Not quite Lord Copper: the whole point is that he doesn't actually 'do it in
practice' as you put it. He ignores (or is ignorant of) the different
dispositions of diatonic and chromatic semitones on each of the strings and
thus, indeed, doesn't 'do it in practice'.
MH
howard posner
On Nov 12, 2007, at 12:41 PM, Roman Turovsky wrote:
There are levels of Prominence, and it is not necessarily achieved
by merit, as we all know.
The question was about evidence of tastini. My point is that
Galilei's remarks indicate that tastini usage had a prominence that
he
In theory, there is no difference between theory and practice. But
in practice, there is.
- Yogi Berra
Sorry all, couldn't resist.
Not quite Lord Copper: the whole point is that he doesn't actually
'do it in practice' as you put it. He ignores (or is ignorant of)
the different
The soloist is Luca Pianca, of Il Giardino Armonico fame. He usually plays
single strung, like many of his peers.
- Original Message -
From: howard posner [EMAIL PROTECTED]
To: Bruno Correia [EMAIL PROTECTED]
Cc: Lute List lute@cs.dartmouth.edu
Sent: Tuesday, November 13, 2007 2:37 AM
I know I'm going to hate myself for saying this, but isn't the G on
the fourth course +7 not minus 7, semi ideally?
I feel a surreal sense that I have somehow misplaced G.
Also, how do you manage the octave A being out by 7 centimes? Not
criticizing, just intrigued.
Thanks for the figures. I
what a wonderful video and what a wonderful CD-label.
w.
http://www.elucevanlestelle.com/musicstore/website/it/index.php?section_name=music_store_item_listarticle_category=CD
Original-Nachricht
Datum: Tue, 13 Nov 2007 13:40:06 +0100
Von: G. Crona [EMAIL
From: LGS-Europe [EMAIL PROTECTED]
I'm sure your theory is better. When you talked about modulation I assumed
you meant a change of key, or tonal centre, within one piece. Starting in
a-minor, after five bars you find yourself playing in C-major, cadenses
and all. If you'd agree that an
Notwithstanding the tuning, how about a wandervogel. Mr Pianca holds and
plays it like other players treat their guitars.--Okay, just kidding
8)
Mathias
Edward Martin [EMAIL PROTECTED] schrieb:
No, it is a single-strung archlute.
Interestingly enough, the ensemble (and the archlutenist) are
Your table demonstrate some of the real practical problems I highlighted, but
the straight fret issue is but one of them.
What you are also overlooking is what happens when, to take just one very
simple early example in your table below, your first course is fretted at the
first fret
Not meaning to be confrontational, but does anyone know of an historical
example of a single strung Archlute? My impression is that this is nothing
more than a Guitar like instrument with a lot of extra base strings shaped
like a Lute.
- Original Message -
From: Mathias Rösel [EMAIL
http://en.wikipedia.org/wiki/Ang%C3%A9lique_%28instrument%29
RT
From: vance wood [EMAIL PROTECTED]
Not meaning to be confrontational, but does anyone know of an historical
example of a single strung Archlute? My impression is that this is nothing
more than a Guitar like instrument with a lot
Everything about it screams guitar to me: the sound, the nails, the
general approach. Yes, a guitar that looks a bit like a lute!
Nigel
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Thanks for sharing that link Roman, it's nice to be informed about something
I did not know existed.
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: Lute List lute@cs.dartmouth.edu; vance wood [EMAIL PROTECTED]
Sent: Tuesday, November 13, 2007 9:47 AM
Subject: [LUTE] Re:
'Tis my pleasure to serve.
RT
Thanks for sharing that link Roman, it's nice to be informed about
something I did not know existed.
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: Lute List lute@cs.dartmouth.edu; vance wood
[EMAIL PROTECTED]
Sent: Tuesday, November
Can some one help me find some information about them in the use of
the renissance counterpoint (2 voices for now is good for me)
I totally forgot it and can't find my books :(
Thanks you all :-)
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To all:
Please forgive this diversion from such illuminating threads but we would like
to announce a very special new release.
Mignarda Editions is delighted to announce the release of lute tablature scores
for Ronn McFarlane's Indigo Road, offering lutenists a chance to both hear and
play
On Nov 13, 2007, at 6:47 AM, Nigel Solomon wrote:
Everything about it screams guitar to me: the sound, the nails, the
general approach. Yes, a guitar that looks a bit like a lute!
To me, everything about it screams liuto attiorbato, like a good many
historical instruments in museums with
Everything about it screams guitar to me: the sound, the nails, the
general approach. Yes, a guitar that looks a bit like a lute!
To me, everything about it screams liuto attiorbato, like a good many
historical instruments in museums with fingerboard lengths under 60
cm and
On Nov 13, 2007, at 6:47 AM, Nigel Solomon wrote:
Everything about it screams guitar to me: the sound, the nails, the
general approach. Yes, a guitar that looks a bit like a lute!
