Hi Luters
This has nothing at all to do with lutes.
Any lovers of Gustav Mahler out there? If so, listen to the first
five minutes of Mahler's 5th Symphony (1st movement) just to get in
the mood, and then watch this youtube video: www.youtube.com/watch?
v=WoO0QY-Anf4. I know we're not sup
Sorry. I got the URL wrong somehow. Just get on YouTube, search
under "Gustav Mahler" and click on the first video on the list.
DR
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On Aug 10, 2006, at 5:38 PM, Caroline Usher wrote:
> Serenading oneself under the stars, celebrating one's own birthday,
> playing the Ripper (the gall!), even going fishing. . . . What, is
> no one going to spread the Gospel of Francesco to a needy world?
> Do I have to do everything myse
Hi Luters,
I'm looking at the words of Campion's "Shall I come, sweet love, to
thee." Can someone enlighten me on the 4th line of the first verse:
"Will you find no feigned let?" Come to think of it, I'm not
completely clear on the last two lines either...
Shall I come, sweet love, to th
On Aug 17, 2006, at 4:37 AM, Luca Manassero wrote:
>I own a splendid 8-course lute made by Stephen Barber and Sandi
> Harris and
>suddenly started wondering why I *ever* bought an 8 course lute.
> In fact, I
>either stumble on "pure" 6-course lute tablatures or on a
> Baroque rep
On Aug 20, 2006, at 9:17 AM, <[EMAIL PROTECTED]>
<[EMAIL PROTECTED]> wrote:
> I've been reading through Weiss's "L'infidele"
> Sonata which is influenced by the music of the Turkish
> invaders that attacked Vienna in the late 17th
> century.
I doubt whether they marched into battle playing
On Aug 20, 2006, at 9:03 PM, Alain Veylit wrote:
> L'infidele: pending some actual oriental harmonies in the music
> itself,
Not to mention a few notes of very Western harmonic minor. ;-)
> Weiss's "Infid=E8le" is more likely to refer to an unfaithful woman than
> to the Turks. It could be of
On Aug 20, 2006, at 9:06 PM, Roman Turovsky wrote:
> Unless Weiss was referring to his first Italian wife..
> I woner if he pulled a Gesualdo on her.
And lived to compose a sonata about it, or her.
DR
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Yup! Very cool!
On Aug 21, 2006, at 6:40 PM, Roman Turovsky wrote:
>
> http://www.youtube.com/watch?v=6a-Ea7VKVn0
> RT
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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On Aug 24, 2006, at 3:21 AM, Ron Fletcher wrote:
> If instrument-cases are X-rayed and examined at the ticket barrier,
> and
> sealed by the airline, I don't see why there cannot be an exemption
> for
> musicians to carry them on-board as hand-luggage.
I don't think "exemption" is a word that
On Aug 24, 2006, at 5:19 AM, Jason Ferry wrote:
> I would like to know from lutenists who use straps for
> your instruments where you get them from. Do you use
> generic guitar straps, or make your own, or is there a
> supplier of straps that are specific to the lute?
> Also, from you experience a
On Aug 24, 2006, at 11:21 AM, Bernd Haegemann wrote:
> A very good and romantic method is stealing it from a teacher.
> I did it during a summer school in the Tchech republic.
> A very wonderful teacher (and player) gave me her strap to try it
> for some
> days, I went home without returning it
On Aug 26, 2006, at 3:06 PM, LGS-Europe wrote:
> ...a string plucked
> parallel to the sound board will only make the string vibrate without
> setting the sound board into action: boring no-sound! But a string
> plucked
> at right angles with the sound board will give a full (and
> satisfying)
Sarge Gerbode's website has four pieces: look on www.gerbode.net/ft2/
composers/Piccinini/
On Sep 2, 2006, at 7:27 AM, Anton Birula wrote:
> I am looking for the works by Allessandro Piccinini in
> french
> tabulature
David R
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I wonder if the musical prodigies among the Sauschek family were
given to painting at all...?
