The battle of Jannequin traditionally has had a first and second part,
sequentially.
On Thu, Sep 10, 2020, 1:00 PM guy_and_liz Smith
<[1]guy_and_...@msn.com> wrote:
I've played a lot of Renaissance polyphony in facsimile (on
sackbut), and in that context, secunda pars means
" . . . a small
collection of passionate, dedicated, opinionated, sometimes
irascible
lovable misfits with a somewhat spectrum-y devotion to detail and an
unquenchable appetite for discussion . . . ."
Sounds like the perfect group to solve crimes on some Tuesday night
I think I joined about '99 or so and I've watched this list become
extremely important to the lute community. We've bounced so many ideas
and facts across the world and we could always rely on this trusted,
neutral forum, unhindered by outside social corporations. Personally,
I've me
from
the
> > facsimile...
> > >>
> > >> In manuscripts, Marsh Lute Book uses c, it's
often very
> confusing
> > next
> > >> to the e.
> > >>
>
anuscripts, Marsh Lute Book uses c, it's often very confusing
next
> to the e.
>
> French "above line" prints from earlier decades (Morlaye, Le Roy)
also
> use c but I find those prints very readable.
>
> I don't recall &
Dmitry
On 8/3/2020 6:56 PM, Sean Smith wrote:
> Dear all,
> There's a long tradition of scribing the cipher 'r' in place
of 'c' in
> manuscripts of lute tablature. It's quick and easy and serves
to
>
prints from earlier decades (Morlaye, Le Roy)
also
use c but I find those prints very readable.
I don't recall "r" in prints, but maybe I missed some.
On 04.08.20 00:56, Sean Smith wrote:
> Dear all,
> There's a long tradition o
Dear all,
There's a long tradition of scribing the cipher 'r' in place of 'c' in
manuscripts of lute tablature. It's quick and easy and serves to
differentiate a 'c' from an 'e'. My question is, did this carry over
into historic printed tablatures with standardized typefaces? Can
Looking at the sound holes, I suspect a harp.
On Mon, Jul 20, 2020 at 11:07 AM Sean Smith <[1]lutesm...@gmail.com>
wrote:
Looking at the sound holes, I suspect a harp.
On Mon, Jul 20, 2020 at 11:04 AM Tristan von Neumann
<[2]tristanvonneum...@gmx.de> wrote:
I agree whole heartedly with 2nd paragraph, Ron, and most of the first
but, having copied or studied a number of books from the period
specifically with dots in mind, I have found very few wayward dots. As
it requires an extra step to add that dot, either with quill or lead,
I've tri
Hi Leonard,
I think we can consider these to be accurate. Adrian LeRoy was his own
publisher so I'm sure he had the chance to proofread it.
On single lines his dotting is much as we would expect in most lute
tab: on the off beats as an indication of the index finger.
But we also n
And a ms:
[1]https://mazarinum.bibliotheque-mazarine.fr/records/item/3628-redirec
tion
Sean
On Wed, Jul 15, 2020 at 6:37 AM Rainer <[2]rads.bera_g...@t-online.de>
wrote:
[3]https://mazarinum.bibliotheque-mazarine.fr/ark:/61562/mz3625
[4]https://mazarinum.bibliotheque-m
Thank you, Rainer. That's an excellent overview and analysis.
s
On Fri, Jul 3, 2020 at 8:16 AM Rainer <[1]rads.bera_g...@t-online.de>
wrote:
[2]http://vdgs.org.uk/journal/Vol-08.pdf
Rainer
Am 02.07.2020 um 23:11 schrieb Sean Smith:
> Dear
Dear all, I have a question regarding the overlap in repertoire between
the viola bastarda and Terzi.
In his second book (1599) he includes Chi farà fede [Striggio] with
the note, "... accommodato à modo di Viola bastarda per suonar in
Concerto con Liutto grande".
I take it to
I hear ya, Sarge.
