Hello to all,
The rolling of chords does not necessarily jeopardize rhythm, even in
dance pieces. I was thinking about this tonight while playing my restaurant gig,
rolling chord after chord. :) If you have a strong sense of the pulse of
a dance piece, you can do almost anything and
Dear All,
For years I have thought of a hinge bar as the use
of the top joint of the index finger (or sometimes
second finger) to stop two or more inner courses (e.g. 2nd 3rd)
whilst leaving the first string open - the finger is bent,
hence the term hinge. Also, sometimes one has occasion
to lift
Thomas Schall mailto:[EMAIL PROTECTED] schrieb:
Martin also has sent some music by S.L.Weiss set for 10-course
renaissance lute.
brilliant idea, I'd say. Make it accessible for the majority, finally.
--
Best,
Mathias
Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/
Dear James,
I agree. Rolling chords does not necessarily jeopardise rhythm, but
it doesn't usually help much. If you are playing in strict time,
there is an exact moment when a chord should sound. If you roll a
chord, some of the notes will not sound at that exact point, and so
will, by
Dear Stewart,
I am glad you have brought up again the subject of rolling chords. Several
months ago, I asked when one should roll a chord, and the answers given
favored either beginning or ending on the beat. What I meant by asking when
to roll a chord, however, was how does one decide which
Hello, Martin. It was so good to meet you in Cleveland this summer.
On this topic of rolling chords, especially 5-6 not chords, you gave an
example of the opening chord of Lachrimae. Your point is well taken, that
both the bass and treble notes are to be on the beat. Some people play the
i think stewart is confusing me with another
correspondent vis an opinion on rolling chords. i was
angling more for the attention of any hapless
volunteers out there who might wish to round out their
tuscan experience by shoveling sheep guano under my
olive trees (under the very same tuscan sun
Dear Martin,
This is the $64,000 question, isn't it. Rolling a chord means that
each of the notes sounds at a slightly different time. Only one note
of a rolled chord can be exactly in time, so which note should it
be? The first, the last, or one of the middle notes?
The Lachrimae version I
For what it's worth I look at a rolled chord in the same way I look at
ornaments. An ornament is placed in strategic locations in a composition to
accentuate the melodic line or rhythmic line. I have heard some players try
to show off their virtuosity? by putting more ornaments in a piece than,
Hello,
Does anyone know of a recording of the Meussel concerti (quartets)
for flute (oboe), gamba, lute, and basso? Thanks.
Kevin
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I doubt if there have been any such recordings. Too bad, as I think it
would be most enlightening.
ed
At 11:35 AM 10/31/2004 -0800, Kevin Kishimoto wrote:
Hello,
Does anyone know of a recording of the Meussel concerti (quartets)
for flute (oboe), gamba, lute, and basso? Thanks.
Kevin
Hi,
I just would have a (amateur) recording of our ensemble performing it a while
ago. In any case the traverso player with whom we played is great.
Best wishes
Thomas
Am Sonntag, 31. Oktober 2004 20:35 schrieb Kevin Kishimoto:
Hello,
Does anyone know of a recording of the Meussel
To roll or not to roll:
If you roll all the time, rolling means nothing. If you're sparing about
it, then the roll is a way of making a chord different in some way.
Rolling is a way to 1) ornament, 2) accentuate a chord, 3) sustain sound, or
4) soften attack. Note that 2) and 4) are in some
Stewart McCoy wrote:
the Italian word rubato
means robbed or stolen. It's used in a musical context to mean
robbing time, or taking time, in other words playing around with the
rhythm (slowing down/ speeding up) with the aim of playing
expressively. Musicians who play alone - guitarists,
I was a bit short in my last answer. Please excuse - I just returned from a
recital.
Maybe one of the reasons why Meussel's concerto isn't recorded yet is that the
single parts doesn't match properly. I tried my best to bring them together
(results on http://www.lautenist.de) which was the
Slightly tangential to this thread:
Thanks for the inducement to get out my trusty-but-dusty metronome and see how
horrible my unconscious rubato has become. As an unenviably solitary player, I have
no way to check myself without the ticker, and getting it out always produces a
The real problem is if this is not done correctly it is not at all musical
but can in fact lead the audience to assume that the composition being
played is in some areas beyond the abilities of the musician trying to
perform it. I once heard a well known Lutenist play a Milano Fantasia,( #28
In a message dated 10/31/2004 4:57:49 PM Pacific Standard Time,
[EMAIL PROTECTED] writes:
However there is something to be said against the actual mechanical practice
of being absolutely precise in every note. Specifically running passages.
If all of this is played mechanically, and
[EMAIL PROTECTED] wrote:
As to rubato, I have been taught, as Howard wrote, that it should be
superimposed on a steady beat, robbing one beat to pay another, so to speak.
Of course this may work well between a soloist and accompanist, but not among
a larger group--could get a little muddy.
example of the opening chord of Lachrimae. Your point is well taken, that
both the bass and treble notes are to be on the beat. Some people play
the
bass note on the beat, follow with the other notes.
I like to play the first g-minor chord non-broken, and the second g-minor
chord with
Martin Junge has sent some new arrangements, this time 3 sonatas by
Domenico Scarlatti for 10-course renaissance lute.
Thank you! It was fun playing through. Just last week, when painting in my
kitchen, I heard Scarlatti sonatas on the radio and I was contemplating
arranging some for
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