On Nov 28, 2007, at 10:33 PM, David Tayler wrote:
> I think it is different for different people, but in the keyboard
> world I have been part of a decades long debate about Italian
> harpsichords--the one size fits all debate.
> And a very wise player said, it doesn't matter that you just are not
I think it is different for different people, but in the keyboard
world I have been part of a decades long debate about Italian
harpsichords--the one size fits all debate.
And a very wise player said, it doesn't matter that you just are not
playing those extra notes for the earlier repertory, yo
I'm not sure just how an eight course instrument is going to slow you down?
Is it not a matter of not playing the strings you do not use or need at the
time? In theory, if not fact, it is possible to play many Lute pieces on a
six course instrument and never play the sixth or even the fifth cou
Martin , and all,
It sounds like Martin and I have had similar experiences with customers and
have come to similar if not the same conclusions as luthiers. I thank all for
the input.
Experienced players usually know what they want, and commission a
particular instrument. I usually don't
As a musicologist, I think Martin has such a lucid description that
I'm totally persuaded.. And rereading all the insights I can tell
that ppl have really thought this through.
The only thing I would add, purely subjective, is that as a
performer, a question:
Will the 8 course slow you down in
I agree to a point David, I think a six course instrument strung in the
Continental style will probably be a better choice for F. DaMilano's music.
But; try playing Molinaro's music on that instrument and you miss a lot of
the music played in the base registers. My point is that in an ideal wor
On Nov 28, 2007, at 3:37 PM, vance wood wrote:
> The "We" we are discussing happen to be a group of Historically
> Correct Mavens that look at the issues of historical correctness
> more closely than we look at the practicality of the things at hand
Hi Vance,
Certainly we've all been known
Setting aside the level of difficulty, the piece is in a very
different, and later style. I supposes if you played it very fast, it
would be more difficult.
For some reason I always thought of it as more gallant than speedy,
but I haven't looked at it in a while.
Dowland's authoritative works,
--- David Tayler <[EMAIL PROTECTED]> wrote:
> The Galliard is a later composition, and probably
> designed for the
> amateur market--it is a fine piece, just not that
> difficult.
Amateur, really? Lightening-quick divisions over a
moving bass easy amateur material?
> The combination of the fas
I don't think you can make that argument even though we do it. The "We" we
are discussing happen to be a group of Historically Correct Mavens that
look at the issues of historical correctness more closely than we look at
the practicality of the things at hand; like the number of strings on our
On Nov 28, 2007, at 12:06 PM, Ron Fletcher wrote:
> A 10-course lute is my next choice instead of 8. Even then, I have
> come
> across pieces where only the open 10th appears in the bass. So
> maybe this
> is also common for 9th & 8-course tablature, where that course
> makes only a
> rare
The Galliard is a later composition, and probably designed for the
amateur market--it is a fine piece, just not that difficult.
If I were to make these a pair, there would be a stylstic dissonance
between the versions that outweighs any choice of lutes,
I could make my own 7 course version of the
And for three days (27-29.12) i'm going to be alone in brussels.
Any one knows about good lute concerts there in those dates?
damn... I'm going to miss my precious Francesca.
And if i mentioned her name... any one knows where i can find tabs
for Francesca Caccini works? (yes, my lute name is
In my experience, a 7-course lute works fine for all the 6-course
repertoire. It is easy enough to ignore the 7th course.
In the 7-course repertoire, sometimes there is a choice to make between D or
F for the 7th course. Most often, I can finger the F (d) on the 7th course
anyway, to save re-
On Nov 26, 2007, at 6:54 PM, Stewart McCoy wrote:
> Do we have any evidence of a 16th- or 17th-century lutenist
> refusing to play a piece, because his lute had one or two courses
> more than necessary?
I would say yes, we do. The evidence being that we ourselves do it
today. I realize th
David, I know- it took hours of work with a floor sander for Mel to
get all your years of topsoil off the lute (7 course, of course!) I
have that you once owned. It was beyond green. My turn to come with
something that anagrams nicely on it.
>I treat mine with dirt. It turns green after a while
One of the first lute books I got when I was a wee grasshopper at
this lute business (young classical guitarist, late 60's) was a
printout of a microfilm of the English version of Adrien LeRoy's
book. All the old pass'e mezzi and other dances, for 6 courses.
Clearly visible in old handwriting
Dear David,
Your reasoning is historically "correct," but this
puts us in something of a quandry from a practical
performance view. Just take Dowland, for example.
His "Lachrimae" lute solo exists in a version for
six-course lute, (its 7-course in Board and Folger)
"Flow my teares" is for 7-
The third Caravaggio painting (from Badminten House) is
reproduced later in that article.
http://en.wikipedia.org/wiki/The_Lute_Player_%28Caravaggio%29
I was just amused that the BBC described the work as "the real
McCoy." Since we have the "real McCoy" right here. That doesn't
sound like the
Martin as usual has it exactly right historically. 6,9,10
BTW, years ago I wrote about a Dowland piece in Francisque (Pipers
Galliard), does anyone know if it has been recorded?
I'm sure it has, I just don't have a big CD collection (cheap).
dt
At 01:13 AM 11/28/2007, you wrote:
>Dear All,
>
But how does it sound?
I suppose, since Bee Propolis anagrams to Oboes Ripple, it must sound good
I treat mine with dirt. It turns green after a while. I don't blame it.
Although I wouldn't want the lute stuck in my throat.
dt
At 12:38 AM 11/28/2007, you wrote:
>>reminds me that lutes of
Oops, I forgot to say the other Grammatica painting is reckoned to be a
"chitarra francese" - it has five courses on the fingerboard, so
although it looks like a liuto attiorbato it's actually a theorboed
baroque guitar, sort of...
Martin
Arthur Ness wrote:
I have the wrong link for the Car
Thanks for the link to the cittern.
The Caravaggio I'm talking about is (I think) a different one from the
two we already know, one of which is almost certainly not genuine - the
case was discussed by David Van Edwards some time ago.
Can anyone shed any further light? Any comments on the cit
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