Actually Gianconcelli uses both the broken chord and division types. Using the
examples in Chilesotti, the Spezzate in the [partitas] on pages 13 and 17 of
the tablaturebook are the division type,and on pages 17 (2nd one) and 40 the
brise type. Another [partita] has a rotta as after dance.
I
Last summer in Cleveland, Bob Barto did some experimenting with gut; he
played my 13 course Burkholtzer in all gut (bass rider on 12 & 13) and he
likes it, but I think, as in the case of most touring professionals, he is
concerned about tuning problems, so he probably sticks with what works for
<[EMAIL PROTECTED]> schrieb:
> One more question regarding the gallichon (us
> moderns seem to have agreed on that term and spelling
> in reference to some kind of standardized instrument):
I for one prefer to stick with Pietro's spelling which is _calichone_
> how does one pronounce the wor
I wrote:
> I think
Sorry--I wasn't trying to be cryptic or Cartesian here. I just
decided, as I often do, that what I had to say wasn't worth sharing,
but hit "send" instead of "delete."
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<[EMAIL PROTECTED]> wrote:
> One more question regarding the gallichon (us
> moderns seem to have agreed on that term and spelling
> in reference to some kind of standardized instrument)
I think
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Dear Listers,
One more question regarding the gallichon (us
moderns seem to have agreed on that term and spelling
in reference to some kind of standardized instrument):
how does one pronounce the word? "Galli-" I get, but
is the ch in "chon" pronounced as in German, French,
Spanish, Italian
Yes, I think it's best to stay with what Gianconcelli wrote. There are no T's
in Chilesotti's transcription for lute-guitar. Respighi inserts the
Tasteggiata on page 40 of G's tablature book.(1650). It's nearly continuous, so
the break is not very easy to hear.
You're from the Bay Area, I reca
On Friday, Aug 19, 2005, at 11:03 America/Los_Angeles, Ed Durbrow wrote:
> I know there was an
> inserted section in the Bergamasca but I can't remember it. Is it
> really the Tasteggiata? Now that I've been working on the Tasteggiata
> from the same suite, I'll enjoy listening for it.
The taste
> "Spezzata" means broken, and refers to breaking
> up of the block chords in the previous dance.
isn't it melody, rather, than chords that is spezzata, or brise (the
latter being is a 20th century term that was not in use during 17th and
18th centuries)?
> Reprises usually use divuisions for var
On Aug 20, 2005, at 2:15 AM, Arthur Ness wrote:
> if you wish, you could compromise and alternate the
> phrases between the Gagliarda and Spezzata in the manner
> of the Strain/Reprise structure.
I tried that. It sounds all wrong. The repeats sound right to me, it
all sounds right to me as wri
Hello, Ed!
I don't have the facsimile of Gianconcelli's book, but I
do have five of his suites in the transcription by
Chilesotti (Lautenspieler des XVI Jahrhunderts; I notice
also that one of the Contrapuncti by B.M. is in the
book). I think you should remember there are two
traditions at work h
There is a Dean for sale on the web right now finished with MOTS.
- Original Message -
From: "Eugene C. Braig IV" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>
Sent: Friday, August 19, 2005 10:07 AM
Subject: [LUTE] Re: guitares en bateau - MOTS
> At 09:26 AM 8/19/2005,
At 09:26 AM 8/19/2005, Wayne Cripps wrote:
> > From: Alain Veylit <[EMAIL PROTECTED]>
> >
> > I think that unfortunately the author's English gets in the way
> > sometimes, for instance when the 17th century lute neck is described as
> > decorated with "mother of toilet sit". Would that be mother o
This is pure speculation on my part as I haven't heard Mr. Barto's
recordings, but I think it's probably a matter of personal preference - on
some courses or octaves, he simply prefers nylon to gut and/or vice versa.
Personally, while I respect the tradition and authenticity of all-gut
stringing, I
Hi Taco,
I am working on such problem since few years.
I am quite sure that, at the Weiss' time, basses were open wound on gut
cores.
No plain gut at all: simply it do not work.
I have made some samples of such open wound strings and I must say that they
are very interesting.
There are a lot of
At 04:02 PM 8/18/2005, Roman Turovsky wrote:
>For Eugene Braig et al.
>
>What do you make of this?
>
>http://www.renard-music.com/selectficheinstrument.php3?1000171
It certainly isn't uncommon of the kind of ill-fated experimentation that
was applied to guitars in that 5-course-to-6-string trans
- Original Message -
From: "Taco Walstra" <[EMAIL PROTECTED]>
To: "lutelist"
Sent: Friday, August 19, 2005 09:42
Subject: [LUTE] barto lute stringing
> Listening to a recordings of Weiss and Hagen by Roberto Barto I have been
> wondering several times what kind of strings were on his lu
Alain:
Franciolini may actually have used a piece of toilet seat on the fake
chitarrone!
http://www.renard-music.com/selectficheinstrument.php3?1000136
Daniel Heiman
On Thu, 18 Aug 2005 13:19:02 -0700 Alain Veylit <[EMAIL PROTECTED]>
writes:
> Wow, that page has lots of stuff: a 17th century lut
Listening to a recordings of Weiss and Hagen by Roberto Barto I have been
wondering several times what kind of strings were on his lute. Sometimes it
sounds like gut sometimes it's quite "un" -gut. The difference is very clear
if you listen for example to recordings by Toyohikoh Satoh who uses l
> From: Alain Veylit <[EMAIL PROTECTED]>
>
> I think that unfortunately the author's English gets in the way
> sometimes, for instance when the 17th century lute neck is described as
> decorated with "mother of toilet sit". Would that be mother of pearl?
> Alain
>
Mother of Toilet Seat, MOTS f
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