David R
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Farid El Atrache, right? This guy used to play the oud to screaming
crowds in the 50's!
www.youtube.com/watch?v=zWddWhpKrmM
DR
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On Sep 12, 2006, at 11:54 AM, <[EMAIL PROTECTED]>
<[EMAIL PROTECTED]> wrote:
> A few years ago I had a coaching with a moderately
> well known lute player (who shall remain un-named).
> I'd just finished accompanying a singer on some
> Caccini using my ten-course lute (I didn't own any
> other l
Dear collective wisdom.
I'm finding out about some of the size variants available in
theorboes. For example, I've been looking at one which is 79 cm
playing length on the fingerboard, and 159 cm on the diapasons. That
seems quite a long neck extension since, with 10 frets on the
fingerbo
On Sep 21, 2006, at 7:03 PM, [EMAIL PROTECTED] wrote:
> In someways the more
> you move in the the easy listening direction the more you loose the
> interest of
> rock fans. It is more a question of getting rid of the excess
> baggage that the
> first wave of early musicians didn't quite get r
Hi Luters,
I've been looking on numerous websites to find out whether or not
theorbos were used to accompany English lute songs. So far, I
haven't found any indication that theorbos were used instead of lutes
as the means of accompaniment. It seems like an obvious thing to
do: take the
My query actually had nothing to do with the Sting thread (was he
trying to use authentic Elizabethan pronunciation perhaps?).
I was just curious to know what the list folks could tell me about
the use of theorbo in performing English lute songs. But I was also
wondering specifically about
On Sep 25, 2006, at 5:39 PM, Stewart McCoy wrote:
> "Ignorance is bliss" is just a common saying, often used ironically,
> to say that there are times when it is best not to know something.
It may not be true on British radio, but on American radio, with very
few exceptions, you really do not w
On Sep 25, 2006, at 5:48 PM, Thomas Schall wrote:
> Dowland's lute parts should be read as realised continuo?
> Are you sure? I would doubt that ...
Well, they have bass lines which serve as the basis for their
harmonic structure. Whether or not they "should be read" as such is
an interestin
On Sep 25, 2006, at 5:46 PM, Thomas Schall wrote:
> In the meantime the Early Music Movement seem to have changed the
> direction. More and more players don't even try to play historical
> informed but just play period instruments. I am not sure what to think
> about this phenomenon ...
Keep in m
Dear list,
Many thanks to those of you who responded to my recent questions
regarding theorbos. Your input is much appreciated.
David R
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Some interesting discussions of late. Are we in a HIP transitional
period these days?
Actually, I don't think Sting's foray into early music is all that
different from any of ours, inasmuch as he appears to have drawn his
inspiraton from the past, just as we do. And if the result is his
All this invective against Sting is embassassing: it makes us in the
lute world all look like idiots!
Tell you what, Mark: let's imagine a mainstream music magazine
article that lined up your comments alongside Sting's. Whose
comments do you think would get loud, derisive laughter? And w
On Sep 27, 2006, at 6:38 PM, Howard Posner wrote:
> David Rastall wrote:
>
>> By "singing in a normal voice" Sting is saying that he does not care
>> for the operatic catterwauling which, as you well know, Mark, is
>> totally IN-appropriate to Dowland'
Dear Luters,
Yet another theorbo question. It seems to me that a moderately-sized
solo theorbo in D minor tuning would be a good all-purpose Baroque
lute upon which one could play the "modern" late 17th/early 18th-
century continuo, as well as all the German (and maybe even some of
the Fre
On Oct 9, 2006, at 5:03 AM, Francesco Tribioli wrote:
> This is an interesting phenomenon: actually the quality of the music
> and the quality of the performance are absolutely unimportant. No
> one knows
> who is Dowland, no one knows what a good performance of this music
> is but
> th
On Oct 9, 2006, at 8:51 AM, Joseph Mayes wrote:
> Just a question about how far the "hip" people go: Does anyone play
> Dowland
> using Thumb-out technique (as he seems to have favored) or with unison
> stringing on their lutes (as he seems to have favored) Or with double
> chanterelles (as was
On Oct 9, 2006, at 11:26 AM, Daniel Shoskes wrote
> Could you please provide some specific examples? I recall reading
> such discussions back when the term was "authentic music" and people
> really went overboard, but I haven't seen these types of quotes more
> recently from HIP writers in magazin
On Oct 9, 2006, at 12:14 PM, Louis Aull wrote:
> Doesn't anyone recall that real HIP playing led to the evolution
> and demise
> of the lute in it's own time? That the paying audience might have
> had some
> influence over this choice rather than the scholars?
