RE: HIN (Historical Informed Naming)

"Anthony Glass" <[EMAIL PROTECTED]> schrieb: > This raises an interesting point--why do we so often refer to certain > Renaissance artists (and others I'm sure) by their forenames? After all, > who ever heard of Buonarroti's "David"? Sure, you read about the "da Vinci > Code", but his artworks are

Re: HIN (Historical Informed Naming)

"Vance Wood" <[EMAIL PROTECTED]> schrieb: > I would wager most in the Lute community would instantly understand that Francesco > is most > surely Francesco Canov DaMilano DeParigi. yes, and could it be that it is because of possibly mistaking him for Luys Milan that Francesco da Milano is called

Re: hip

"Roman Turovsky" <[EMAIL PROTECTED]> schrieb: > > while i take "baroque lute music" to mean anything played during the > > baroque period on anything from the lute related family, > You really shouldn't. Imagine: you are on a Bentley list. What response > would you get on a Ford Pinto question (bot

Re: charango as vihuela

May I ask what this discussion aims at? When you'll have found out the charango has, or has not, developed from the vihuela, what will you do with it? Does the charango need noble ;) ancestors? If I were in your place and had comprable love for the charango, I think I wouldn't hesitate to play w

MIDI driver

Dear netters, since in my Fronimo MIDI rendition doesn't work, I've found that my PC (running under Win98) is missing special drivers, which are named ALS 100 Logical Device 1 Internal MIDI (OPL3) Device, ALS 100 Logical Device 3 External MIDI (MPU 401) Device, Both were produced by Avance Log

Re MIDI driver

Dear Francesco, Mark, Roman, Tony, thank you very much for everything! I downloaded the drivers and unzipped them but, alas, it didn't work. Don't know exactly why. I'm looking forward to getting rid of this old mill of mine. Only had to get it going last week because of an emergency of my curr

Re: dear collected wisdom

"Thomas Schall" <[EMAIL PROTECTED]> schrieb: > very charming. But funny that "la li Lu", a setting I made for Wayne's site > years ago - found it's way into this collection. It's a lullaby and actually > taken from a german movie of the 30s - dangerous ground in this context ... La li lu, nur d

Re: Bakfark

Haven't heard this of Bakfark, but on a famous post-mortem-engraving of Weiss the inscription reads Es soll nur Sylvius die Laute spielen (Sylvius alone shall play the lute), a quote from a poem. Also, I've somewhere read a description of Count Logy's final hour, when Logy ordered all of his lu

Re: Old religious paintings.

"Herbert Ward" <[EMAIL PROTECTED]> schrieb: > Given that lutenists' musical literature was contemporary with these paintings, > perhaps one > may ask here how a modern person can understand the esthetics which produced these > paintings. I shall make a cautious attempt. Please, note: not a serm

Re: Old religious paintings.

"Herbert Ward" <[EMAIL PROTECTED]> schrieb: > But, no modern depiction of Jesus emphasizes Him as a nude man-baby. For > example, I doubt that modern Baptists have a nude in any of their > churches. .. > address this difference in style and taste between 2004 and 1570, an > understanding of which

Re: Bakfark

"Tadeusz Czechak" <[EMAIL PROTECTED]> schrieb: > 1.It is still a proverb in Poland , but not commonly used , as now only a > few poeple know who was Bakfark . You may hear it rather from the poeple > involved with literature , poetry, culture etc. Yes, indeed. I asked a Polish friend of mine. She

Re: Pinel Gigue

"Bernd Haegemann" <[EMAIL PROTECTED]> schrieb: > the "Gigue" (No.81) [taken from Schwerin 641] > is called an Allemande in all of the 6 concordances. > Hm. What could have been the reason for the editors to > accept the "minority vote"? don't know about the editors' mindset, but one thing is certa

RE: Old religious paintings.

"Spring, aus dem, Rainer" <[EMAIL PROTECTED]> schrieb: > I think it's u-declination. Therefore the plural is Jesus with a long > "u". It isn't. In Hebrew / Aramaic, it is Yeshu, with both long and closed e and u (like in French nee and in English zoo). It is not certain which syllable was stresse

Re: Old religious paintings.

