Well yes, dear Rainer, one can't argue with the exact science of
mathematics, but where is it stated that the art of music has to obey
such stringent rules that a subjective judgement cannot be made
occasionally?
Regards,
David Rastall
"lutenist's art" to give the benefit of the doubt to what is startling,
surprising and provocative.
Regards,
David Rastall
On Wednesday, October 8, 2003, at 11:16 AM, Ed Durbrow wrote:
>> http://www.lautenist.de/schottisch.pdf (page 4)
>
> Just went there. Are you f
I know it's French music, but
Ballard's music doesn't seem to lend itself to the French style as
readily as, say, one of the Gaultiers. Any thought on this?
Regards,
David Rastall
rating on
any one particular premise.
> I find the thrust of
> the messages on this list to be rather narrow in the conception of
> music
Well, I guess our "interest in music" is just as valid as anyone
else's, Jon. Bear in mind that being focussed on a particular area of
interest and study, and being narrow-minded, are not the same thing.
David Rastall
On Saturday, October 11, 2003, at 11:58 AM, Stuart LeBlanc wrote:
> No you fool, he is obviously referring to the famous concert of Chet
> Perkins, bastard child of Chet Atkins and Carl Perkins.
Gosh how stupid of me, I should have realized that.
> In addition to Mark
> Knopf on guitar, the si
bar,
there is what looks like either ".S." or ".5." . It's also in the last
bar of the line above that. I've noticed that same symbol, either
".S." or ".5.", on one or two other pages (e.g. page 28), but I can't
figure out what it means. Anybody got any ideas?
David Rastall
Dear Richard, John, Stewart,
Thank you very much for your replies to my query about the "signum
congruentiae." I had not noticed that the signs come in pairs! Now I
see how to use them.
Thanks again,
David Rastall
ys, but I first
had to learn the ways of the lute via the thumb-under technique.
Regards,
David Rastall
ements?
I'm sure I'm one of the most naive people on this topic, but isn't it
simply a case of obtaining permission of the owner(s) of these MSS in
order to do whatever one wants with them?
David Rastall
On Sunday, November 30, 2003, at 11:51 AM, David Rastall wrote:
> I'm sure I'm one of the most naive people on this topic, but isn't it
> simply a case of obtaining permission of the owner(s) of these MSS in
> order to do whatever one wants with them?
I meant the MSS, not the owners. ;-)
DR
On Sunday, November 30, 2003, at 11:06 PM, Fred Bone wrote:
> I appreciate your effort in
> replying.
Oh, it's no effort I assure you.
> ...Granted that a library can own
> and control a source of information, however, can said library temper
> the
> perpetuation of unique knowledge that may be
I think we lute enthusiasts must be the only group in the world who use
"out" as the opposite of "under." :-)
DR
gt; taught.
I think you're right, and I think that's as it should be. It seems to
me that a teacher is not necessarily concerned with teaching the exact
way that he plays. He's there to provide a foundation for the student
personally to build on. A good teacher leads a student to the
threshold of the student's own understanding. After that, just like
the teacher, once he takes the stage he's on his own.
Regards,
David Rastall
anything, happens. I for one
would be curious to see what would happen.
Regards,
David Rastall
On Tuesday, December 2, 2003, at 07:32 PM, Michael Thames wrote:
> After this experience, You can bet I will do everything in my
> power to
> access these works of Bach, and free them to the world. God forbid
> you
> come across any Weiss, then I'll really get mad!
St. Michael the Libera
On Tuesday, December 2, 2003, at 07:03 PM, Manolo Laguillo wrote:
> It sounds the same as if somebody would say the following:
> "I can't understand why you as a luthier charges that much for a lute.
> You are only cutting pieces of wood with a knife, and then putting them
> together."
> I'm sure
On Tuesday, December 2, 2003, at 10:20 PM, Michael Thames wrote:
>> On Tuesday, December 2, 2003, at 07:32 PM, Michael Thames wrote:
>>
>>> After this experience, You can bet I will do everything in my
>>> power to
>>> access these works of Bach, and free them to the world. God forbid
>>> you
>
On Tuesday, December 2, 2003, at 11:21 PM, Michael Thames wrote:
>
> St. Michael the Liberator!