Yes, the scholars come along muc
On Oct 9, 2006, at 10:28 AM, Francesco Tribioli wrote:
> ...To sing out of tune or out of tempo is wrong, HIP or
> not HIP.
To play outside an accepted temperament is wrong?, or to use "notes
inegal" at your own personal discretion is wrong? Maybe, maybe not.
> The point is that he is bringin
On Oct 9, 2006, at 3:34 PM, Howard Posner wrote:
> That's too bad. You missed Ronn and Mick Jagger doing Ferrabosco.
Uh, which Ronn Wood that be...???
Hah! Sir Mick, accompanied on period instruments by master Ronnie
and master Keith, wth master Charles beating out the tactus. But,
wait a
On Oct 10, 2006, at 9:32 AM, Kay Lay wrote:
> Yeah, I'm new to this list and all this Sting talk is causing me to
> ignore almost every message entirely. Teach me about luteness!
Oh, I think there's a bit to be learned about luteness from reading
those Sting discussions... ;-)
Here's a lesson
On Oct 11, 2006, at 11:47 AM, Caroline Usher wrote:
> ...to me, the difference in timbre is more important than the
> difference in volume. In the few concert performances I've heard
> an early 19th-century guitar wasn't significantly louder than a
> lute. A fortepiano isn't significantly
On Oct 11, 2006, at 2:11 PM, Howard Posner wrote:
> The discussion may go off on the wrong track if we assume that the
> lute
> was replaced by the guitar.
I for one never made that assumption. In my view the guitar
prevailed, whereas the lute died. The guitar may have gone through
some h
On Oct 11, 2006, at 3:54 PM, [EMAIL PROTECTED] wrote:
> The problem with most of these theories is that they don't include the
> mandora in the plot, if you would have heard Lynda Sayce's
> excellent talk at the
> lute society some time ago, you would probably think somewhat
> differantly abou
Okay, here's what we have so far in a nutshell to account for the
demise of the lute:
The lute died:
1. Because it wasn't able to maintain its primary function as an
accompaniment instrument due to the decline of continuo
2. Because it wasn't loud enough to fill a concert hall
3. Because i
On Oct 12, 2006, at 12:21 PM, Caroline Usher wrote:
> We thank you for your kind and loyal support, much valued in these
> troublous times. As a mark of Our gracious favour, We grant you
> sole and exclusive Privilege for the printing of lute tablature
> from movable type within our realm.
On Oct 12, 2006, at 3:38 PM, Arto Wikla wrote:
> 2) I suppose the technique of playing moderately loud is (and was!)
>possible. Somehow the modern "hip" - in my opinion - has accepted
>too soft playing. To say a name: Hoppy plays often very
> beautifully,
>but being so soft really ne
On Oct 13, 2006, at 10:00 AM, bill kilpatrick wrote:
> ...my own take on re-entrant tuning is:
> ...you can pursue the high reaches of
> the melody without climbing up the neck
I don't follow you. Doesn't it work the other way? The highest
pitched string in re-entrant tuning would be either t
On Oct 14, 2006, at 2:07 PM, [EMAIL PROTECTED] wrote:
> ...we are many years away from wagner style sopranos singing
> Dowland
Don't be too sure of that! I've met sopranos who don't know any
other way to sing except can-belto (not bell-canto), and who have no
second thoughts about appl
I'm not sure what you're saying here. I was just making a joke. :-)
As to Sting, I don't give a damn what he does. As the saying goes, I
think you're "flogging a dead horse" with all the Sting criticism.