Dear Admiral Posner, I'm sorry, I needs must say, to inform you that, no, the very name Jesus does occur in Hebrew sources which predate the New Testament, indeed. Have a look into the books of Ezrah/Nehemya (26 times, especially Ezrah 2-3, Nehemya 7-9), if you will. There is, by the way, a very

Re: Baroque recommendations

"Ed Durbrow" schrieb: > Also, if you can find the Geisbert (sp?) book progresses from > beginner on to a Weiss suite. sadly enough, there is no Weiss in Giesbert's method. The last chapter has Bach's suite in G minor BWV 995, intabulated by Giesbert. Nevertheless that

Re: Baroque recommendations

>> I find in general that starting to learn pieces in a certain key it helps toplay music in 11 courses first before 13 course pieces. Stephen Stubbs (the one) once pointed out to me that the thumb has to feel at home on _all_ courses, i. e. 2nd to 13th. Once it does, there will not be much differ

Re: Scarlatti for 10-course lute

"Thomas Schall" schrieb: > Martin also has sent some music by S.L.Weiss set for 10-course > renaissance lute. brilliant idea, I'd say. Make it accessible for the majority, finally. -- Best, Mathias Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland

Re: Rubato and rolling chords - Milan

"Stewart McCoy" schrieb: > My other thought concerns the mode. Why should the player need to > know the mode, if all the notes are there in front of him? Is it > because there is a mood associated with each mode? Knowing the mode > would then give the player information

Re: Brescianello and the colascione

"Patrick H" schrieb: > I have been listening to a CD of works by Giuseppe Antonio Brescianello by > guitarist Anthony Glise (which is great, by the way), but I am intersted in > the instrument that Brescianello wrote for, the colascione. The pieces I > have found wor

Re: Brescianello and the colascione

"Patrick H" schrieb: > I have been listening to a CD of works by Giuseppe Antonio Brescianello by > guitarist Anthony Glise (which is great, by the way), but I am intersted in > the instrument that Brescianello wrote for, the colascione. The pieces I > have found work

Re: Brescianello and the colascione

"Patrick H" schrieb: > I have been listening to a CD of works by Giuseppe Antonio Brescianello by > guitarist Anthony Glise (which is great, by the way), but I am intersted in > the instrument that Brescianello wrote for, the colascione. The pieces I > have found work

Re: thoughts on low tension on Baroque lutes

"Edward Martin" schrieb: > "usual" practice at the time. If one tries to do this on a baroque lute > strung conventionally as we string them in our modern times, the results > are a harsh, brittle sound, because playing way back on the bridge, gives > us entirely too

Re: Wire strings

"Bonnie Shaljean" schrieb: > > I do not feel like joining the legions of people who seem to fight with you. come on, please. > Wire harps WERE in existence in early Ireland and Scotland, whether you like > it or not. > The 14th century does qualify was "early".

Re: flamenco

"Roman Turovsky" schrieb: > > ..And I think the driving ostinato of "O Death, Rock me Asleepe" is a > > clear precursor to the gloom-and-doom death metal of the early 1970s as > > pioneered by Black Sabbath. > > E > http://www.sabbatum.com/sound?sess=f4b25a12a907666261a7

Re: beard

Until some three years ago I tried to look like Denis Gaultier (on that sole fab pic by what's-his-name) in terms of hair-dressing. Then, a girl friend of mine said, Mathias du sieht scheisze aus so (no translation available). Which changed my mind. No long hair any longer, and no beard nor moustac

Re: Very nice LSA Quarterly!

YES! INDEED! Mathias "Arto Wikla" schrieb: > > Dear lutenists, > > yesterday I got my copy of the LSA Quarterly XXXIX, No. 4. It was a very > nice surprise: about 70 lute arrangemants of Christmas and "winter > holiday" pieces! It will be very useful! > > Many tha

Re: Antwort: Re: Antwort: Very nice LSA Quarterly!