>
> Come to think of it I kind of like that name! it seems to fit
> doesn't
> it.
Does have a certain ring to it, doesn't it? Hey, go for it! :-) :-)
:-)
David R. (ho! ho!)
and will know what I'm talking about. I hope
that that old spirit has not entirely disappeared. I hope that the
spirit of trust and kinship still prevails on the lute list; and that
the flame wars are simply storms in a teacup.
NaivelyYours,
David Rastall
I am now going to do my small part in preventing more flame wars: I'm
going to get off this list, turn off my computer, and pick up my lute.
'Bye
Ed Durbrow, or Heihachi Tagata, can you contact me please? Very
important.
Thanks,
David Rastall
Is their anyone besides Ed Durbrow on the list who lives in Tokyo, or
anywhere in Japan? Would you contact me please? Thanks.
David Rastall
, it came
out like bebop!
Regards,
David Rastall
On Wednesday, December 24, 2003, at 09:28 AM, doc rossi wrote:
>> I whistled some Dowland today
>
> Are you a HIP whistler?
>
>
Ho! Ho! Good one. I'm surprised you had the GAUL to say such a
thing...
DR
On Wednesday, December 24, 2003, at 02:00 PM, [EMAIL PROTECTED]
wrote:
> Reminds me of the shortest love story in history VIDI, VICI, VENI
>
> Apologies :-)
>
> TB
>
> --
>
t; which
> might convince me that recording music such that the result makes one
> long to be a
> bus driver, and not a musician, is worth the effort?
It's been worth it to me.
David Rastall
On Thursday, December 25, 2003, at 07:59 PM, David Rastall wrote:
>> I realise this is not a lute question, just a thought that crossed my
>> mind
>> and which I would like to pass on, in the hope of receiving an answer
>> which
>> might convince me that record
On Friday, December 26, 2003, at 12:56 AM, Jon Murphy wrote:
> TB,
>
> A wonderful love story, which leads me a philosophical question. In my
> youth
> we joked that BIBO ERGO SUM - as I age I wonder if it should be SUM
> ERGO
> BIBO.
What you might call "putting Descartes before the horse..."?
t of applying standards of modern and postmodern art to all the
musical endeavours of this age, including their own. It's like
everything else, we have to choose which people, and which music, we
want to listen to.
Regards,
David Rastall
would have to suggest that you do so because it suits your, uh, I hate
that word "predjudices," let's say your likes and dislikes.
I await the flames.
David Rastall
to be an artist. So it is with lute
playing.
David Rastall
IX on pp.72-73 in Libro Primo,
Bologna 1623 that the 14th course should be tuned to what looks like
C#. Seems very unusual...
David Rastall
Gagliarda IX must be a mistake.
I was also assuming (maybe I shouldn't make so many assumptions) that
Piccinini wrote for the archlute in G. Isn't G tuning the standard
setup for an archlute?
Regards,
David Rastall
On Tuesday, January 6, 2004, at 06:52 AM, Stewart McCoy wrote:
&g
Just because one has freedom of speech doesn't mean that one is immune
to criticism.
DR
On Wednesday, January 7, 2004, at 11:58 AM, G.R. Crona wrote:
> Let me say that I appreciate that you have taken up a new instrument
> in the
> lute and I appreciate your interest in it. However, you have c
son for my question, and my recent query about
the "signum congruentiae" in Zamboni, was that I'm trying to find out
all I can about archlute playing. I've got one on order, which will be
ready in about six month's time. (Six months! I can't wait that
long!!)
Regards,
David Rastall
Hi Luters,
I ran across an article about the death of the classical music
recording industry. I thought I would pass it along for your perusal.
What do you think?
http://www.scena.org/columns/lebrecht/031231-NL-recording.html
David Rastall
cstoday.com/features/f1_0104.asp
> RT
>> I ran across an article about the death of the classical music
>> recording industry. I thought I would pass it along for your perusal.