David R
[EMAIL PROTECTED]
www.rastallmusic.com
On Oct 14, 2006, at 2:45 PM, [EMAIL PROT
On Oct 15, 2006, at 11:47 AM, [EMAIL PROTECTED] wrote:
> ...the only people who say it's not important to read books or
> know things or become expert about particular subjects are those
> who have
> never bothered to do it?
Edin wasn't talking about "knowing things," he was talking about
"pl
For those who still haven't had the pleasure: www.youtube.com/watch?
v=jNzK28eCdc8
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On Oct 16, 2006, at 2:28 PM, Mathias R=F6sel wrote:
>> but i wish the rose in karamazov's lute
>
> That's the only thing, I must say, that I found ugly. I for one prefer
> HIP lute roses.
The rose design on EK's lute in that youtube clip looks a bit like a
maze. A labyrinth perhaps...?
David
On Oct 18, 2006, at 4:58 PM, [EMAIL PROTECTED] wrote:
> ...I have the feeling that cross-over
> projects tend to make the average listener even more Lazy when it
> comes to
> exploring music styles, they wait until the next media hype and
> then buy their
> recommended fix.
I agree with you a
On Oct 24, 2006, at 8:16 AM, Anthony Hind wrote:
> ...I would personally doubt whether some Irish folk singers are
> completely untrained. Perhaps it is not a scholarly training, but
> some (not of course the present singer) that I have heard make such
> extraordinary vocalizations I can't think t
On Oct 24, 2006, at 11:26 AM, [EMAIL PROTECTED] wrote:
> Ok, then we agree that a "normal voice" does not exist and that any
> voice is
> always influenced by the culture in which it evolved singing the
> music that
> was "normal" in their culture.
Well, I took the phrase "normal voice" to r
On Oct 24, 2006, at 1:01 PM, [EMAIL PROTECTED] wrote:
> ...I suppose it would have been not such good PR to say I don't
> sing like Domingo and I also don't sing like those early music
> singers who have tried the last few years to find out how this
> music was sung.
Absolutely true, but I
On Oct 24, 2006, at 3:13 PM, Joseph Mayes wrote:
> We can't seem to let the Sting matter rest. Is there some engaging
> reason? Is this all the disgruntled mutterings of one person? Do
> more of us
> feel so affronted by the commercial success of a supposed inferior
> product?
>
> Lets
On Oct 25, 2006, at 10:37 AM, Ed Durbrow wrote:
> If RB and Sting team up think of the fodder possibilities for the
> lutenet!
The lute Police would be turning Deep Purple with rage!!!
DR
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My attempts to teach myself continuo continue...
I'm looking at a sonata by Corelli: two instrumental parts plus
basso continuo. Under the bass notes are lots of indications for
dominant 7th and 9th chords, at places where the 7ths and 9ths appear
in the instrumental parts. That's no prob
On Oct 29, 2006, at 6:48 PM, Howard Posner wrote:
>> Under the bass notes are lots of indications for
>> dominant 7th and 9th chords
>
> probably not all dominants, to be nitpicky...
Minor seventh chords? I thought they would have been rarely used
back then. I was assuming that a chord with a
Howard and Mathias: many thanks for your input on my continuo
question(s). Much appreciated.
David R
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On Nov 6, 2006, at 11:29 AM, Eugene C. Braig IV wrote:
> ...Martin fans tend to trivialize or quaint-ify
> the shop's early guitars with the "parlor" moniker.