> Roman Turovsky am 15.12.2004 15:25:27 > Lets not waste time on cheese. And instead lets possibly prepare a similar > Easter issue (even electronic). I don't care if we offend a Muslim or 2 in > the process. there should be nothing wrong with Easter (resurrection) for

Re: A Movie

"Jon Murphy" schrieb: > I commend you to the film Master and Commander. It is drawn from the novels > of the late Patrick O'Brian which I've enjoyed over the years. The film, ..snip a horrible would-be, and no lutes in it. So what? -- Mathias -- To get on or off thi

Re: Beards - conclusion

Dear Stewart, may I add that I did say. Until two years ago, I had a Gaultier-beard and matching long hair. Then came along a girl friend of mine who radically changed my modes. So, for now you should count me as clean-shaven :^) "Stewart McCoy" schrieb: > Dear All, >

Re: FW: Beards - conclusion

"Edward Martin" schrieb: > Could this be how the description of the "goat's tuning" was named? well, there certainly is a pun in the naming. I had to look up German spitzbart, which is that very beard I was referring to, in my dictionary and there it was: goatee. I suppo

Weiss-duets

Dear everybody, does somebody here happen to know about _access_ (microfilm, paper copies, Fronimo files) to the volume of duets by Weiss in Dresden that was not published in facsimile (GDR-Zentralantiquariat)? A friend of mine asked me to forward his question. He is planning to play a recital wit

Re: odd fret pattern

"Roger E. Blumberg" schrieb: > here's a page on saz. Notice these all have "butt-ports" complete with > rosette -- like those 9th century Carolingian Psalter cytharas seem to have > (rear ports, trumpeted or not). > > http://www.rainbowcrystal.com/music/music7.html I g

Re: Vio-print

"Jon Murphy" schrieb: > The mandocello is larger mandolin. The sequence in size is mandolin, > mandora, mandocello, mandobass. mandolino, mandola, mandolone, rather. mandoloncello would then be a small mandolone. mandora is something else. > My new charango (which Bill

Re: lute on ebay

schrieb: > while lurking on ebay I found this instrument - don't know if it's worth > the money (and don't profit from forwarding this offer) but maybe someone > is interested > http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItem&item=3773134797#ebayphotohosting that lute has

Re: Top three lute pieces

Mouton, Courante La fierce Le Sage de Richee, Tombeau Dufaut, Tombeau de Blancrochert -- Cheers, Mathias -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: Nylgut

yes, indeed, I entirely agree. "Denys Stephens" schrieb: > Dear Mimmo, Just a note to say that I have been using Nylgut on my lutes for > two years and I love the sound it brings out of the instruments. For me it > gives everything I want from a lute string. So thank

Re: Gianoncelli ornaments 1650

"Ed Durbrow" schrieb: >> Piccinini mentions three kinds of 'tremoli': 1) 'tremolo longo': '...if it is a 0 you beat on the first, if it is the first you beat the second and so on... [main note trill]. 2) '...put the little finger on the third fret of the first string and

Re: Gianoncelli ornaments 1650

Dear Andrea, martellement is what I had in mind, indeed. What I was trying to say was that French ornaments don't necessarily start from auxiliary notes. Although using differing signs, Gallot and Mouton agree that the martellement starts from the main note. (Harpsicordists like Francois Couperin

Re: new pieces for lute

"Thomas Schall" schrieb: > I'm especially interested in feedback about the Weiss arrangement. Martin > arranged some more pieces by Weiss for r-lute but I'm not sure if this kind > of arrangement is of any interest to you. It certainly is. Much of Weiss can easily be

Re: new pieces for lute - Zamboni

"LGS-Europe" schrieb: > Make that Lucca, 1718. Or that's what it says in my SPES facsimile anayway. > Is there another print by Zamboni? no, you are right and I stand corrected. Nevertheless, Zamboni's closeness to Weiss always striked my ears. -- Best wishes, Mathias

RE: hi, re-introducing myself

From: [EMAIL PROTECTED] > Some of you should remember me, I went inactive a couple years ago. yes, I do. Hi Dana, nice to hear from you again! -- Best, Mathias -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: new pieces for lute - Zamboni

"Thomas Schall" schrieb: > Actually Zamboni is flat and very simple music (often not much more than > simple I-IV-V). Very entertaining but not comparable in any kind to the music > of Weiss okay, let's leave it there. I don't feel like discussing religion here. --

