Thank you Mathias
Indeed I noticed the gallichon tuning, and wrote: Interestingly one
tuning on fol 6 is given as for the 'Calledono' which I presume refers
to the gallichon thus once again showing an interchange in usage
between the mandora and gallichon - though the tuning given
Good points all, David (as far as I understand them :o\ )
One great example is that of renaissance ornamentation. When we
compare the 'Varietie' versions of Dowland with MS versions of the same
thing (for example the King of Denmark's Galliard, or the Fantasie) we
find that MS
Dear Bill,
Some things are, indeed, less certain than others (which is why it's
prudent to speak in terms of significant probabilities) so that, for
example, octaves on basses are less certain than other things. Thoough
in the case of Dowland I don't understand the logic of
El 26/03/2012, a las 15:18, Mathias Rösel escribió:
this is to inform about a new VIMEO video.
In it Monica Pustilnik plays Corrente VI from Piccinini´s 1639 book.
The archlute was made by Francisco Hervás (Granada).
Thanks for sharing, Manolo! This is another example, though, of RH
Dear Martyn.
You and I are both old enough (OK - I'm older) to remember when the
lute sound expected by audiences was the Julian Bream sound. Back in
the 60s and even into the early 70s few lutenists were willing to
concede that Tarrega technique, with nails, should be abandoned
Just a minor point, but I thought Tarrega played without nails? Can
someone give us the details?
Martin
On 27/03/2012 09:22, William Samson wrote:
Dear Martyn.
You and I are both old enough (OK - I'm older) to remember when the
lute sound expected by audiences was the Julian
Tarrega cut his nail near the end of his life. (around 1902)... before
he played with.
V.
Message du 27/03/12 10:58
De : Martin Shepherd
A : Lute List
Copie `a :
Objet : [LUTE] Re: Right hand plucking position - was Re: Quality
vs Quantity
Probably after he stopped playing Recuerdos de la Alhambra:-)
Clear tremolo's without nails are almost impossible (well, for me anyway)
Lex
Op 27 mrt 2012, om 11:05 heeft Valery SAUVAGE het volgende geschreven:
Tarrega cut his nail near the end of his life. (around 1902)... before
he
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Dear Martyn,
The enlarged screenshot makes it pretty clear IMO that the word reads et
with a faded e-loop.
Indeed I noticed the gallichon
In it Monica Pustilnik plays Corrente VI from Piccinini´s 1639 book.
The archlute was made by Francisco Hervás (Granada).
Thanks for sharing, Manolo! This is another example, though, of RH
modern guitar playing technique, as regards position close to the rose
and thumb-in. Amazing
Martyn,
A related and by no means insignificant concern for performers is
what modern audiences expect to hear. What if the close-to-the-bridge
position implies that listeners back in the day expected a very
brittle, nasally, banjo-y sound? That may be nice to know, but I'll
Hello!
The Bach cello suites no. 4-6 transcribed for theorbo can bee seen on You
Tube.
No IV http://www.youtube.com/watch?vÚd3CF0EkE0
No V http://www.youtube.com/watch?v=7QAElFWyDME
No VI http://www.youtube.com/watch?v=TFD2CWQiUbI
All the best
Stefan
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Hi again,
it seems that the first link I sent you was wrong:
No IV http://www.youtube.com/watch?v=DAd3CF0EkE0
Sorry, hope this one works.
Stefan
- Original Message -
From: Stefan Olof Lundgren ekeb...@glocalnet.net
To: LuteNet lute@cs.dartmouth.edu
Sent: Tuesday, March 27, 2012 1:24
It is interesting that you should be the one to respond when your youtube
contributions show that your own rh technique is second to none in terms of
looking just like the iconography! Your sound is entirely convincing to me.
My teacher, Diana Poulton played with pinky on bridge and produced
Is Fuenllana pronunced fwayn-YANnah in analogy to the modern Spanish word
fue?
Or is it pronounced foo-en-YANnah, which I've heard more often?
Do we know much about pronunciation in the 16th centurey Spain?
To get on or off this list see list information at
There is a recording of Diana Poulton playing the King of Denmark's
galliard. It's on a CD produced jointly by the Dolmetsch Society and the
Lute Society and I think is still available from the Lute Society.
It has some fascinating recordings of the Dolmetsch Family including one
which I
Indeed I noticed the gallichon tuning, and wrote: Interestingly
one tuning on fol 6 is given as for the 'Calledono' which I presume
refers to the gallichon thus once again showing an interchange in usage
between the mandora and gallichon - though the tuning given is not
one I recognise
So I wonder why, from folio 48r to 60 the tab use a low course, some notes
below the fifth line of the tab, often (if not all time ? I have to look
again) open string, and it is not used any more from folio 61 to the end of
tab ? For me this last part of tab is perhaps intended for guitar as the
On 03/27/2012 08:42 AM, Herbert Ward wrote:
I pronounce it the same way as I pronounce quesadilla or que. In
other words, like the English word day. I don't insert a w sound in
there, but the Spanish I learned (last year) was Mexican Spanish (and I
may not be pronouncing that correctly).