I don't understand the stigma attached to the word "parlor." Can
someone enlighten me please? Romantic guitars were mostly played in
On Nov 6, 2006, at 5:50 PM, Eugene C. Braig IV wrote:
> ...I may be wrong, but too often "parlor" seems to imply "quaintly
> obsolete"
> to fans of the modern steel-string.
Okay, I can see that. Just as the idea of the parlor itself is
quaintly absolete today. Sort of like "lounge music" or
in earlier centuries, unlike today,
there was little emphasis placed on the dichotomy of sacred vs.
secular. Perhaps in fact ALL ascending lines represented man
reaching up to God, and ALL descending lines bespoke God reaching
down to us. What do you think? Any ideas? Reply to me off-li
On Nov 14, 2006, at 12:22 PM, Are Vidar Boye Hansen wrote:
> I know the fingerboards of my renaissance lute in G, baroque lute in
> d-minor, archlute in G and fender stratocaster in E. I honestly don't
> understand why many lutensits find this so difficult.
Not to mention acoustic folk guitars in
On Nov 14, 2006, at 1:04 PM, Jim Abraham wrote:
> Well, if that's the case, why use tablature? Really. Is there any
> other
> reason?
Good question. One asnwer lies in the "H" word: "historically."
Historically, tablature was the most efficient way to put polyphony
on a single staff. Rena
also have a wide tonal palette from the large instruments to the
small ones.
Hope that helps...
David Rastall
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On Nov 15, 2006, at 1:04 PM, Narada wrote:
> What fascinates me now is to find out whether the lute has scales
> such as
> major, minor, Aeolian, Lydian etc and chordal structures.
Sure it does. It has all those things. I know it sounds as though
I'm stating the obvious, but you get the cho
Thanks to all of you who responded to my questions regarding
symbolism in Bach's music. As always, you guys know everything!
Divad R
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I'm looking forward to hearing this CD. Ronn McFarlane needs no
introduction here, but if any of you have never heard of Ann
Heymann: she is one of the greatest clarsach players of all time.
David R
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On Nov 22, 2006, at 11:29 PM, marigold castle wrote:
On Nov 24, 2006, at 12:06 PM, bill kilpatrick wrote:
> just out of curiosity, does any negative, contemporary
> criticism exist for the way dowland performed? did
> anyone record the comments of others or personally put
> pen to paper, accusing him of arrogance or being a
> poseur - piqued commen
On Nov 24, 2006, at 1:19 PM, Roman Turovsky wrote:
> ...there is always threat in originality, especially the morose kind.
> RT
That's a profound statement. So is it Sting's moroseness, rather
than his commercial success, that makes him such a perceived danger
to the house of cards? (just k
On Nov 24, 2006, at 2:52 PM, Roman Turovsky wrote:
> I was referring to Dowland's moroseness.
Ah...
> As to originality-
> S/EK project has enough of it to merit considerable attention.
For the second time around apparently.
Here's a stray thought: I'd like to hear Diana Krall's take on
Dow
On Nov 24, 2006, at 3:05 PM, Roman Turovsky wrote:
Oh, Roman, Roman---!! Diana Krall is a great jazz singer (lives in
NYC, married to Elvis Costello), with a delivery that would "rock"
with Flow My Tears (aka Cry Me A River?)!
>> Here's a stray thought: I'd like to hear Diana Krall's take o
On Nov 24, 2006, at 5:33 PM, Roman Turovsky wrote:
> Why don't you approach her with such a proposal? Include a demo of
> your own
> lute playing.
Ho, ho, ho!
Actually considering that she usually employs a guitarist as part of
her ensemble, a plucked instrument would not be all that
inapp
On Nov 25, 2006, at 10:00 AM, Ron Fletcher wrote:
> John Dowland died in 1626. Certainly in the infancy of reading-
> glasses. I
> guess many lutenists became short-sighted, playing/composing in the
> wee
> small hours by candle-light! Is there any record of lutenists
> eventually
> needin
On Nov 26, 2006, at 11:39 AM, Rob Dorsey wrote:
> This is most tiring. I have placed Roman on my Spam blocked list. I
> defend
> free speech - one of our better American habits - but, Jeez-Louise,
> enough
> already.
