Martin,
Very interesting! I had no idea that Torelli advocated the rest stroke
technique, but I've been experimenting with it myself the past couple of
months. My main reason for doing so is to try to get the arpeggio so fast as
to seem like a strum.
Clearly this is what Kapsperger intend
Hello Martin,
I can't address the theorbic implications, but I am very interested
to see that first bit, where i does a single, selected rest stroke in
order to play the course it comes to rest on following the m stroke
is exactly what I've been doing on the d-minor Baroque lute in many
places
Sorry-just noticed an error in my post (near the end)!
"The result is that the melodic move Bb-A is reversed."
For "Bb-A", please read "C-B"!
Unless, of course, you play a theorbo in G!
Martin
On 28/2/10 21:38, "Martin Eastwell" wrote:
> Hi!
>
> Looking through Francesca Torelli's excell
The suggestion of arpeggiating the toccata seconda in two different
ways is lifted straight from Nigel North's book (1987). I have tried
playing it the second way ("take care always to arpeggiate in order
from bass to treble") but found it too confusing since the pattern
changes sev
Hi!
Looking through Francesca Torelli's excellent theorbo tutor (published by Ut
Orpheus Edizioni), I was a little surprised by two of her recommendations
for right hand arpeggiation. She explains (p 23)the technique in which 4
note arpeggios, for example, are played p i m i, with the index finger
Dear Peter,
There does seem to be a strong parallel between the German 'gassenhauer' and
the Italian dance-song form, and it's interesting that there are lots of
gassenhauer pieces in the early German lute tablatures, so they seem to have
been
very popular at the time. Indeed, it's not unusual to f
Gassenhauer in German?
On Sun, 28 Feb 2010, Denys Stephens wrote:
> Dear Chris,
> In The New Grove Dictionary of Music and Musicians, (London: Macmillan,
> 1980), vol. 3, p. 612, in his entry under Calata Daniel Heartz notes that
> the Italian word "calle" meaning a path or small street and that
Dear Chris,
In The New Grove Dictionary of Music and Musicians, (London: Macmillan,
1980), vol. 3, p. 612, in his entry under Calata Daniel Heartz notes that
the Italian word "calle" meaning a path or small street and that the
qualifying words included in titles (e.g. "de strambotti" and "dito
terz
Hi, all,
Does anybody know, more or less exactly, what a Calata is? Were there
non-Spagnola Calatas? I've never really thought about it, but I'm
probably playing one in public next Sunday, and would like to seem
knowledgeable.
Thanks,
Chris.
PS, I've already thought
