This will bother some, but I really mean it.
Here is a perfect match that should be evident enough to prove Indian
influence.
Really, this time.
Anyway, when you listen to it, you will hear that the voice is singing
bastarda diminutions.
That means that not only one voice is used but all
You might want to have a try and improvise in French baroque lute
style. It's not about harmony.
Mathias
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Von: Tristan von Neumann
Betreff:
Thank you Sean, this is a well-pondered thought.
I very much appreciate this comment.
You are absolutely right. In one episode of me:mo, Lukas Henning talked
about a source describing the music of a lutenist (I guess, need to
watch that again),
who obviously used devices as great dynamics,
Sean, I think your observations about the contents of publications by
Phalese and Adriaenssen are worthwhile. I would only like to draw
attention to another anachronism you introduced: the idea of
performance as a goal on the part of purchasers of these publications.
It is clear
The answer may lie with the undocumented performers and performing
groups. They improvised and different groups would have varied success
among tastes of various patrons, situations and other qualifiers.
Sometimes these techniques would surface in the printed materials, mss,
Dear Joachim,
yes I know, I have played all of those. But really I am interested in
this kind of off-beat figuration that thrives on thirds.
Dowland and maybe Huwet used those sometimes. Huwet was also from the
Netherlands and I read Dowland befriended Huwet in Wolfenbüttel.
I don't know who
The reason for your 805:0 result could be that there aren't many
musical situations in which that doubled F sharp would be desirable.
You wouldn't normally double the third in a D major chord and, apart
from the F sharp major chord in Sir John Langton's Pavin, there aren't
many