Re: new pieces for lute - Zamboni

"Markus Lutz" schrieb: > As far as I can see in the booklet of the recording of Zamboni suites by > Luciano Contini, the biographical dates of Zamboni seem to be very unsure. > The only thing that is known is that He was from 1707 to 1713 contra bass > player in Rome

Re: new pieces for lute - Zamboni

Roman Turovsky schrieb: > I would say Corelli School influence is discernible in both. indeed. -- Best wishes, Mathias -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: sacred music for baroque lute

The collection of Gellert's geistliche Oden may not exactly be sacred music in the strict sense. But those two Sciurus mss. in Cracow (one contains more than 200, the othere merely 8 chorales) certainly are. There is another ms in Berlin called Geistliche Musik auf die Laute gesetzt von Herrn Decke

Re: Lute game for MS Windows.

schrieb: > You're quite right that these are modern terms and > that this assumes a modern conception of interval > content. However, how many of us fluently think in > terms of the gamut, mutation, etc. when we play > renaissance or medieval repertoire? Do any of you

Re: Lute game for MS Windows.

Hi Marion, obviously, I've been far from enlightnening anyone, which is sad. Those differently ascending and descending lines Arto and me mentioned have nothing whatsoever to do with temperaments and/or Pythagorean comma (like low major thirds differing from high diminished fourths or so). And you

Re: Sacred music for baroque lute

"Matthew Spring" schrieb: > Please send no further emails to Doctor Matthew Spring. Thanks. I'm sorry? -- Mathias -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: Period typesetting

schrieb: > I have been researching typesetting of the 16th century as it pertains to the > publication of music and lute manuscripts in particular. In speaking with > some typesetters that I know they tell me there are no extant examples of > music specific type, even

Re: Continuo

>> Also, short of having written tablature accompaniment for the d-min lute (such as you have >> for your lieder), is it at all common for people to read bass figures with a d-min lute? >> No, although some do, with historical precedent. I find the idea preposterous and out of >> character for

Re: Continuo

> You who play continuo by different instruments, you must know the > situation? Any good advice for learning more and more continuo > instruments? One possibility could be to forget the keys and start > thinking just in intervals? That could make also transposion "in-fly" > easier! > > These ma

Re: Plumwood

"Jon Murphy" schrieb: > You mention Plum for pegs, I bit the bullet before starting my "from > scratch" lute and spent the money for David van Edwards CD course. He has a > rather good discussion of the various woods, and nicely adds the North > American available equiva

Re: Continuo - bass lute

"LGS-Europe" schrieb: > This thread started as a question for suitable continuo instrument. I like > using my 10-course bass-lute in d' (renaissance tuning): wide range, strong > basses, good in many keys. Especially useful when accompanying basses and > altos as it i

Re: historical pinky off ??

>> The fellow I got it from Sterling Price claims if you rest your LF there you become possessed. > Possessed by what. I don't mind if I'm possessed by the instrument, I'm > already that. And I'm possessed by my cat, as is anyone with a cat. But I'm > not sure if I'd want to play it were the posse

Re: Mistake on Weiss Naxos vol. 6

"Alan Sumler" schrieb: >simul incipit ipse, > tum vero in numerum Faunosque ferasque videres > ludere, tum rigidas motare cacumina quercus: but, alas, Virgil has Silen _singing_ his solo about creation et al and remarks that he,

Re: Hoffmann Mandora/Gallichon

"Roman Turovsky" schrieb: > Seems to be A MANDORA, but the top is not original, was made into a guitar. The instrument has six courses, if I'm not mistaken, not five (so, it's not what is generally accepted as guitar). According to Pohlmann's list (2nd ed. 1982), mandor

Re: Hoffmann Mandora/Gallichon

> I don't like that bridge position. nor do I. The position of the bridge and the curved shape of the pegbox remind me of the so-called Wagner-Laute (Magnus Tieffenbrucker, 1610, now preserved in Wagner-Museum, Triebschen / Luzern) which has probably been rebuilt and has similar traits. > >>