Roman is not the only one with opinions on this list, and there are
those
Hah! The McDavid is hysterical!!
DR
[EMAIL PROTECTED]
www.rastallmusic.com
On Nov 26, 2006, at 5:39 PM, Peter Hoar wrote:
> ...This is from a competition in which people ironically repurpose
> art works
> for advertising - the David as Ronald MacDonald is sublime.
> From the ever delightful B
On Nov 27, 2006, at 11:04 AM, Herbert Ward wrote:
> Does anyone prefer low-tension strings because of their tone?
Do you mean as in loosening the strings from 440 down to 415 or
less? I find that it depends on the lute. When I do that on my 62
cm. 6-course the sound is weak, whereas on my 6
On Nov 27, 2006, at 4:14 PM, Anthony Hind wrote:
> But wouldn't it be even stronger at 415 by changing the strings for
> ones giving equal tension to the 440 Hz tuned strings.
The 10-course?, yes, definitely it would. Right now it's strung in
G, which is a little too high for that instrument:
On Nov 27, 2006, at 6:02 PM, Manolo Laguillo wrote:
> if the sound is better when you go down to 415, then perhaps you must
> reconsider the stringing and tensions with 440. I mean (just asking):
> could it be that the lute is suffering from too high a tension now?
I'm not sure. The stringing wa
On Nov 28, 2006, at 6:08 PM, Edward Martin wrote:
> I agree in most of the aspects of your note, with
> exception of the .43 being the smallest possible string... I am not
> disagreeing with you, as I have no information on that topic. Dan
> Larson,
> my neighbor & friend, is out of town (he i
I have no problem at all in giving my opinion in public: I give it a
5! The music seems to me to be a skillful adaptation of music that
was, after all, supposed to have some movement and beat to it. As to
the dancing, it's not it's not bad dancing by anybody's standard
(that I know of, a
I saw that on Amazon. That price is totally crazy!! Presumably it's
out of print...?
David R
[EMAIL PROTECTED]
www.rastallmusic.com
On Jan 17, 2007, at 5:55 AM, Benjamin Stehr wrote:
> Hi,
>
>> http://www.amazon.com/Visee-Pieces-Theorbe-
> Robert/dp/B017LN/sr=1-2/qid=1169030127/ref=sr_
Ho! Ho!
Here comes the voice of the big elitist: the worst possible thing
for classical music is for it to become popularized. In the world of
pop culture, to loosely paraphrase Oscar Wilde, the only thing worse
for classical music than *not* being talked about is for it to *be*
talked
It souds as though he's playing with fingernails. Not a bad sound,
though...
David R
On Jan 19, 2007, at 7:34 PM, Mathias R=F6sel wrote:
> I've never before heard someone play music like this on the baroque
> lute.
>
> http://www.youtube.com/watch?v=rbyM3w2RbU8
> --
> Mathias
>
>
>
> To get
s narrow corporate mindset! Performers
> need to lead the charge into other modes.
> Here, I'm mainly talking about what already exists
> in the back-catalog. I haven't even mentioned the
> utterly unholy option of performers championing newly
> composed music.
>
Hmmm...I'm not sure what he's doing with his right hand. He seems to
be using thumb-middle a lot, and filling in occasionally with the
index finger.
DR
On Jan 22, 2007, at 8:52 AM, Roman Turovsky wrote:
>>
>> http://www.youtube.com/watch?v=2gqygn0JD1w
>>
>> http://www.youtube.com/watch?v=-yW
Yes, a little complicated, but I'm sure we can all stumble along... ;-)
On Jan 27, 2007, at 9:43 AM, Craig Robert Pierpont wrote:
>Anthony's discussion of the oud in the middle east raises an
> interesting question . It's a little complicated but follow me here.