>> What do you think?
>> http://www.scena.org/columns/lebrecht/031231-NL-recording.html
>> David Rastall
>
ot; is
a black-and-white facsimile, so I can't tell where the vocal lines are).
I'm also wondering where I can find Bossinensis and Bottegari lute
books in modern editions. Any suggestions, anyone?
Regards,
David Rastall
e some disagreement as
to why the various lutes were used: apparently it was not just to
raise or lower the tessitura of the song. But nevertheless, this
collection does contain some songs accessible to a low vocal range.
David Rastall
Many thanks to those of you who provided me with information regarding
vihuela songs.
David Rastall
ious actions
internalized as much as possible so I could play the piece more or less
without thinking about it (if I read Vance aright here).
Regards,
David Rastall
On Monday, January 19, 2004, at 07:38 PM, Stewart McCoy wrote:
> ...the bass singer simply sings the bass line. As long as the lute
> covers all the parts, the music is complete in itself, and the
> singer sings the part which naturally suits his voice. If there are
> other singers who can join in
at way, the "quantum jump" will probably bring it very close
to the pitch you want.
Regards,
David Rastall
On Wednesday, January 21, 2004, at 09:23 AM, Daniel Shoskes wrote:
> As an extension of the tuner/tuning discussion, my biggest frustration
> is in the actual mechanics of tu
bt if lute strings would have much effect on it. As a
material to make bridge nuts out of, though. I imagine it would be
difficult to cut.
Regards,
David Rastall
On Sunday, January 25, 2004, at 11:22 PM, Steve Ramey wrote:
> All,
>
> About 20 years ago, I used 1/8" diameter delri
On Thursday, January 29, 2004, at 03:46 PM, Herbert Ward wrote:
> I question whether printing and education were important in producing
> general knowledge of Church corruption.
But they enabled people to talk about it. They produced dialectic.
One of the chief functions of education is still
On Thursday, January 29, 2004, at 05:05 PM, Caroline Usher wrote:
>> It was not until Henry VIII decided to challenge the authority of the
>> Church
>> by declaring himself the supreme head of the Church in England did the
>> mortar that held Medieval Christianity under the thumb of Rome start
>
On Friday, January 30, 2004, at 05:06 PM, Vance Wood wrote:
> What does this have to do with Lute playing? Everything
> and nothing. This is simply the times and political climate that
> surrounded
> the musicians and composers we are most interested in.
Absolutely. From the standpoint of per
There are in fact many views one can take of history.
Also, what I know about history I take very seriously because I see it
every day in re-runs.
Regards,
David Rastall
bass lines of these songs
and make one's own continuo part from them?
My other question is: can any of you recommend some good recordings of
airs de cour?
Regards,
David Rastall
Dear Stewart,
You wrote:
> ...The lute stays the same; the voice transposes.
>
> The key signature for the singer will be either one flat or no flat,
> instead of a large block of flats for distant keys like F minor. The
> music is written this way to make it easier for the singer to read.
>
> I
Dear Stewart,
You are absolutely a mine of information! I enjoy reading your
postings because I know that even after my 24 years of luteplaying, I
can stll learn something new from them.
> ...I'm sorry to be so predictable on the "we've discussed it before".
> Part of me says, "Don't say that"
On Thursday, February 12, 2004, at 01:47 PM, Herbert Ward wrote:
> I've noticed several Dowland pieces with titles honoring governmental
> and
> military figures (the Earl of Essex, a naval admiral, etc.).
>
> The dedications strike the modern taste as greasy -- none of us would
> compose a march
On Thursday, February 12, 2004, at 02:05 PM, <[EMAIL PROTECTED]> wrote:
> According to whose worldview? Just because it isn't done as frequently
> since the days of John Phillip Sousa doesn't mean it's entirely beyond
> the pale.
