A film with Dombois in it? Did he play? Title? Any more info?
On Mar 27, 2006, at 11:59 PM, Sandy Hackney wrote:
Many years ago I saw a film with Dombois and Sandro Zanetti (a
luthier of
note in the 70s) and they were examining a door from a 500 year old
barn.
Subsequently, Zanetti
which can be studied at http://www.larips.com ...
I like Mr. Lehman's work, however it (or any talk of keyboard
temperaments)
has little direct relevance to fretted strings. Bradley can tune every
Of course, but we have to play together with keyboards, and think of
something not to be
Edward Martin wrote:
But in these psalms, the lute performs these
wonderful, polyphonic fugal like pieces, that make wonderful solos in
their
own right; in them, the voice comes in with simple tones, and the
voice is
even tacet for up to 8 measures at a time!.
This description would
Very interesting, too bad the music was not included.
Vance Wood.
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Tuesday, March 28, 2006 1:49 AM
Subject: [LUTE] Griffiths and Bermudo
The English translation of John Griffiths' vihuela tutor
I'll make an unabashed plug here. We recorded three pieces from Vallet's
books of psalm settings, plus my arrangement of a psalm by Goudimel,
described at the following link:
[1]http://mignarda.com/cds
Also, I have available as a free pdf download of one of Vallet's wonderful
Yes - right. But I would rather consider the Regias Pietas as solo music
because the melody line indicated by the asterix often does not match the
melody of the geneve psalter (if I recall right).
Hoping not to tell nonsense
Thomas
Apart from the 2 books of psalms by Vallet (one with solo
Yes - right. But I would rather consider the Regias Pietas as solo music
because the melody line indicated by the asterix often does not match the
melody of the geneve psalter (if I recall right).
I thought they were (it says so in the introduction of the facsimile,
anyway). Fitting the
I thought they were (it says so in the introduction of the facsimile,
anyway). Fitting the Dathenus psalm texts has never given me any trouble,
either.
Of course, if you prefer to play them without singing, it's fine, but Vallet
has explicitely added the asterixes for sing-along performances.
Daniel reminds me that the Richard Allison Psalmes of David were brought to
North America with two lutes on board the Mayflower. There is much religious
music for lute, as several readers of this list have already indicated. Some of
the earliest cantional settings of psalms and hymns are in the
Everyone,
With all due respect to POD, I think if he (or any
of our modern lutenists) were zapped back in time with
his lute, his playing would illicit some very strange
looks: What manner of playing is this? Why dost thou
contrive to perform these musicks the identical way
each and ev'ry
At 10:58 AM 3/28/2006, Arto Wikla wrote:
And perhaps the same ear of the period was less tolerant to every tonality
sounding the same and no tonality sounding pure, all the major thirds
sounding ugly... ;-)
Obviously...but you still can't truly fret any instrument to any
temperament scheme
And perhaps the same ear of the period was less tolerant to every tonality
sounding the same and no tonality sounding pure, all the major thirds
sounding ugly... ;-)
All the best,
Arto
On lutes all keys sound different even in ET. And some people find meantone
3rds way too shrill.
RT
Re: warts, these thuddy basses are part of the convincing sound. They blend
nicely with the treble. They sound like basses that know their place.
PP
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: Paul Pleijsier [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent: Tuesday,
But a well-tuned axe should be.
RT
That's it, it is still on. I guess I'll never learn to distingiush between
pieces, but the sound is special.
Wait, I'll look up wart. Ah, a wrat in Dutch.
Yes, I find that total technical perfection is not neccessarily an
ingredient in a great performance.
Paul,
I'm afraid I do and don't agree...
Yes, I agree with you whole-heartedly that absolute
technical precision is not a needed part of a great
performance especially as it applies to minor things
like clicks and buzzes or even the odd out of tune or
wrong note. In this case the
On Mar 28, 2006, at 11:36 AM, Paul Pleijsier wrote:
I guess the early people wouldn't care much if POD played with
strange inflexible strings or with or without nails. I guess
these things are only interesting to US, especially to those who
care about approaching the sound of the past.
Am 28 Mar 2006 um 19:09 hat Paul Pleijsier geschrieben:
That's it, it is still on. I guess I'll never learn to distingiush
between pieces, but the sound is special. Wait, I'll look up wart.
Ah, a wrat in Dutch. Yes, I find that total technical perfection is
not neccessarily an ingredient in a
NO. Because the lute on the Weichenberger CD is massively out of tune, I
suspect from untrue strings. But TS should have known better not to record
under such conditions.
RT
Less tuning than necessary.
RT
RT, a genuine question: do you say this because you are an advocate of ET?
PP
I'm not sure who started this thread, but I have a nice setting of
the Lord's Prayer by Richard Allison in tab format, or I could attach a pdf
if you'd like it.
Leonard Williams
On 3/28/06 2:51 AM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote:
Hi!
There is pretty much sacred music for
On Tuesday 28 March 2006 10:09 am, Eugene C. Braig IV wrote:
At 10:58 AM 3/28/2006, Arto Wikla wrote:
And perhaps the same ear of the period was less tolerant to every
tonality sounding the same and no tonality sounding pure, all the
major thirds sounding ugly... ;-)
Obviously...but you
The links for ordering are on this page of my website:
http://www.musicintime.co.uk/taner.htm
It is an incredibly inexpensive book, well worth the effort of tracking
down. Lots of scores, tabs and transcriptions. And DR Griffiths has given us
for free his own English translation. Deserving of
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