>
> As I understand it
On Feb 2, 2007, at 2:58 PM, Robert Clair wrote:
> I'm editing an issue of the LSA Quarterly and I'm trying to assemble
> a discography of CD's that have baroque lute chamber music.
>
> For my purposes, define "baroque lute ensemble music" as music for
> more than one instrument, where one at least
On Feb 2, 2007, at 3:57 PM, Roman Turovsky wrote:
> OBBLIGATO.
You mean just playing a bass line? That would be part of the
continuo, wouldn't it?
DR
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, and it doesn't make for
good music either.
David Rastall
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On Feb 7, 2007, at 6:33 PM, Edward Martin wrote:
> I have my renaissance 8 course in partial nylgut, because I have to
> use
> that instrument under difficult situations. Otherwise, I mostly
> use gut,
> for vihuela, 10 course, baroque guitar, 11 course, and my 13 course.
When I bought my th
Good one, Craig!
On Thursday, August 28, 2003, at 05:46 PM, [EMAIL PROTECTED] wrote:
> Dear Lutenetters,
>
> A friend of mine sent me this url. I think most of you will enjoy this.
>
> http://makeashorterlink.com/?Z1BF51BB5
>
> It will redirect you to another page but I thought it best to post th
former's prerogative, and IMO duty, to make his/her own
personal decision as to when and how to use them.
Regards,
David Rastall
On Monday, September 1, 2003, at 02:10 PM, Daniel F Heiman wrote:
> Ron:
>
> Converting old prints and manuscripts to digital formats and media is
> *not nece
hink that at the point
you're referring to in the music, the lute part isn't supposed to make
sense as a chord progression. The b and c seem to me to be a point of
intersection between voices that are moving, not static chords.
I think if you want to hear chords, that's what you'll hear; but
that's no reason to change the music. If you have to change it, try
putting middle c in the 3rd chord of the lute part. Then you have a
descending line (d, c, b) that makes sense polyphonically.
Regards,
David Rastall
mitating" a sound.
Do you mean that tab. is better than staff notation for playing
ren.lute music? That's my belief absolutely. But also, and more
essentially, the sound of the historical lute is produced by the
instrument one plays, the way one plays it, and the way one's ear is
tuned to what one is trying to achieve.
Best regards,
David Rastall
ference?
Good question, Roman. What I was thinking was: we can come as close
as our understanding will bring us, to sensing from afar a
centuries-old style of playing, but it's impossible to copy something
we've never actually heard. So we end up re-creating something which
ultimately resides in our minds. At least, that's how I see my own
process of renaissance music making.
Regards,
David Rastall
ther solution would
hack the music up too badly.
Best regards,
David Rastall
On Tuesday, September 23, 2003, at 06:48 AM, Stewart McCoy wrote:
> Dear David,
>
> Many thanks indeed for your reply to my e-mail about Campion's "It
> fell on a Summer's Day". Your ide
hearing the sounds of isolated enclaves in the
> colonies
> (i.e, the Appalachians, some of the distinctive sounds of the East
> coast of
> the U.S. and Canada).
I don't know: that's the theory, but I've never heard it put into
practice.
Regards,
David Rastall
you want to relate to an academically-inclined audience
who are familiar with the subtleties of the historical language you're
trying to simulate, then it would probably be as well to know something
of what they know before dishing up to them their own specialty.
Either that, or just use your own natural voice. That's my take on it
anyway.
Regards,
David Rastall
Hi Jon,
> In my brief folk singing career (over forty years ago)...
Lets see, I too was singing folk music forty years ago. 1963 was my
first year out of high school. I was in Southern California in those
days, and very big into the bluegrass scene: hanging out with the
likes of Douglas Dil
in
19th-century Germany, it probably doesn't hold much interest for those
who are interested in the renaissance or Baroque lute. Why should it?
David Rastall
itar (3rd
string up a semitone), so that the player could at least strum out some
guitar chords...
Regards,
David Rastall
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