Re: Hoffmann Mandora/Gallichon

>> My view is that it is most likely a guitar guitars have shallow bodies, by definition, or so I'm told. Whatsoever this is, it is not a guitar. >> (or rather late 19thC german lute/guitar) conversion direct from a lute. wandervogel lutes (if that is what you meant to say) have single strings,

Re: Greensleeves

> I do have a question, the old chestnut, I know, but is it known who wrote > Greensleeves? please specify which one. I've across at least two different tunes or, rather, grounds which bore that name. -- Cheers, Mathias -- To get on or off this list see list information at http://www.cs.dartm

Re: Greensleeves

> I just know the one that 'everyone' plays, da-di-da didi-da di da, > didi-da-di-da didi-da-di-da, etc., that one. I suppose you think of 2 4 2 3 1 2 4 2 4 2 3 1 2 2 2 2 4 2 4 a | c d | e f e | d b | g | a b c | d e c | b g# |E (1 = quaver, 2 = crotchet, 3 = dotted crotch

Re: Greensleeves (fwd)

the second one should read 3 1 2 2 2 2 2 1 1 3 1 2 2 2 2 43 1 2 2 2 2 2 1 1 2 1 1 1 e f e e | d b g a b | c b c c | h g# E || e f e e | d b g a b | c b a g# 1 1 11 1 2 2 2 a b g# | a a e c# a As I said, both are trebles for the passamezzo ground that was popular aroun

Re: Greensleeves

"Jon Murphy" schrieb: > Who cares as to the origins of such a melody, it can stand on its own. well, I was under the impression it was clear that it cannot. Those two Green Sleeves :) I named are trebles to certain grounds. Neither stands on its own. > Who cares is too s

Re: Hoffmann Mandora/Gallichon

> In my opinion how it could be used is more important than what you call it. that would indeed be the case, if some of the names were synonymous. However, each name stands for a certain tuning, stringing, kind of playing, and repertoire. -- Regards Mathias -- To get on or off this list see lis

Re: Hoffmann Mandora/Gallichon

Thank you for your critique, Martyn, but: as far as I'm aware, guitars are defined as box-neck-lutes, i. e. with a neck and a box-like body (kastenhalslauten, in German), as opposed to shell-neck-lutes, i. e. with a neck and a shell-like body (schalenhalslauten) which are what most of us are used

Re: Hoffmann Mandora/Gallichon

Dear Marion, you are certainly right in saying that many of us draw artificial boundaries for ourselves that restrict our playing. You may string and play any instrument the way and kind you wish to play and have fun. But the issue I try to pursue is, rather, which way the instrument in question wa

Re: Hoffmann Mandora/Gallichon

"Martyn Hodgson" schrieb: > Thank you Roman, > in short - a guitar well, everyone is free to pray the way he or she wants to. Regards Mathias -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: Hoffmann Mandora/Gallichon

Dear Marion, yes, the mandora in question is a 18th century lute with 6 to 9 courses. There is an recently published article available in the net http://www.marincola.com/ click on LuteBot (left margin), and then #5 (middle). There, you will find Pietro Prosser's thesis on the mandora / the cali

Re: Hoffmann Mandora/Gallichon

> Guitar - "a flat-bodied stringed instrument with a long fretted neck and > usually six strings plucked with a pick or with the fingers." quite exact. During 19th and 20th centuries there were quite a lot of types in existence, differing in size and number of strings, after all. > Interestingly

Re: (Hoffmann Mandora/Gallichon) - theorbo in the 19thC

> Incidentally, on this business of early steps towards using 'old' > instruments in performance, > are you aware of the 1845 concert in which Ventura (the harp-lute-guitar man > and principal competitor of Edward Light) played the theorbo (Galpin Soc > Journal 1989). There's no evidence as to

Re: Greensleeves

Hi Jon, you are certainly right in saying that you can play that tune like any other on its own and enjoy it. And anybody familiar with it will recognize and enjoy, also. You can do that with any melody. When I said it cannot stand on its own, I should rather have put it more distinct. What I had i

Re: LUTE-etymology

"Roman Turovsky" schrieb: > There is a fascinating discussion on the etymology of LUTE on the French > lute-list. In a nutshell: not only the Greek provenance of the word is no > longer discountable, but limiting oneself to Arabic provenance is beginning > to look lud

