Come on down and we will barbecue trout with fresh rosemary.
Talk about gout!
dt
At 08:26 PM 6/19/2008, you wrote:
Good question. The conclusion is that there is
no conclusion based on scansion. French
'lyrisme' is not difficult to grasp but you need
to have a working knowledge of the lan
Good question. The conclusion is that there is no conclusion
based on scansion. French 'lyrisme' is not difficult to grasp
but you need to have a working knowledge of the language. I
feel that these pieces for lute were souvenirs of various
'fêtes' , parties, occasions etc.composed for the
Just out of curiosity, have you read the article, and if so what is
the big surprise about pronunciation?
dt
At 01:46 PM 6/19/2008, you wrote:
>Nah, the duck is far more important, i.e. phrasing, syntax, melodic
>and harmonic rhythms etc.
>I.e. the drivetrain. Your list is chromeplating.
>RT
>--
I for one learned a lot by intabulating harpsichord music by Nicolas
Lebegue (1637, 1st print of harpsichord music in France).
To me, French baroque tunes in lute or harpsichord music are deeply
affiliated to oratorical singing. There's a gesture to be found in every
motif.
As for lute music in par
Andreas and Anthony--
Thanks for the reference to the Aquilacorde site. I see he has lots
of useful bits of information there. Now I have something else to fiddle
with besides meantone frets and tastini!
Regards,
Leonard Williams
/[ ]
/ \
| * |
\_
Nah, the duck is far more important, i.e. phrasing, syntax, melodic and
harmonic rhythms etc.
I.e. the drivetrain. Your list is chromeplating.
RT
- Original Message -
From: "David Tayler" <[EMAIL PROTECTED]>
To: "lute-cs.dartmouth.edu"
Sent: Thursday, June 19, 2008 4:38 PM
Subject: [LU
Of course. In his "Italian" works, such as this.
RT
- Original Message -
From: "David Tayler" <[EMAIL PROTECTED]>
To: "lute-cs.dartmouth.edu"
Sent: Thursday, June 19, 2008 4:40 PM
Subject: [LUTE] Re: French Style
Telemann uses sequential development all the time
http://www.vimeo.com/
Telemann uses sequential development all the time
http://www.vimeo.com/706605
French music uses sequential development as well, though it is used
differently than Vivaldi.
dt
At 01:20 PM 6/19/2008, you wrote:
>Telemann's eschewing of sequential development was alone sufficient
>for him to c
All the things on this list are uniquely French; they give the music
the character.
For French music, the truffle is more important than the duck.
A ground bass can have the exact same harmony in France as an Italian
one, but the sauce is different.
dt
At 01:08 PM 6/19/2008, you wrote:
>This is
Telemann's eschewing of sequential development was alone sufficient for him
to claim to be an adherent of the French style.
Needless to say- aside from this there was nothing French in Telemann's
thoroughly Germanic musical character. But this would indicate how much of a
determinant that aspect
I had a closer look at the sonata, and it (DM) goes through: F#m, Cm, CM,
FM, AbM, Gm and BbM. There are no section breaks to adjust anything.
Only a true masochist would do this in any non-ET abomination.
RT
- Original Message -
From: "David Tayler" <[EMAIL PROTECTED]>
To: "lute-cs.dar
This is all truffle sauce, but it tells you nothing about the wild boar
underneath.
RT
- Original Message -
From: "David Tayler" <[EMAIL PROTECTED]>
To: "lute-cs.dartmouth.edu"
Sent: Thursday, June 19, 2008 3:59 PM
Subject: [LUTE] Re: French Style
That's a terrific question for wh
That's a terrific question for which there is no easy answer.
Here's a few basic starting points:
1. It is different at different times--don't conflate the different genres
2. Inegal is the most misused and most misunderstood. Read the
original sources, don't rely on secondary sources.
At a minimu
I would say- mainly the absense of sequential development.
RT
From: "David Rastall" <[EMAIL PROTECTED]>
I'm wondering: what is it that makes up the "French style" of
Baroque music? I don't mean particularly stile brise, notes inegall
etc. Those are obvious, and to me insufficient explanati
I would call "reduction" the keyword.
Eliminating everything not absolutely necessary but on the other hand highly
elaborate - especially in terms of rhetoric
Best wishes
Thomas
- Original Message -
From: "David Rastall" <[EMAIL PROTECTED]>
To:
Sent: Thursday, June 19, 2008 9:35 PM
I'm wondering: what is it that makes up the "French style" of
Baroque music? I don't mean particularly stile brise, notes inegall
etc. Those are obvious, and to me insufficient explanations to
convey the French Baroque. It seems to me there's more to it than
that. Are there, for exampl
I have been using David van Ooijen's system for some time now and it
works perfectly.
I have bent and moved the frets to get the best measured result, not
the best theoretical result.
This was interesting because it shows that any scheme to place the
frets MUST be altered to the instrument and
Both keyboard instruments with split keys and fretted instruments
with extra frets (either full extra frets or tastini, as both
existed) are able to play the enharmonic shifts.
All is possible; not all is desirable.
I think what one sees in the adjustments to instruments is that full
enharmonic
A violin sonata by Georg Muffat modulates enharmonically from D
major to Bb major. There goes meantone out the window.
