For true intonation the size of a chromatic semitone is different to a
diatonic semitone: so that, for example, the interval C# to D is larger
than Db to D. Advocates of unequal temperament fretting on the lute
will therefore presumably need to decide which key they are in..
Am 01.11.2011, 09:08 Uhr, schrieb Martyn Hodgson
hodgsonmar...@yahoo.co.uk:
For true intonation the size of a chromatic semitone is different to a
diatonic semitone: so that, for example, the interval C# to D is
larger
than Db to D. Advocates of unequal temperament fretting on
:
I think they're doable on lute plucked as usual although a ren guitar or a
cittern would be more suitable for strumming, IMHO.
Sean
Thanks Sean and Benny. I actually meant ren guitar or cittern (I don't
have either!). I was wondering exactly which chords would be strummed -
for
Thanks Sean and Benny. I actually meant ren guitar or cittern (I don't
have either!). I was wondering exactly which chords would be strummed -
for example in the two tunes
http://www.pluckedturkeys.co.uk/Gervaise/
If you put a chord to each note on the bass line (easy to do) you
sometimes would
I think you could play a chord on every bass note without too much
trouble. Two other techniques I've seen/heard/played are:
Strumming the rhythm of the top line;
subdividing into eighth-note strum patterns at the end of section,
especially leading into a repeat. This provides a nice
It's nice on the R guitar when the 4-part harmonies work but that is
pretty rare. These bransles work best if the rhythm is accented rather
than the harmonies so I'd find a strum that works about twice a
measure and make sure a melody on the top works. For variation I'd rob
from the alto
Stuart:
While the choices and execution by (notice I didn't use the ambiguous
'of') a modern folk player might be different, I'm fairly certain that
the process is conceptually the same. We have to assume that musicians
in the 16th century were skilled enough to reduce the written
On 01/11/2011 13:44, be...@interlog.com wrote:
I think you could play a chord on every bass note without too much
trouble.
Maybe I'm thinking of these tunes as being quicker than they are usually
played. I haven't a clue about them as actual dances so I don't know
what would be a realistic
Hello all,
I'll be making my first trip out from New York to the West Coast later this
week to play a solo concert for the Central Coast Guitar Society in the San
Luis Obispo/Morro Bay area. This will be a baroque lute concert with Weiss,
Hagen, Falckenhagen and Durant on the program. It
Hello all,
I'll be making my first trip out from New York to the West Coast later this
week to play a solo concert for the Central Coast Guitar Society in the San
Luis Obispo/Morro Bay area. This will be a baroque lute concert with Weiss,
Hagen, Falckenhagen and Durant on the program. It
On 01/11/2011 17:30, Ron Andrico wrote:
Stuart:
While the choices and execution by (notice I didn't use the ambiguous
'of') a modern folk player might be different, I'm fairly certain that
the process is conceptually the same. We have to assume that musicians
in the 16th
Yup, what you end up doing depends a great deal on the tempo. Then you
have to use your ear. Over-playing and harmonizing each bass note is
the temptation. The best continuo players I've seen often do less
rather than more, really using the chord sounds as punctuation, and
never letting
I think the comment about looking for the correct tempo by knowing how
it was danced is spot-on. There are now quite a few Renaissance dances
filmed and available on YouTube. Assuming that these troups are performing
the dances correctly, an average tempo for a dance like #s 39 40,
Stuart:
I think you may have missed my point - or points. As I said, this is a
pet peeve of mine.
I believe the level of understanding historical music has sunk to an
unfortunately low standard. This has less to do with amateur
indulgences versus professional training than it
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