I guess nowadays people have high schools named after them rather
On Thursday, February 12, 2004, at 06:32 PM, Thomas Schall wrote:
> Nevertheless the individal did not had the importance it has today and
> therefore artists of the renaissance would have seen their social and
> intellecutal role very different to what we are used to seeing it
> today.
Well, ye
On Thursday, February 12, 2004, at 08:25 PM, Stewart McCoy wrote:
> ...The 2nd fret on the 1st course of my lute vibrates to give a'=440.
> It will vibrate 440 times per second, whether I call it a' on a G
> lute, b' on an A lute, or e' on a bass lute in D.
So if you tune your G lute down a semit
do wonder what nine-tenths of the Jon Show is doing on
this list, as it has little or nothing to do with the lute.
Irritably,
David Rastall
On Tuesday, February 17, 2004, at 05:15 PM, Vance Wood wrote:
> ...It seems to be
> OK for some members of this list to post some pretty god-awful
> political
> rhetoric from time to time
We certainly have ;-)
> so I don't see how you are creating a problem.
Problem? Your word, not mine. I
I'm drawn to some of the aspects
of the Suzuki program.
Sincerely,
David Rastall
To those of you who responded to my Suzuki question: your input is
very much appreciated. Thanks!
David Rastall
otographic reality. But I'll yet stand by the
> argument that the painter wouldn't have captured the lutenist in
> action, so
> may not have captured his style of play.
It's tempting to look at the old paintings and try to look just them,
but that doesn't always produce the best music, at least for me anyway.
Regards,
David Rastall
Hi Jon,
> ...are
> the "diminutions" improvisations about the basic melody, or are they
> just a
> term for music notated with more than one note for the "tactus"
In the sense we're talking about (that of Elizabethan "divisions"), I
would say divisions are improvisions over the basic harmony, w
On Thursday, February 26, 2004, at 07:27 PM, James A Stimson wrote:
> So you would rather have a string of pearls than a giant pearl? So
> would
> I.
By a "string of pearls," do you mean a single piece of music consisting
of a number of smaller pieces? In that case I imagine you would always
On Thursday, March 4, 2004, at 06:14 PM, Ed Durbrow wrote:
> ...Much of the really old stuff, like Dalza, requires it.
> There are melodies where the tune disappears from the top strings and
> clearly uses the fifth string octave to fill it in.
The general consensus seems to be that the earlier,
On Friday, March 5, 2004, at 05:16 AM, [EMAIL PROTECTED] wrote:
> ...reading David R's message
> made me wonder whether his statement
>
> 'There are plenty of examples of 16th-century tablature where notes on
> the
> 4th or 5th, and even the 6th, courses can be found indicated by a
> single dot.
dle note? Assuming D is the dominant (assuming the key is
G minor), does that mean that it always takes a major third?
Some guidance would be greatly appreciated.
Regards,
David Rastall
Thanks for all the information on continuo. You guys know everything!
;-)
Regards,
David Rastall
Dear Martin,
I believe the answer is 42. But bear in mind that we can know the
answer only so long as we can't know the question. ;-)
Regards,
David R
l
the other 21st-century endeavours if it is to be heard. HIP-ness is
essential to what we do, but I think that too much reliance on it sets
us apart, and as such it tells people more about us than it tells about
the music we play.
David Rastall
related to the
subject heading, "Life, the Universe and Everything." It's a little
obscure, I guess...
David Rastall
of us agreed that what mostly lent versimilitude to our evensongs
was the fact that very few people showed up! Still, one way or another
we made quite a hit in conservative Grand Rapids.
The good old days? Hmmm...
David Rastall
On Sunday, March 14, 2004, at 11:37 AM, Timothy Motz wrote:
> Th
unity. Pencil me
in, boys! Sign me up! :-) :-)
A little off the track, but not too much,
David Rastall
On Sunday, March 14, 2004, at 03:38 PM, David Cassetti wrote:
> All,
>
> In Luis de Milan's fantasias #34 (twice) and #36 (once) there is a
> quirky embellishment at a cad
Hi Craig,
Have you tried Anne Burns? Anne is the keeper of the LSA microfilm
library. I can't quite put my finger on her e-mail address, but I bet
it's in the LSA publications.