Re: LUTE-etymology

"Jon Murphy" schrieb: > With many of you I have difficulty finding the "familiar Greek" LEUTIKA as > my Greek dictionary uses Greek characters. Is this lambda-epsilon > (eta)-upsilon-tau-iota-kappa-alpha? alpha (spritus asper)- lambda - iota - epsilon - ypsilon - tau -

Re: LUTE-etymology

> ++In Western music, the emphasis is on harmonic development, that has been so from, say, 1600 to 1900. Before that, emphasis was on horizontal moves. And 20th century witnessed the development of serial music and its further branches in Europe and the Americas. > but in Eastern music the emphas

Re: Botanica

>> and there is "Primrose" by Peter Philipps - or is that actually for keyboard (Fitzwilliam >> virginal book)? I have an edition for lute and recorder at hand. "Dr. Marion Ceruti" <[EMAIL PROTECTED]>: > As it turns out "To a Wild Rose" adapts very nicely to baroque lute in the > key of G with

Re: LUTE-etymology

>> You can go out of your gourd listening to sitar music :). > Not to mention that Mathias falls asleep listening to overspun bass > strings! yes, that is the habit with us jinns :) when basses don't stop ringing. -- Best wishes, Mathias -- To get on or off this list see list information

Re: stopping basses

Michael, I couldn't agree more. Bass courses aren't stopped except for special rhythmical reasons. There will always be a little ringing, and that's okay with me, and most of us will use wound bass string despite of the fact that it contradict HIP. All righty, but -- you can do something in order

Re: stopping basses

"Dr. Marion Ceruti" schrieb: > ++Mostly we use what it is available at the time when we need a string. > That means Aquila or Pyramid. Do you know of a better source? I play with both of them, I happen to be content with them. > Don't use overspun octaves, is first. Gu

Re: stopping basses

"Michael Thames" schrieb: > Mathias, > Yes I agree with everything you said. I use those Saverz copper wound > basses with nylgut octaves. I am anxious to try Mimmo's type ' D" > fundamental, made for 13 course lutes. Have you tried them yet? no, not yet. What is t

Re: LUTE-etymology

"Roman Turovsky" schrieb: >> brought back with him the Buddhist traditions of a monastatic order and compassion, which took hold centuries later in Christendom. > I do not recall the Redeemer advocating monasticism, but Mathias will surely > clarify the issue. not exa

Re: LUTE-etymology

> I am only aware of two major religions in the world that have a monastic > order there is still another, i. e. the Shiite part of the world of Islam, which has quite a few orders (from several very ancient Darwish orders to little extremist orders like Naqshibandy) > the question is simple

Re: LUTE-etymology

"Dr. Marion Ceruti" schrieb: > All religions include people who practice contemplation as a lifestyle. that certainly depends on what qualifies as contemplation. Five minutes remembering per day enough? > The Muslims and Jews have kept these practices relatively hidden

Re: LUTE-etymology

"Alain Veylit" schrieb: > I am a bit lost in this thread: I don't know if there is any evidence - > let alone convincing - that Jesus travelled to India that rumour was brought up by the Ahmadiya sect during the 19th century. They had him travel to the region of Cashme

Re: LUTE-etymology

> There is a Buddhist monastery in Laddak near the Kashmir valley in north > India with the entire life of Christ written in Tibetan the entire life of Christ, then, must be the text of a Gospel? I know no other narrative that contains Christ's life, but perhaps you do? I wonder how they trans

Re: LUTE-etymology

Michael, thank you for the link. Books like this are very useful and should be spread to the interested public. I, for one, have ever since belonged to the interested public. However it's sad for me to see that some people try to teach others or project their prejudices (sometimes even their posi

Re: parchment, rwd and ch'in (Re: LUTE-etymology)

As you take refuge, once again, to offensive language for lack of pausible arguments I quit discussion with you and your nonsense. Ask accomplished Arabists about your 'ain - ghain rubbish. Get a life, buddy. "danyel" schrieb: > Leather is tanned and elastic and thus un

Re: LUTE-etymology

"Michael Thames" schrieb: > It is a well know fact, in the meetings that took place under Constantine > in the 6th century, they threw out the original Christian doctrine of > reincarnation. Etc. Emperor Constantine lived at the beginning of the 4th century and made Chr

Re: Gallot speaks...

