
obviously, no modern baby photographer gets requests for ph
>So my questions are:
>
>1) Have I misunderstood something in the process? Should I be using a
>different tonic?
I prefer to use the 1st/6th courses as a tonic unless I have to play
with other instruments, then I use C, which amounts to the same thing
except 2 cents flater.
>2) What keys work a
--- Roman Turovsky <[EMAIL PROTECTED]> escribió:
> >> E.0748,
> >>> being the most obvious), this particular murder
> >> left
> >>> behind a most enlightening iconographical trail.
> >> The differences between E.0748 and Diaz seem to
> be
> >> similar to the
> >> differences between Hoffmann and
--- Roman Turovsky <[EMAIL PROTECTED]> escribió:
>
> >
> > If you want to be creative, you could try the
> cit?e
> > la musique's page,
> My French is a bit "aproximatif", and besides, my
> idea of what's creative is
> different.
No doubt
>
> > or perhaps Alexander Batov could
> > let yo
I am questioning a rather dubious methodological
approach, and I have stated my reasons for considering
it as such. If that reminds you of MO's atacks, it is
your privilege to believe so. As to endangering a
livelihood, there is nothing to prevent Mr. Batov from
approching the reconstruction of vih
>> E.0748,
>>> being the most obvious), this particular murder
>> left
>>> behind a most enlightening iconographical trail.
>> The differences between E.0748 and Diaz seem to be
>> similar to the
>> differences between Hoffmann and Edlinger, one being
>> wider than the other,
>> while no one questi
I am trying to understand the meantone -1/6 tuning system which I do
agree makes the lute sound better in most of the Ren repertoire that I
play. I am a bit confused about the actual tuning process. I have read
http://home.planet.nl/~d.v.ooijen/lgs/meantone.html
I have used the fret positions and
--- Roman Turovsky <[EMAIL PROTECTED]> escribió:
> > --- Roman Turovsky <[EMAIL PROTECTED]>
> escribi??> > Besides the corpse
> > (Paris, cit?e la musique,
> >> E.0748,
> >>> being the most obvious), this particular murder
> >> left
> >>> behind a most enlightening iconographical trail.
> I
> >>>
> --- Roman Turovsky <[EMAIL PROTECTED]> escribi??> > Besides the corpse
> (Paris, cit?e la musique,
>> E.0748,
>>> being the most obvious), this particular murder
>> left
>>> behind a most enlightening iconographical trail. I
>>> would suggest that you have a look at: Florence
>>> G?eau, "L'iconog
--- Roman Turovsky <[EMAIL PROTECTED]> escribió:
> > Besides the corpse (Paris, cité de la musique,
> E.0748,
> > being the most obvious), this particular murder
> left
> > behind a most enlightening iconographical trail. I
> > would suggest that you have a look at: Florence
> > Gétreau, "L'icono
> have a look at: Florence
> Gétreau, "L'iconographie de la vihuela", in _Aux
> origenes de la guitar: la vihuela de mano_, les
> cahiers du museé de la musique 5, Paris: cité de la
> musique, 2004, pp. 41-49, ... that is, unless you
> desire to create the category "wishful painting".
Google return
--- Roman Turovsky <[EMAIL PROTECTED]> escribió:
> > Besides the corpse (Paris, cité de la musique,
> E.0748,
> > being the most obvious), this particular murder
> left
> > behind a most enlightening iconographical trail.
> The differences between E.0748 and Diaz seem to be
> similar to the
> dif
ebay horror stories abound but i bought a second-hand,
syrian made, child-sized, 5c. oud off of ebay germany
not long ago and it's hardly been out of my hands
since. it's surprisingly loud, warm and mellow ...
cheap! ... a real delight. the man i bought it from
had a so-so credit rating but he an
how do you make a distinction between
two similar instruments - sitting side by side in a
museum display cabinet, say - based on a supposed
method of tuning and struming?
- bill
___ALL-NEW Yahoo! Messenger
> Is the mandora/mandola the same instrument also called
mandore/mandolino...a tiny lute-like instrument tuned in fourths and fifths?
(the instrument of the Skene MS etc)
No. although I didn't actually refer to it, my observations were based on
Renato Meucci's article "Da chitarra Italiana a Ch
> Besides the corpse (Paris, cité de la musique, E.0748,
> being the most obvious), this particular murder left
> behind a most enlightening iconographical trail. I
> would suggest that you have a look at: Florence
> Gétreau, "L'iconographie de la vihuela", in _Aux
> origenes de la guitar: la vihue
> Besides the corpse (Paris, cité de la musique, E.0748,
> being the most obvious), this particular murder left
> behind a most enlightening iconographical trail.
The differences between E.0748 and Diaz seem to be similar to the
differences between Hoffmann and Edlinger, one being wider than the ot
Sweeping generalizations ("Anyone's notion of vihuela
is legitimate, regardless of the fact that it is
based on wishful thinking, given the "profusion" of
tangible vihuela evidence") based on the ignorance of
the subject ("murder that left no corpse (nor a
painting thereof") behind") are rather
Sweeping generalizations ("Anyone's notion of vihuela
is legitimate, regardless of the fact that it is
based on wishful thinking, given the "profusion" of
tangible vihuela evidence") based on the ignorance of
the subject ("murder that left no corpse (nor a
painting thereof") behind") are rather
--- Roman Turovsky <[EMAIL PROTECTED]> escribió:
> > To put it in a nutshell, in Spain, during most of
> the
> > 16th century five- and six-course instruments were
> > called "vihuelas"; four-course instruments were
> called
> > "guitars". During the late 1570s and early 1580s a
> > "new" instrum
On Saturday 18 September 2004 09:04, you wrote:
> G.R. Crona wrote:
> >This very fine duet music has been made available on NAXOS 8.553745, which
> >also includes duet music by Corbetta for guitar.
>
> Yes.
> But, is it possible to hear the "Dessus et Basse"-composition,
> and to get hold of an wr
I just read in the newspaper that musical archives of the san giovanni
cathedral in rome will be published on the internet the coming week with
among them music by pergolesi and others. The web address is
www.paoloditarso.it (which is now only kind of provider website). It's the
start of a larg
> To put it in a nutshell, in Spain, during most of the
> 16th century five- and six-course instruments were
> called "vihuelas"; four-course instruments were called
> "guitars". During the late 1570s and early 1580s a
> "new" instrument was developed: the five-course
> instrument we call "baroque
I wasn't talking about circumstantial evidence. Solving a murder that left
no corpse (nor a painting thereof) behind is an ungrateful thing.
RT
__
Roman M. Turovsky
http://polyhymnion.org/swv
> Are you suggesting that my research and conclusions
> about the vihuela are based on wishful
G.R. Crona wrote:
>This very fine duet music has been made available on NAXOS 8.553745, which
>also includes duet music by Corbetta for guitar.
>
>
Yes.
But, is it possible to hear the "Dessus et Basse"-composition,
and to get hold of an written-down theorbe-accompaniment,
where every single no
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