Talk to you later
David R
On Sunday, March 14, 2004, at 06:53 PM, [EMAIL PROTECTED] wrote:
> I am still looking
I'm just curious: why is it without the first string? Is it just that
the chanterelle can't sustain that playing length?
David Rastall
On Monday, March 22, 2004, at 06:39 PM, Roman Turovsky wrote:
> A large (80cm+) triple-swan-neck baroque lute sans first string.
> It wor
Here is the question for the baroque lute afficionados:
I've never seen Hapsburg double-eagles used as a rose
design except on the Edlinger model (1762) 13-course on Larry Brown's
website. Was that particular rose design ever used on any other
lute?
David Rastall
On Saturday, March 27, 2004, at 08:22 AM, [EMAIL PROTECTED] wrote:
> I am curious then as to your opinions on this particular suggestion of
> Mr.
> North's. Do you continuo players read tablature or standard notation?
> Is
> this suggestion only related to later period musical styles (17th -
>
No-one so far has mentioned Weiss! Until now!!
Bach
Weiss
Beethoven
Wagner
Poulenc
Gerswin
Tomorrow, I'll probably look at this list of six and come up with
another list altogether!
David Rastall
On Wednesday, March 31, 2004, at 06:56 PM, David Rastall wrote:
> No-one so far has mentioned Weiss! Until now!!
Okay: Non-lute composers. I didn't notice the non-lute part. Take
out Weiss, insert Britten.
>
> Bach
> Weiss
> Beethoven
> Wagner
> Poulenc
> Gerswi
On Friday, April 2, 2004, at 12:37 AM, Howard Posner wrote:
> I haven't followed this thread much, but isn't Anderson disqualified
> because
> he wrote for lute?
>
Are you sure it's not Jan Ackerman your'e thinking of ?
David Rastall
On Friday, April 2, 2004, at 10:29 AM, bill wrote:
> i can't believe no one has mentioned brian wilson yet.
Right around the corner from THAA GREAT COMPOSERS OF MUSICAL HISTORY
(tan ta ta TAAA! bow, genuflect, bend our bodies and prostrate
ourselves in humble obeiscance at the mention of their
On Tuesday, April 6, 2004, at 06:59 AM, Roman Turovsky wrote:
>> Is this a modern phenomenon?
> Yes.
It absolutely is not. There are plenty of stories about the classical
masters. Mozart was a prize wise-ass; Beethoven had his moments of
driving away his friends and supporters; Handel once
Nothing whatever to do with the lute, but interesting nontheless:
I was in Tower Records a couple of days ago, and I just happened to
notice a recording of Peter and the Wolf narrated by, are you ready?,
Mihail Gorbachov and Bill Clinton. Also Sophia Loren. There were
photos of them on the ba
On Wednesday, April 14, 2004, at 10:55 AM, Peter Nightingale wrote:
> Maybe the same assimilation that transforms "what's up" into "wazzup"?
> Waddaya think?
I dunno, lessee...passamezzo into passymeasures?
David Rastall
On Thursday, April 15, 2004, at 12:03 AM, Roman Turovsky wrote:
> 'Nuff already.
Waddyamean, 'nuff already!
Seriously, I was wondering whether "passymeasures" had its derivation
in the word "passamezzo."
Any ideas on that?
David Rastall
me of finding the
expression "taken for granted" being written as "taken for granite."
Also, the items on the menu at the school cafeteria being called
"on-trays."
David Rastall
On Thursday, April 15, 2004, at 11:21 AM, bill wrote:
> On Giovedì, apr 15, 2004, at 16:29 Europe/Rome, <[EMAIL PROTECTED]> wrote:
>
>> "England and America: Two countries divided by a common language."
>
> craig -
>
> please, who said that?
>
> - bill
I think it was Mark Twain (I think...)
DR
Hah! I'd almost forgotten about Andy.
