Is this thread really lute related?
If not: stop it
W
-Ursprüngliche Nachricht-
Von: Christopher Stetson [mailto:[EMAIL PROTECTED]
Gesendet: Freitag, 4. Januar 2008 23:23
An: Lute@cs.dartmouth.edu
Betreff: [LUTE] Re: Finery Filth...
And a fine tradition it is!
Great emoticon,
har har...
You're a riot Wolfie
-Original Message-
From: wolfgang wiehe [mailto:[EMAIL PROTECTED]
Sent: Saturday, January 05, 2008 5:57 AM
To: 'Christopher Stetson'; Lute@cs.dartmouth.edu
Subject: [LUTE] Re: Finery Filth...
Is this thread really lute related?
If not: stop it
W
Playing the devil's advocate here, I've always found it hard to
believe the best lute player in the world (some must have thought
so), Dowland, would change his technique suddenly. Maybe the sources
got it wrong or were purposefully misleading? What would be his
motivation to change?
Just
From what I understand Dowland from early in hi career was criticized for
his poor counterpoint, his use of old style composition and old way of
playing. He spent his entire adult life trying to get employment in
Elizabeth I's court and so on. If he did indeed change he probably did so
Here is another thought: Maybe Dowland created the change in technique? If
not him who and from where? Do we know the answer to that question?
- Original Message -
From: Ed Durbrow [EMAIL PROTECTED]
To: LuteNet list lute@cs.dartmouth.edu
Sent: Saturday, January 05, 2008 9:52 AM
Dear Ed and all:
I have to contribute my two cents worth of opinion here. I am firm in the
belief that no one from the 16th through 18th centuries really cared a whit
about proper right-hand technique, other than doing what is necessary to
produce a pleasing tone. The question of 'what is
Well stated, Ron.
ed
At 05:17 PM 1/5/2008 +, Ron Andrico wrote:
Dear Ed and all:
I have to contribute my two cents worth of opinion here. I am firm in the
belief that no one from the 16th through 18th centuries really cared a
whit about proper right-hand technique, other than doing what
Thanks - what I meant to ask was what it means in musical practice.
Donnington doesn't mention it, but by googling around I think it
means creating a duet by adding a second part to a pre-existing solo
piece without altering the pre-existing solo piece. So yes an
exchange as the second
I know that this must be a bit off topic but beside the issue of accessing
the additional bases as a criteria for thumb out one has to ask why was
thumb in used in the first place, especially when you consider how the thumb
and second finger sometimes interfere with each other?
I will answer
On Sat, Jan 5, 2008, vance wood [EMAIL PROTECTED] said:
I know that this must be a bit off topic but beside the issue of accessing
the additional bases as a criteria for thumb out one has to ask why was
thumb in used in the first place, especially when you consider how the thumb
and second
From what I have been reading over the years about this issue I am not so
sure the use of the plectrum as the reason for the thumb under is anything
more than supposition, especially when one considers how the fingers of the
right hand strike the strings more efficiently from that wrist
Ron,
--- Ron Andrico [EMAIL PROTECTED] wrote:
Maybe we should be asking ourselves, 'How can we
get more young people interested in playing the
lute?'
Hear, hear! Right hand technique is very important,
of course, but it is possible to get so hung up on
minor things that one can easily
Chris all:
I was bestirred from my usual one per day visit to the lute list by an artfully
directed message to my other address. Thank you Chris and Ed for your
supportive comments. I agree that the 'occult lock'd up secrets' of lute
playing make for interesting discussion among those who
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