G.R. Crona wrote:
> I must say, that I'm very disillusioned by this move to make what has
> previously been an open forum, a censored one.
But the forum is no less open and no more censored than it was before.
The only difference is that one more person is now on the list of those
excluded fro
Does anyone have this?
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- Original Message -
From: Roman Turovsky <[EMAIL PROTECTED]>
Date: Tuesday, August 30, 2005 8:06 pm
Subject: [LUTE] Re: Guitar and lute
> > I don't know...transcription is transcription.
> >
> Not all transcriptions are created equal. CG is sufficiently
> removed from JSB's era to be in
> At 10:13 AM 8/30/2005, Ed Durbrow wrote:
> > > If you're playing the cello suites, it's
> > > no more authentic to play them on the lute than the CG -- is it
> > > easier?
> >
> >I think it IS more authentic since there are contemporary examples in
> >tablature of Bach's music and the CG as we k
> > The lutelist is in no need of "parenting" and will be much stronger
> > and more honorable for it.
>
> It could certainly do with a kind of minimum standard of civility
> that we all agree upon when we join.
RMCG has no parenting and no standards of civility, and that is where MO
really blooms,
> First, I agree; the should be to play it like you mean it. However, in
> dramatizing phrasing and dynamics in a way that is not necessarily implied
> in period sources, how HIP is it?
> Eugene
As HIP as it gets, unless one subscribes to the Rooley theory.
RT
> At 07:17 AM 8/30/2005, lapis bleu
My batch of Earl-files doesn't have it. Where is the original?
RT
>
> Does anybody have access to string parts for the Fasch lute concerto?
> I tried to buy them from Suvini Zerboni, who publishes the Chiesa edition.
> They referred to me to their distributor, which hasn't returned any of my
> ema
Jim,
try a good clavichord. This was J.S.'s favourite. You'll know why
once you play a good one.
g
On 30.08.2005, at 18:08, jim abraham wrote:
> Here's a reason: Bach didn't write any baroque guitar music. I find
> that
> most of the guitar repertoire, "ancient" and modern, though often
> c
Dear friends,
Does anybody have access to string parts for the Fasch lute concerto?
I tried to buy them from Suvini Zerboni, who publishes the Chiesa edition.
They referred to me to their distributor, which hasn't returned any of my
emails (& the fax number seems to be out of service):
> However, in dramatizing phrasing and dynamics in a way that is not
> necessarily implied in period sources, how HIP is it?
one may be facing a sort of tradeoff - one may have to choose either
to preserve (technical) praxis or (emotional) achievement. if one can't
save them both, there are no wo
Here's a reason: Bach didn't write any baroque guitar music. I find that
most of the guitar repertoire, "ancient" and modern, though often charming,
not nearly as compelling as Bach. That's the great pity for someone like me:
don't like playing "keyboard" because it lacks intimacy and resonance,
Eugene C. Braig IV wrote:
> However, I have always
> wondered why modern guitarists shun baroque guitar music in favor of
> transcription from music for wholly dissimilar instruments like cello
> or
> violin.
Because the violin and cello are, in their way, less dissimilar. If
you play them str
Thanks to Ed for reproducing David's message, which arrived as a
blank message the other day, and I had no idea what it was about.
The passage under discussion is a tricky one. However, the really
interesting bit is what follows, because that will determine to some
extent what you do.
I agree wit
At 10:13 AM 8/30/2005, Ed Durbrow wrote:
> > If you're playing the cello suites, it's
> > no more authentic to play them on the lute than the CG -- is it
> > easier?
>
>I think it IS more authentic since there are contemporary examples in
>tablature of Bach's music and the CG as we know it didn't
At 07:34 AM 8/30/2005, Ed Durbrow wrote:
>Maybe if Corbetta were alive today. I think I saw him use a down
>and up stroke with the thumb on the first string. Didillo?
Naw, dedillo.
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First, I agree; the should be to play it like you mean it. However, in
dramatizing phrasing and dynamics in a way that is not necessarily implied
in period sources, how HIP is it?
Eugene
At 07:17 AM 8/30/2005, lapis bleu wrote:
>keeping alive any piece of ancient music is something weird, mayb
On Aug 30, 2005, at 1:01 PM, jim abraham wrote:
> A lot is made about using the right lute for the
> job: 8-10 course lute for Dowland,
That should be 7 to 9 course.