I pronounce it the same way as I pronounce quesadilla or que. In other
words, like the English word day. I don't insert a w sound in there,
but
the Spanish I learned (last year) was Mexican Spanish (and I may not be
pronouncing that correctly). So, I pronounce it Fayn-yah-na.
I'm not
Right. I'd also forgotten about the word fuego as in tierra del
fuego which I've known since a child and it's definitely got the w.
Also, Google Translate's pronunciation is not bad for Spanish words if
you need an approximate modern pronunciation ( it has audio).
Garry
On 3/27/2012
On 27/03/2012 5:42 AM, Herbert Ward wrote:
Is Fuenllana pronunced fwayn-YANnah in analogy to the modern Spanish word
fue?
Or is it pronounced foo-en-YANnah, which I've heard more often?
Probably fwayn-LYAN-nah
Do we know much about pronunciation in the 16th centurey Spain?
Yes. As a good
On 27/03/2012 12:12, Christopher Wilke chriswi...@yahoo.com wrote:
Martyn,
A related and by no means insignificant concern for performers is
what modern audiences expect to hear. What if the close-to-the-bridge
position implies that listeners back in the day expected a
Dear Chris/All
Certainly it is possible for close-to-the-bridge hand positions to give
brittle, nasally, banjo-y sound, but it does not have to be that way. I
recently gave a talk for the UK Lute Society on just this subject, and it
should be written up in the next issue of Lute News, so I won't
So I wonder why, from folio 48r to 60 the tab use a low course, some notes
below the fifth line of the tab, often (if not all time ? I have to look
again) open string, and it is not used any more from folio 61 to the end
of tab ?
For me this last part of tab is perhaps intended for guitar as
I would suggest Fwenyana not fwaynyana. r
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Stephen Fryer
Sent: Tuesday, March 27, 2012 11:36 AM
To: Herbert Ward
Cc: lute@cs.dartmouth.edu
Subject: [LUTE] Re: Pronunciation of Fuenllana's
The correct address for Suite no IV is:
http://www.youtube.com/watch?v=DAd3CF0EkE0
- Original Message -
From: Stefan Olof Lundgren ekeb...@glocalnet.net
To: LuteNet lute@cs.dartmouth.edu
Sent: Tuesday, March 27, 2012 6:29 PM
Subject: [LUTE] Dearodear, correction no 2 to Bach cello
With all due respect to Michael Schaeffer, it shouldn't be forgotten that
Joseph Iadone was playing the lute with flesh, thumb-index technique, and
wonderful sound in the 1950s. I think that because he was known more as an
ensemble player (but what an ensemble player!) than a soloist, he's
A strongly jazz flavoured lullaby by Gilbert Isbin: 'Don't Disturb the
Slumber'.
http://www.youtube.com/watch?v=aFexJtJP-5A
Stuart
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Thanks Roman, I wish I could go. Rio de Janeiro is still far from Porto
Alegre...
Regards.
Em 27 de marc,o de 2012 09:30, Roman Turovsky
[1]r.turov...@verizon.net escreveu:
For those of you who are in the vicinity of Porto Alegre, Brazil!
Be there, or be square!
The problem with that word's pronounciation is not at the beginning, where it
is pronounced like the past tense of ser (to be)= fue, but at the beginning
of the second part, the double l in -llana.
Depending on the region we pronounce it here in Spain like in jump, or more
like /ʎ/ (this is the
YES!! And Sigmar Salzburg was an amateur. It says a lot for Schaeffer
(and Dombois too) that they were willing to listen and learn from an
amateur. It was the stature of Schaeffer that helped to convince so
many others.
From: Lex van Sante lvansa...@gmail.com
To: lute mailing
Dear Valéry,
As for your initial question, the rondeau on fol. 51v is listed by Peter
Steur with ten concordances:
1. A-ETgoëssV / 28v | 2. CZ-Bm189 / 108 (mandora) | 3. D-Gs84k / 40
| 4. GB-HAB2 / 181 (Sm 505) | 5. PL-Wn396 / 15v | 6. S-Klm 4a / 4v
(keyboard) | 7. S-Klm21072 /
May I say something? I'd rather like to think in a healthy technique,
that allows adapting each player's physiology to the artistic and
expressive needs, and the particular instrument. Let's face the
question about nails vs flesh: both are mentioned as possibilities in
the
Yikes!, I am old enough that I was playing lute in the early 70s
(started with Iadone and Lucy Cross in 68, I thinkin Putney,
Vermont).
At that time, he was of course playing no nails on his lovely Hauser
lute, and there was a whole group of players, Stan Charkey, Lucy Cross,
Piccinini's works are vague on the subject of nails, and his remarks
have been widely mistranslated. It would appear that he used the nail
for an effect, but that is of course a can of worms owing to the nails
lobby. And rightly so! Tthere should be a lively discussion on this
issue
Piccinini's preface is not only vague but also very curious. He advises
the player to do a gruppo with only the index finger (like a dedillo)
and when the gruppo is joined by another part (with the thumb) it is
called Arpegiare! Go figure...
2012/3/27 David Tayler
On 28 March 2012 01:19, David Tayler vidan...@sbcglobal.net wrote:
However, since there are no nails players today (that I know of, please
point me there!) that play on gut strings
I did for a while. I found wear and tear to be less bad than I
expected, but changed to no-nails for more
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