Most pieces connected to Ghiselin in Spinacino aren't for the
faint-heared. (ditto Kyrie de les armes) I don't know why. Isn't there
a concordance in the Buxheim Organ book? Maybe make two edits: the
first faithful and the second with ficta suggestions from the chan
Thanks for the probably reference. I've seen Rocha al/el/il Fuso. Of
the three there a preferred spelling for the article?
Sean
On Sun, May 17, 2020 at 12:57 PM Robert Barto <[1]r.ba...@gmx.de>
wrote:
HI Sarge,
La conocchia o rocca è uno strumento che in coppia co
Sorry about that, folks. Two email addresses nearly identical. Please
disregard!
Sean
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
As Mr Batov pointed out remember to take the string's stretch into
account. When a chanterelle is slackened, the point at the nut moves to
at least the 2nd fret when using nylgut--and sometimes further. That's
means about 10% or more of the string mass taken away from the
vibrating l
It sounds like the G. A. Casteliono Diversi Autori of 1536. The Albert
de Rippe pieces are listed as by Alberto da Mantua.
Sean
On Mon, May 11, 2020 at 1:21 PM Jurgen Frenz
<[1]eye-and-ear-cont...@protonmail.com> wrote:
Hello there,
once again I'm looking at a docum
I've used Parallels to open Fronimo on Mac and it works pretty well. My
only complaint is that Mac updates sometimes would create problems as
would OS upgrades. Eventually it would work but rarely the same problem
twice. That was 8 or 9 years ago so that may be water under the bridge.
It's only one chord different from the Antico (Opening chord Romanesca:
III ; Opening chord Antico: i) and often appears as an Antico alternate
in many sources. Compare the Dalza with the Valderabano Romanesca for
similarity. Libro 7 f97.
Apparently the Romanesca predates the Antico,
> � � Other books like Robinson's School of Music seem too
difficult
and
> � � unorganized for the beginner.
> � � Though Robinson is nice and the introduction helpful,
it fails to
> � � create
ls the same as we all have different
difficulties but nice to go through
[3]https://www.lutesociety.org/pages/towards-lute-grades
Best wishes
Jürgen
âââââââ Original Message âââââââ
On Sunday, March 22, 2020 5:23 AM, Sean Smith
<[4]lutesm...@gmail.
Both faves and we're lucky to have them.
I know you like finding hidden things, Tristan. Go to the really long
[Dump] on f280 in the Marsh. There's a measure missing between 114 and
115. Put in something you like or steal/adapt a measure from elsewhere.
Now here's the fun part, recor
> as necessary.
>
> RA
>
__
>
> From: [3][4]lute-...@new-old-mail.cs.dartmouth.edu
> <[4][5]lute-...@new-old-mail.cs.da
ve played a small lute...
On 15.03.20 17:59, Sean Smith wrote:
> I foolishly mentioned that to him once. In his defense
he
pointed out
> it was his first recording nearly 30 years ago. I'm
still
pretty
I foolishly mentioned that to him once. In his defense he pointed out
it was his first recording nearly 30 years ago. I'm still pretty
impressed with it.
And then there's his Terzi cd that is top notch.
Sean
On Sun, Mar 15, 2020, 11:22 AM Jurgen Frenz
<[1]eye-and-ear-cont...@p
Berkeley had its own EM festival planned June w/ lots of Fringe
concerts by locals that will likely suffer a similar fate.
Thinking of all the performances cancelled maybe we could pick a week
and have an informal series from our members on YT and/or Vimeo.
On Wed, Mar 11, 2020 at 2
Thanks for the note, Leonard. We can indeed get caught up in 'the
world' and forget our passion.
I'm editing lute trios for when we can get together again. Did you know
there are 74 trios in the Phalese Pacolini (yes, his spelling is all
over the map) books and about 30 more in the C
I agree with you, Ron, on the uncertainties that creep into the
automatic transposition. I've used it on relatively easy dances but for
more complex work, especially any number of vocal parts, I just did it
by hand--and in 2.1. Now I just do it all in the older version. It only
takes
For the record I still believe Francesco Spinacino's two books are
indeed cans of worms overflowing with colorful content. I've compared
all the non-ricercars to their originals (where possible) and am
certain that a) there are multiple intabulators at work, b) many of the
pieces are
d to use
it herself for the duration.