To me, everything about it screams liuto attiorbato, like a good many
historical instruments in museums with
Roman Turovsky wrote:
Are any single strung? All of the existing liuto attiorbato, to my
You might have missed
http://en.wikipedia.org/wiki/Ang%C3%A9lique_%28instrument%29
knowledge at least, are double strung on the fingerboard and most are
double strung on the diapasons as well.
I'm
To me, everything about it screams liuto attiorbato, like a good many
historical instruments in museums with fingerboard lengths under 60
cm and extension strings of 75-85 cm, played with nails the way
historical Italian players would likely have played it.
If we're still talking about
Best source for real renaissance counterpoint (NOT what is in college
theory books)
in English is Morley's Plain and Easie Introduction, though I
recommend first people learn hexachord theory and play bicinia from
Josquin, Lassus Isaac.
Perhaps there is a good historical book other than
As long as we're talking about single-strung archlutes, why not
single-strung 13-course Baroque lutes? Do any of you play a single-
strung 13-course?
David R
[EMAIL PROTECTED]
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Of historical liuti attiorbati, Nigel Solomon asks:
Are any single strung?
They probably all have pegs and holes for double courses, but that
doesn't mean that baroque-era players never used single strings on
them, the same way modern players do. Nobody makes much of a fuss
about the
Terry Schumacher does!
From: David Rastall [mailto:[EMAIL PROTECTED]
Sent: Tue 11/13/2007 1:26 PM
To: Lute List
Subject: [LUTE] Single-strung 13-course Baroque Lutes?
As long as we're talking about single-strung archlutes, why not
single-strung 13-course
On Tue, 13 Nov 2007, David Tayler wrote:
Best source for real renaissance counterpoint (NOT what is in college
theory books)
in English is Morley's Plain and Easie Introduction, though I
recommend first people learn hexachord theory and play bicinia from
Josquin, Lassus Isaac.
Perhaps
First thanks to DVO for putting up the numbers--now we have some real
world material. I find this very helpful.
I'm still working though the chords, but in a real gig scenario I
would set three basic levels--
I'm sure I will make mistakes so correct me if I am wrong
Level one, the simplest of
Woot. That is the coolest.
dt
Bicinia have all you need, really.
In that case, all you need is here:
http://www.bicinium.info
Peter.
the next auto-quote is:
Even if you are a minority of one, the truth is the truth.
(Gandhi)
/\/\
Peter Nightingale Telephone (401) 874-5882
... I recommend first people learn hexachord theory and play bicinia from
Josquin, Lassus Isaac.
I assume the Morley can be found reprinted and for sale at any of the
usual sources; but is there a good anthology of Bicinia? Funny thing,
I was just thinking of them recently as I wanted to get
If one listens to the old LP's, now on CD, of Eugen Dombois or Michael
Schaffer, they sound as though they did not use octaves!
ed
At 01:26 PM 11/13/2007 -0500, David Rastall wrote:
As long as we're talking about single-strung archlutes, why not
single-strung 13-course Baroque lutes? Do any of
I don't know.. I put a capo on the 3rd fret of my guitar and got the
relative tuning of a Ren. Lute.. it seems to work with the tabs Im
reading.
--
Joshua E. Horn
[EMAIL PROTECTED]
--
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Is there any advantage on playing such an instrument in Vivaldi?
The soloist is Luca Pianca, of Il Giardino Armonico fame. He usually
plays
single strung, like many of his peers.
Bruno Correia wrote:
Is this a baroque lute?
It is, but probably not what you mean by baroque lute.
Yes you are right I did not crank my F up high enough.
Definitely an improvement over ET and balances with organ.
At 02:38 PM 11/13/2007, you wrote:
A, and we have a nice G chord, a nice D chord and an OK A chord
Assuming the A chord is barred, and we don't use the fourth course,
??
F = 14
A
Depends.
Though people debate this issue, liuto in Scarlatti Vivaldi land
generally meant mandolin, you can read Tylers book for the different
tunings, I use 6 double courses.
So arciliuto is an octave too low, and is in octaves with the fiddles
. Having said that, it sounds reasonably nice,
Good for you, Joshua. I hope you continue to play, as lute music is so
wonderful and rewarding.
If I can explain some of the responses from this list, to your note about
using a capo on the 3rd fret, it seems as though there are some who think a
lute is basically tuned in g. Actually, there
Re Luca Pianca's single-strung liuto attiorbato in A, Bruno asks:
Is there any advantage on playing such an instrument in Vivaldi?
I suspect the primary advantage of a small instrument is that it's
easy to travel with it. But in late baroque music, where the
continuo lines tend to lie
And why wouldn't it work without the capo? Ed Martin has addressed
the lute size (and the ever elusive but false Geeness obsession of
20 -21st century lutenists) succinctly and completely. I would only
add that one reason for the use of tabulature is precisely BECAUSE
the G pitch was but one
I wrote:
Tyler will tell
you that there was no soprano liuto in Italy,
meaning in the 18th century
and when Vivaldi
wanted mandolino he wrote mandolino. And I believe Vivaldi's
liuto parts contain continuo parts in the tutti sections (Malipiero
left these parts out of his landmark
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