Re: Rubato and rolling chords - Milan

2004-11-04 Thread Jon Murphy
Stewart and Antonio, This beginning lutenist agrees as to the regularity of beat, but this old musician might say that his newly learned practice of the lute pieces as entabulated includes a "freedom of expression". Many of the pieces I've been trying (some from my first book, Ronn McFarlane's Sco

14c archlute for sale

2004-11-04 Thread Lucas Harris
14-course archlute for sale, excellent condition By Ivo Magherini, November 2002 $5,000 U.S. Copy of the 1725 Roman archlute by David Tecchler in the Metropolitan Museum (New York City): http://www.metmuseum.org/Works_of_Art/viewOnezoom.asp?dep=18

RE: Fretless Banjos

2004-11-04 Thread Blockflute1
I am a beginning frailer but I'm learing on a more modern steel strung Vega. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: Fretless banjos

2004-11-04 Thread bill kilpatrick
dear leonard - sorry i didn't reply earlier - the banjos look wonderful. i particularly liked the one he made after a 18th. cent. model he found from sources in surinam (i think it was surinam.) the basic technique has got to be iron age. when i first became interested in the oud i was told

Fretless banjos

2004-11-04 Thread arckon
Just thought I'd share this website with anyone who plays "early" strings other than the lute. gourdbanjo.com Bob Thornburg makes a variety of early banjos which are fretless and gut strung. Tuning is with pegs rather than machines. Each instrument is unique. Check them out! Regards, Le

Rubato and rolling chords - Milan

2004-11-04 Thread Stewart McCoy
Dear Antonio, The idea of using dedillo for the fast notes in Milan's Fantasy 11 (and elsewhere) is attractive. I'm afraid I haven't come to terms with this technique myself, perhaps because I play thumb-inside, but I can see the potential for speed, and for contrast in timbre. I am less happy wi

Re: Rubato and rolling chords - Milan

2004-11-04 Thread "Mathias Rösel"
"Stewart McCoy" schrieb: > My other thought concerns the mode. Why should the player need to > know the mode, if all the notes are there in front of him? Is it > because there is a mood associated with each mode? Knowing the mode > would then give the player information