DR
On Thursday, April 15, 2004, at 04:07 PM, Edward Martin wrote:
> Or, as in the old spiritual, "In a Garden", where they sing about Andy
> (i.e., "Andy walks with me, Andy talks with meetc".
>
> ed
>
&g
elected groups, although
> not professional),
Some of the professional choral groups such as the Hilliard Ensemble
have recorded shape-note singing, but most of the fasola community
laugh at them. To bring a trained voice into a shape-note sing, or to
"perform" that music in any way, is to completely miss the point.
David Rastall
ote sing!
There are some "walking songs," and those who know the traditions
underlying that hold a certain amount of sway over what goes on
sometimes, but generally the group sits in a square with sopranos
facing basses, and tenors facing altos. The tenor part gets the tune.
It's fun stuff!!
David Rastall
Once again, the academic lute world shows how inept they are at doing
anything beyond studying what other people do naturally.
No, Howard is not quite right. He doesn't know what he's talking
about. What he knows about the "point" of shape-note singing events is
precisely zero.
But that asid
Rainer,
The old Arthur Schnabel recordings are available on CD, and Alfred
Brendel's collection is still available. I've seen multi-CD sets of
both of those collections on the CD shelves recently. I like what I've
heard of Wilhelm Kemff's recordings of some of the sonatas; I don't
know if h
me and stock number for that? I'd like to hear it.
David Rastall
On Sep 25, 2009, at 11:47 AM, Mark Probert wrote:
It seems, to my naif ear, that the composers don't really
understand the
lute and how it works. Given the intervals and the tonality, why not
just play this stuff on a guitar?
Why not indeed! Speaking for myself, I expect a certain type of
On Sep 25, 2009, at 6:42 PM, wikla wrote:
The F-major - to me - is very soft, happy and royal, and btw. also
green to
me; the E-major is much more sharp and angry, and btw. to me its
colour is
blue. And what is most intersting to me, is that in the so called
"baroque"
tuning (a'=415Hz) and
On Sep 25, 2009, at 7:51 PM, Roman Turovsky wrote:
I would tend to Mark Twain's exhortation to "Believe nothing you
hear, and half of what you see."
With the possible exception of the lute list? ;-)
D
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lut
On Sep 25, 2009, at 8:36 PM, howard posner wrote:
The odd thing about that assumption is that we now live in era in
which everyone in the West is taught a tuning system in which
intonation is never perfect but never weird, and yet the music most
people listen to departs from that system constant
On Sep 25, 2009, at 9:33 PM, howard posner wrote:
> On Sep 25, 2009, at 6:14 PM, David Rastall wrote:
>
>> Or maybe GP would have preferred "Hey Jude" sung as though it
>> were Nessun dorma!
>
> Or Pavarotti singing Queen?
>
> http://www.youtube.com/
torical art copies, which are not really competitive in today's
music business. Lutemakers don't take their instruments to the NAMM
show; they go to the early-music seminar workshop venues.
David Rastall
dlu...@verizon.net
www.rastallmusic.com
--
To get on or off this list see l
e weird thing was that he was deadly serious
about it. That's really how he wanted to be known! I have enough
trouble with Charles Mouton, without having to contend with neo-styro-
HIP.
Best,
David Rastall
dlu...@verizon.net
www.rastallmusic.com
--
To get on or off this list see list i
On Oct 6, 2009, at 4:27 PM, Roman Turovsky wrote:
From: "Stuart Walsh"
Nowadays - in a different era - we easily laugh at this stuff
and at the polystyrene scraping ( a much more jokey, Cagey thing
anyway)?. I'm not so sure we would have been so easily laughing
back then.
Now all that -
http://www.youtube.com/watch?v=fyKclt8wJq8&feature=related
Best,
David Rastall
dlu...@verizon.net
www.rastallmusic.com
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
ve never even seen a dead body before, let alone provided ambient
music for such an occasion. It's gonna be interesting...
Best,
David Rastall
dlu...@verizon.net
www.rastallmusic.com
--
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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