> On 2006-01-25, at 10:29, LGS-Europe wrote:
>
>>> Dear David,
>>> I beg your pardon, please, but you mean by ''Eastern Europe-like
>>> 'classical' music''?
>>
>> I had no idea I had to be politically correct on this forum.
>> You gave only a partial quote, as I wrote "_former_ Eastern
>> Europe-li
Is there a modern "standard" for tablature, which lutenists would expect in
a modern practical edition, or is it preferable to for such an edition to
reproduce the type of notation found in the source? Can one easily get used
to reversing the order of the strings, in particular?
Thanks,
Dennis
Dennis wrote:
>
>Is there a modern "standard" for tablature, which lutenists would expect in
>a modern practical edition, or is it preferable to for such an edition to
>reproduce the type of notation found in the source? Can one easily get used
>to reversing the order of the strings, in particul
We do. For starters his real name was Porcile..
RT
- Original Message -
From: "Bernd Haegemann" <[EMAIL PROTECTED]>
To: "Lute net"
Cc: "baroque Lutelist"
Sent: Thursday, January 26, 2006 12:21 PM
Subject: [LUTE] Borsilli
> Dear all,
>
> the Ms. Wien (Vienna) 1078 contains some pie
I'm not sure what you mean by Standard. The most common and most often seen
is French Tab. Consists of six line representing the six main courses on
the Lute, the top line representing the first course and so on. The
notation is designatied by letters designating what strings are to be
stoped, "
> > ... like the Eastern-Europe countries
> > in the time of communism.
I spent 14 days as a tourist in St. Petersburg and Moscow
during 2001. What I saw of social realism's legacy was not
at all crass.
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He was a opera composer, active in Vienna, originally from Naples I believe,
who is not known for any lute music aside from the g-minor suite in
question. As I recall it has an unusually low tessitura, so it might be an
arrangement.
RT
>
>>
>>> We do. For starters his real name was Porcile..
>
--- Vance Wood <[EMAIL PROTECTED]> wrote:
> and Spanish Tab which should be called Luis Milan
> tab as he seems to be the
> only musician to use it that I know of. It uses the
> same letter system as
> French Tab, letters, but the sring orientation as
> Italian Tab, the bottom
> line being the
> We do. For starters his real name was Porcile..
oink. but seriously??
BH
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Vance Wood écrit:
>Most modern editions you find in print will use French Tab unless they are
>facsimile editions in which case they are basically photo copies of the
>original old print or manuscript. I hops in some way I have provided you
>with the answers you were looking for.
Thanks to all fo
Personally, I would not care either way I can pretty well sight read either
one or the other. Being that the pieces are Italian do you think the vocals
would be translated into English? You could make the same argument for the
Tablature, you are likely to find it either way. Which a modern Luten
For most modern editions folks seem to want French tab. Fine, but vihuela
music always looks strange in it. When Dick put out his Valderabano book last
year he made a few copies in Italian. It seems 'more at home' to my eye.
The chances are slim but I wouldn't mind a modern Borono or S
> Thanks to all for the replies, and apologies if I wasn't clear. Let me
> phrase my question differently. Imagine a modern edition (i.e. not a
> facsimile) of Italian pieces for voice(s) and lute. Would present-day
> lutenists prefer to find Italian tab as in the original, or to have this
> tr
On Jan 26, 2006, at 2:38 PM, Herbert Ward wrote:
> My teacher thinks it important to play in the original tablature
> system (with the exception of German).
So did mine. She saw it as a necessity for a lutenist to be fluent
in both Italian and French tabs, I imagine because of the importance
Hi David,
This is very interesting: how does that tab system work exactly?
Alain
David Rastall wrote:
>On Jan 26, 2006, at 2:38 PM, Herbert Ward wrote:
>
>
>
>>My teacher thinks it important to play in the original tablature
>>system (with the exception of German).
>>
>>
>
>So did mine. S
Assuming you are asking about harp tablature, here's an example of Welsh
tablature - the only one I have bookmarked:
http://www.clarsach.net/Robert_ap_Huw/
Michal
Alain Veylit <[EMAIL PROTECTED]> wrote:
Hi David,
This is very interesting: how does that tab system work exactly?
Alain
Unlurking to say:
Actually, many folk harpers don't play by ear. Most of us amateur folk
harpers, being lazy dogs, just buy books of predigested harp music converted
into modern musical notation. We leave the playing (and arranging) from
original sources to the likes of Grainne Yeats or
Yes, there's that Robert ap Huw source, and I *think* there is some
harp tab in the Skene MS. I could be wrong about that.
Cynthia Cathcart is a clarsach player who comes to mind on the
subjects of both harp tab and lute tab. She's the local guru on
clarsach-related subjects in the Washing
>> He was a opera composer, active in Vienna, originally from Naples I
>> believe,
>> who is not known for any lute music aside from the g-minor suite in
>> question. As I recall it has an unusually low tessitura, so it might be
>> an
>> arrangement.
>
> Dear Roman,
> that sounds very probable in
Harpist Mara Galassi
http://polyhymnion.org/galassi
sightreads lute tabulature with ease.
RT
> Cynthia Cathcart is a clarsach player who comes to mind on the
> subjects of both harp tab and lute tab. She's the local guru on
> clarsach-related subjects in the Washington DC area: she plays
Dear Greg,
I think the problem is in the original construction, they were
normally dovetailed into the side of the pegbox and therefore
scarcely relied on the glue joint at all. Given where you are now
though, I'd go with the dowel idea which will give you a much greater
gluing area plus some
aka Giuseppe (Joseph) Porsille (d. 1750) Kapellmeister in Vienna. Also worked
in Barcelona. Adolf Koczirz publ. his partita in g, and it is probably Koczirz
who attributed the work to Porsille. (In the past B and P were often
interchanged, e.g., Bachelbel and Pach, so the attribution is proba
Hi David,
ap Huw: This is precisely why I was interested in your message: I
thought you had the key to the code...
I think there are interesting parallels between the harp tradition and
the early english lute dumps: see
http://cbsr26.ucr.edu/wlkfiles/Publications/dumpe.html for my theory.
Sinc
> Giuseppe Porsile
> (1680 - 1750)
> Italian composer. He studied with Ursino, Giordano, and Greco at the
> Conservatorio dei Poveri di Gesu Cristo in Naples, and was named
> vice-maestro di cappella at the Spanish chapel in Naples. He was called to
> Spain in 1695 by Charles II to organize the mu
> Giuseppe Porsile
> (1680 - 1750)
> Italian composer. He studied with Ursino, Giordano, and Greco at the
> Conservatorio dei Poveri di Gesu Cristo in Naples, and was named
> vice-maestro di cappella at the Spanish chapel in Naples. He was called to
> Spain in 1695 by Charles II to organize the mu
§uªò >[ÌÄBJÂÌâótм0
íz{mÊ{¦V¢ú+«
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On Jan 26, 2006, at 5:17 PM, Alain Veylit wrote:
> The "finger picking" style of many dumps with the thumb alternance on
> two basses could fit well I think with the harp technique of a bass-
> line
> being played with the thumb and index finger of the left hand: but
> does
> such a technique r
Hexilarating! I have listened to the example mp3.
Paolo
-- Initial Header ---
>From : "Stewart McCoy" [EMAIL PROTECTED]
To : "Lute Net" lute@cs.dartmouth.edu
Cc :
Date : Thu, 26 Jan 2006 23:47:12 -
Subject : [LUTE] Lego Harpsichord
> This
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