> 5. Ne flater pas les cordes de la main droite lors qu'on estudie pour s'en > rendre mieux le maistre. Stefan Lundgren's rendering (Lute Companion) reads: Do not [carelessly?] strum the strings with the right hand while studying. Best wishes, Mathias -- To get on or off this list see list i

Re: Gallot speaks...

> i.e. When first learning a piece, don't add ornaments and "agrements" with > the right hand; first off, learn the fingerings in a simple fashion. This > runs true with the nature of Gallot's other suggestions doubtless designed > for > beginners cannot find this, i. e. that the simple-ver

Re: Gallot speaks...

> I do however agree that it is odd Gallot focuses only on the right hand and > not the left also. Perhaps you focus too much on a secondary meaning of the French word flatter. Its first meaning is to touch softly, stroke. I take Gallot' advice #5 to mean that students should keep their RH under

Re: Gallot speaks...

> But one should not "practice" them - ideally they should be > improvised in the moment, responding to each unique performance situation. That applies, I suppose, to the Italian manners, rather than to the French. Improvisation is confined, though. For both kinds or embellishments one needs trai

Re: Gallot speaks...

> In particular reference to Gallot, is there any music written by him > at all that actually includes strumming per se? And in the "Pieces" to which > his instructions pertain? Gallot has a special sign resembling a T which is put below chords pour frapper deux chordes du pouce ensemble ou se

Re: Gallot speaks...

> But thanks for the Lundgren translation; just out of curiousity, where is it > from? Stefan has edited a wonderful very large collection of baroque lute pieces which he has called The Lute Companion. I guess he still sells it, and it's worth its price. http://www.luteonline.de/lundgren-editi

Re: Re: Printing and Binding

"Donatella Galletti" schrieb: > So, more than a hundred visits in two days and just a single comment...shall > I think everybody is busy building their own folders on my design or that > they are awful? no, no, they are very pretty, indeed. Standing in awe... Cheers,

Re: Weiss on guitar (was: Willams Concert) (fwd)

"Michael Thames" schrieb: >> Does lute music mostly rely on first positions?? >> Come on > In Weiss this is true, but maybe not Bach, or other transcriptions. Try Gallot Cheers, Mathias -- To get on or off this list see list information at http://www.cs.d

Re: Blind players and memory

btw, we've got a blind player in our ranks. It's Matthew Wadsworth, and you can contact and ask him http://www.matthewwadsworth.com/index.htm Best wishes, Mathias -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: FWD: Re: Re: country dances

"Craig Allen" schrieb: > Has anyone else been getting these messages (see below) after sending posts > to the list? yep. deleted it immediately. Mathias -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: Two Accompaniment Questions

"Eric Hansen" <[EMAIL PROTECTED]> schrieb: > 1. Can anyone recommend 17th-century songs for soprano or mezzo-sop. and > 11-course Baroque lute (d minor tuning) with the accompaniment in tablature? There is Jakob Kremberg's Musicalische Gemueths-Ergoetzung oder Arien, Dresden 1689, with tablatures

RE: web.gerbode.net

"Charles Browne" <[EMAIL PROTECTED]> schrieb: > I emailed Sarge a couple of days ago about this and he is looking into it. So > I > guess it is a technical problem? yep. he said the httpd or something doesn't get going or so. Best, Mathias -- To get on or off this list see list information at

Re: Antwort: Re: 5,4,3

<[EMAIL PROTECTED]> schrieb: > Grimm wrote their dictionary in the first half of the 19th century. FYI, Jacob and Wilhelm Grimm started the enterprise of the Deutsches Woerterbuch in 1854, for that matter, and it was finished in the fifties of 20th century by their successors, resulting in 33 fat

Re: Antwort: Re: Antwort: Re: 5,4,3

<[EMAIL PROTECTED]> schrieb: > kind as always ... there was no offence intended. > I don't doubt the quotation - just the relevance. point taken, yes. What a majority of 15th century contemporaries were used to calling a quintern, according to written evidence, will not necessarily be the same

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