I have no idea what temperament Muffat liked, but those of us who
keep our renaissance lutes in some sort of meantone have no problems
playing in D and Bb without resetting
From: "howard posner" <[EMAIL PROTECTED]>
On Jun 19, 2008, at 8:18 AM, Roman Turovsky wrote:
A violin sonata by Georg Muffat modulates enharmonically from D
major to Bb major. There goes meantone out the window.
I have no idea what temperament Muffat liked, but those of us who
keep our ren
On Jun 19, 2008, at 8:18 AM, Roman Turovsky wrote:
> A violin sonata by Georg Muffat modulates enharmonically from D
> major to Bb major. There goes meantone out the window.
I have no idea what temperament Muffat liked, but those of us who
keep our renaissance lutes in some sort of meantone h
From: "howard posner" <[EMAIL PROTECTED]>
My opinion and conclusion so far remains that no dogma will ever
prevail in that field, and no theory, as attractive as it may be,
will ever reconcile what was has, after all, never been reconciled
by our predecessors in the 16th - 18th centuries.
Perha
Dear All:
Just for the record, my tenor cittern (by Forrester) has what resemble
tastini, little frets that allow in-tune F-sharp and C-sharp, a few millimeters
below the main frets.
Cheers,
Jim
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/ind
On Jun 19, 2008, at 1:04 AM, Jean-Marie Poirier wrote:
> My opinion and conclusion so far remains that no dogma will ever
> prevail in that field, and no theory, as attractive as it may be,
> will ever reconcile what was has, after all, never been reconciled
> by our predecessors in the 16th
Tremendous!
Eugene
At 03:07 AM 6/19/2008, dc wrote:
Jean-Marie Poirier écrit:
Anyway, the bulk of historical evidence is clearly in favour of a more or
less equal temperament when considering fretted instruments like lutes or
viols, and the ear of the musician (not the OT-12 or any other tun
Thanks, Anthony, for sharing. It looks like a wonderful lute and I look
forward to hearing it in due course
Martin
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I borrowed a friends camera - better quality than mine. It looked great on
the camera viewer, but quite dark when uploaded.
You might notice that I have strung my 11c temporarily as a 10c in viel
ton...
Here is the link:
*http://tinyurl.com/5wrssk*
Rob
--
To get on or off this list see list in
Sorry I clicked too fast before I had copied the message:
There is useful information at
http://www.aquilacorde.com/faqi.htm
However, I am not sure how to interpret the following :
"Example: can I tune in A 440 a lute with a string length of 62cm?
.62 mt (62cm) x 440 (Hz) = 272.8 Hz.mt
The
Le 19 juin 08 à 10:06, Andreas Schlegel a écrit :
The breaking point of gut is around 250 Hz/m (some string makers
talk from 240Hz/m - and Mimmo give the breaking point for his very
strong type at around 260 Hz/m).
So a lute with 50 cm has the breaking point at 500 Hz. If you want
to play
The breaking point of gut is around 250 Hz/m (some string makers talk
from 240Hz/m - and Mimmo give the breaking point for his very strong
type at around 260 Hz/m).
So a lute with 50 cm has the breaking point at 500 Hz. If you want to
play - instead of changing strings - you have to tune th
Howard,
This difficulty that you mention was obviously the reason why so many witnesses
complain about the problems raised by associating keyboards and fretted
instruments at the time. Yet they did perform together, so they obviously found
compromises, and what is a tuning, any tuning, if not a
Perhaps, someone else can remember for you. It would be interesting
to see whether it resembles how Tastini are done today.
Anthony
Le 19 juin 08 à 08:34, Rob MacKillop a écrit :
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Do we see any examples of split double frets playing the same role?
Actually, I was very surprised how close you have to look at the
fretting to see that it is double.
Non split double fretting would perhaps not figure in a painting.
Anthony
Le 19 juin 08 à 08:22, Martyn Hodgson a écrit :
Dear Stewart,
Thank you again for all these precisions. I will be digging into my
"Compendium" again !!!
All the best from cloudy western France,
Jean-Marie
=== 18-06-2008 23:57:34 ===
>
>Dear Jean-Marie,
>
>You are right that evidence for tastini is thin on the ground, so all
>the m
David, I did not mean to imply that "only" ivory was used for tastini. It's
Jean Denis who in 1601 wrote that ivory "can" be used to that purpose on
fretted instruments. Not a nuance, a gap ;-))
Jean-Marie, apologies accepted ! :-))
=== 19-06-2008 01:01:22 ===
>
>I don't think the ev
Of course, the ideal link ! I really love that clip :-)))
Jean-Marie
PS : by the way, I did not mean to imply that "only" ivory could be used for
tastini. It's Jean DEnis who in 1601 wrote that ivory "can" be used to that
purpose on fretted instruments. Not a nuance, a gap ;-))
=== 19-06
Excellent...
Link again
http://www.youtube.com/watch?v=jhHAojVyeG0
(the first link was not good)
V.
-Message d'origine-
De : dc [mailto:[EMAIL PROTECTED]
Envoyé : jeudi 19 juin 2008 09:07
À : lute
Objet : [LUTE] Re: Meantone
Jean-Marie Poirier écrit:
>Anyway, the bulk of historical e
37 matches
Mail list logo