> If you're playing the cello suites, it's
> no more authentic to play them on the lute than the CG -- is it
> easier?
I thi
On Aug 30, 2005, at 8:04 AM, James A Stimson wrote:
> You can play virtually all of Dowland's solo music on an eight-course
> lute.
And 90% of it on a 7 course.
Ed Durbrow
Saitama, Japan
[EMAIL PROTECTED]
http://www9.plala.or.jp/edurbrow/
--
To get on or off this list see list information a
Seems to be the download directory of the Choral Public Domain Library.
Under http://www.cpdl.org/ you will find the catalogues and a possibility to
search the files.
Best
Markus
On Tue, 30 Aug 2005 13:50:31 +0200, Taco Walstra wrote:
TW> oh, just for people who start to download files from th
oh, just for people who start to download files from the website just
mentioned by clicking with a mouse
There is a nice utility which is called wget (ofcourse standard on linux), but
if you install cygwin on windows you can use it too, which rips all the files
from a website. Prevents RSI p
On Tuesday 30 August 2005 08:56, you wrote:
> Hi,
> try this adress:
> http://wso.williams.edu/cpdl/sheet/arc-qua2.pdf
>
Perhaps many of you didn't strip off the pdf filename, but if you do you'll
find a website which contains an incredible large number of scores in
pdf.
(complete bach cantat
On Aug 30, 2005, at 6:15 AM, <[EMAIL PROTECTED]>
<[EMAIL PROTECTED]> wrote:
> http://www.collegehumor.com/movies/159572/
>
> - a video of a young bloke playing a Beatles ditty on a (large)
> uke. He's a very good player.
>
> He's mixing strumming and punteado. He's adding notes to strummed
On Aug 29, 2005, at 1:16 PM, David Cassetti wrote:
> Hi all,
>
> I have a question about fingering a passage of Francesco da Milano's
> Fantasia 83 starting a measure 23:
>
>1 2 2
>
> ___c___e__c___cb
> |__d___c__d|__c_
> |__f___d__f_
Jim,
To tag on to what Sal wrote below, here's a link for Amazon to the
aforementioned book by Nigel.
http://www.amazon.com/exec/obidos/tg/detail/-/0253314151/qid=1125400417/sr=1-1/ref=sr_1_1/002-0458052-6458411?v=glance&s=books
Regards,
Craig
-- Original Message --
Jim
Concerning Music Theory - study basso continuo on your
instrumeni - chord inversions and such - Nigel North
has a great book on the subject.
Sal
Salvatore Salvaggio
http://www.Salvaggio.50megs.com
Start your day wit
On Aug 29, 2005, at 8:41 PM, G.R. Crona wrote:
> What is at stake is the freedom of speech,
> and when we start curtailing it, for whatever reason, we are being
> no better
> then those bullies who seemingly take over an international forum
> which was
> created for discussing lute-matters t
Dear Stewart
> Unfortunately I don't have the 4-part score to hand, but I do have
> an intabulation by Bakfark in the same key. I have compared the
> first 20 bars of the Newsidler and Bakfark versions one above the
It's what I am doing: comparing Arcadelt's four part madrigal with the
intabulati
Dear Arthur
>>
There's also an intabulation by Francesco (No. 123)., as I already told
David. Many intabulations are made from other intabulations. So Bakfark and
MN may be based on the same basic intabulation, done up in their individual
style of ornamentation.
<<
So I gathered as much, compari
Dear Dana
> Jobin was active in music printing earlier while in Strassbourg, using a
> distinctive font which has at least three sizes of type, all used
> interchangeably, and each size had subtle differences in orthography. I
> recall quite a bit of confusion working with that documents fascimil
Thanks, Wolfgang. That's just what we need.
All the best,
Stewart.
- Original Message -
From: "Wolfgang Wiehe" <[EMAIL PROTECTED]>
To: "'Lute Net'"
Sent: Tuesday, August 30, 2005 7:56 AM
Subject: [LUTE] AW: Melchior Neusidler
> Hi,
> try this adress:
> http://wso.williams.edu/cpdl/sh
Dear Jim,
There is absolutely no law which says that you have to play a piece
of music on the instrument for which it was written. It might help
you understand the music better by playing it on a historically
correct instrument, and the chances are that it will work better and
make more sense, but
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