On Sep 28, 2008, at 12:53 AM, damian dlugolecki wrote:
Regular breathing is essential to maintaining composure while
playing;
but I wonder if some of you might think about breathing in more
detail
when learning a piece. Do you breathe differently when playing a
Courante than an
As a singer, I find breathing very important; as a lute player, I
find not breathing very important. Why this is, I don't know, but it
definitely affects my accuracy.
dt
On Sep 28, 2008, at 12:53 AM, damian dlugolecki wrote:
Regular breathing is essential to maintaining composure while
As a mammal, I find breathing vital for more things than I can begin
to list here; and apparently I continue to breathe- albeit
unconsciously- during lute practice no matter what the dance style,
rhythm, or lack thereof. Extended hemiolas have left me short of
breath if I run into them
Yes, the left hand thumb, unregarded but vital. I do quite often mark
in 'fingerings' for it, to remind myself where it should go for
difficult shifts or awkward chords. Makes a lot of difference.
P
2008/9/28 Ed Durbrow [EMAIL PROTECTED]
On Sep 28, 2008, at 12:53 AM, damian
howard posner [EMAIL PROTECTED] schrieb:
might argue that there _was_ kinda ideal sound. On my way through the
museum of musical instruments in Vienna, I learned that in the 16th
century it was Spaltklang.
The obvious question would be who said that?
The museum's iPod 8)
I was under the
On Sep 28, 2008, at 5:57 AM, Mathias Rösel wrote:
might argue that there _was_ kinda ideal sound. On my way through
the
museum of musical instruments in Vienna, I learned that in the 16th
century it was Spaltklang.
The obvious question would be who said that?
The museum's iPod 8)
And
I suspect a couple of things on this issue that go toward the nature of
strings as it relates to sound and playing position. The concept, nature
and tension of strings from an historical view point has been discussed here
many times and at length. The only absolute that we can derive from
Well put, Vance. A very sensible account of the problem of sound ! Thanks for
making things clear for everybody. There's relativity in everything, as someone
said before me... ;-)
Jean-Marie
=== 28-09-2008 18:01:08 ===
I suspect a couple of things on this issue that go toward the
Dear collective lute wisdom,
Can any of you give me a lute version of the song No (h)ay en la
tierra by Tessier, I have the score but cannot find the source where
to find the tablature.
Thanks!
Greet
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Hi Greet,
This song is by Guillaume Tessier, Charles's father, and the only known source
is an incomplete set of parts of 1584 : altus missing, so it needs
reconstructing. The original edition of 1582 is worse : we only have the tenor
part !
To my knowledge, there was never a version with lute
Je ne connais pas cette pièce en particulier, mais j'ai des doutes à la vue des
2 bémols à la clé... Je ne serais pas surpis que le ton original ait été plutôt
ré mineur ?
Bon courage,
Jean-Marie
=== 28-09-2008 19:41:27 ===
Merci Jean Marie!
Alors je dois faire encore le travail,
I think that the singing is the important part here. The players then
were able to sing a part song at sight, that's what all the great
ones of the renassance agree on.
Once you can do that, you can choose to adapt your singing--and the
breathing that is part of the singing technique--to your
- Original Message -
From: [EMAIL PROTECTED]
To: Arthur Ness [EMAIL PROTECTED]; Paul Pleijsier
[EMAIL PROTECTED]
Cc: Lute Net lute@cs.dartmouth.edu
Sent: Friday, September 26, 2008 1:47 PM
Subject: Re: [LUTE] Re: Respighi
| Arthur,
Hello Chris,
| I'm curious about the lutenist who
David was a 19th-century, not 18th- century violin virtuoso. Sorry.
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On Sun, Sep 28, 2008 at 6:01 PM, vance wood [EMAIL PROTECTED] wrote:
It is not difficult to assume that as more strings are added that, of
necessity, they would, or should have to be of lesser tension else the
instrument would implode under the combined pressure of additional courses.
Not to
howard posner [EMAIL PROTECTED] schrieb:
might argue that there _was_ kinda ideal sound. On my way through
the
museum of musical instruments in Vienna, I learned that in the 16th
century it was Spaltklang.
The obvious question would be who said that?
MGG (3rd ed) had it as a usual
Arthur,
--- Arthur Ness [EMAIL PROTECTED] wrote:
ConcerTINO alla Mariachi for
Guitar and Orchestra. In his edition and in order
to win the argument
with the Segovia biographer, the guitarist had
upgraded the work from
Concertino to Concerto.g That's fraud, too,
because it would
- Original Message -
From: Arthur Ness [EMAIL PROTECTED]
Date: Sunday, September 28, 2008 3:27 pm
Subject: [LUTE] Re: Respighi
To: [EMAIL PROTECTED], Paul Pleijsier [EMAIL PROTECTED]
Cc: Lute Net lute@cs.dartmouth.edu
Please don't misunderstand me...
No one has questioned the
On Sep 28, 2008, at 12:24 PM, Arthur Ness wrote:
He argued that Segovia was lying
when he bragged to have commissioned the first guitar concerto of
the 20th
century.
What was this concerto Segovia was supposed to have commissioned?
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The Ponce Concierto del Sur, which was not the first of the century
either; Castelnuovo-Tedesco and Rodrigo finished theirs first.
On Sun, Sep 28, 2008 at 8:18 PM, howard posner
[EMAIL PROTECTED] wrote:
On Sep 28, 2008, at 12:24 PM, Arthur Ness wrote:
He argued that Segovia was
I attended a concert yesterday by Daniel Taylor (countertenor) and this
Canadian lutenist:
[1]http://www.youtube.com/watch?v=Fywq5xWUXxo
It was the loudest lute recital I've ever heard. He was overpowering
the singer, quite unusual! I'm sure he plays with nails...
BTW, It was
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