Danny
> On Jan 5, 2020, at 4:55 PM, Sean Smith <[2]lutesm...@gmail.com>
wrote:
>
>Interesting thread.
>I also bought a tablet (Surface 5) for tablet/tab/music stand.
I chose
>the Windows
hat MobileSheets does nothing like this as well.
David
-Original Message-
From: [2]lute-...@new-old-mail.cs.dartmouth.edu
<[3]lute-...@new-old-mail.cs.dartmouth.edu> On Behalf Of Sean Smith
Sent: Sunday, January 5, 2020 1:56 PM
To: lute <[4]lute@cs.dartmout
Interesting thread.
I also bought a tablet (Surface 5) for tablet/tab/music stand. I chose
the Windows environment so I could read and edit Fronimo and have it
all contained in one box. Unfortunately I can't turn pages in Fronimo's
Print Preview with my home-made-foot-page turner so
If they are playing for other angels dancing on a pin, no rush at all.
But any human audience eventually needs to go home and feed the little
humans.
On Fri, Dec 6, 2019 at 9:07 PM Alain Veylit
<[1]al...@musickshandmade.com> wrote:
Only takes her that long because she has funn
Groovy sometimes; nutty others--and only a distant bridge to unite
them.
My understanding is that a depth of only half the diameter of the
string is necessary with radius only slightly larger than the string. I
prefer a little deeper on the chanterelle of my ren. guitar since it
l
Would it adhere better to bone (or, shudder, ivory) than a hard plastic
nut? Wood would be acceptable, too, I suppose.
It might be that magic material to quickly build up a worn fret, too.
Carefully done, of course.
Sean
On Thu, Nov 28, 2019 at 3:26 PM John Mardinly
<[1]john.m
Theoj89294,
Jacob Arcadelt is wonderful composer to try your hand at transcribing
vocal works if you don't see them elsewhere. The thinner textured
French pieces are easier to work with and were even considered
acceptable on the 4-course guitar. With one of the 4-c intabs of this
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,
accounts
As far back (at least) as Paladin's 2nd Libro Primo there seems to be a
tradition(?) of the Galliard Antico switching to a major key for the
Represse. section. In the Adrianssen it not only switches to major but
alternates between the I and the V. This interestingly echos the
Tradito
I see what you're getting at--8ve and fundamental reversed--but the
illustrator has continued the practice through to the 2nd course. I
doubt it would have an octave on the 4th course at this point in time,
either. I'm not sure how much faith I should put into this painting.
Sean
There's:
Szz [not worthy of the word]
Sstain [not quite enough]
Sustain [just right]
Sustaaayayayayannn [too much]
Sustain-Z [electric guitar].
My understanding is that it's a spectrum and we're a picky, fickle
bunch.
On Sun, Jun 30, 2019 at 1:57 PM Roman Turovsky
After I pare my nails I step outside and find a brick sidewalk or wall
and sweep the back of my hand over it--the opposite direction you'd use
to scratch your fingers on the blackboard to irritate others. It's a
crude ceramic abrasive surface but it works. I could spend more time on
I found in the recent digitization of the LSA microfilm library, a
second printing of E. Adriansen's Pratum musicum longe 1584 printed in
1600 with different music. I downloaded it but find it difficult to
read.
Is there a digitized facsimile (no microfilm middleman) available?
Mo
I find this type discussion fascinating. I was just looking at the
Adriaensen books and noticed Phalese & Bellere's first use of 7th and
8th course: an open 7th course was -a- (w/ a line going through it
since P always ciphered "in" the line instead of "in" the space). But
an open 8t
Jo Bringmann"s list of facsimiles lists two sources for the Cythara
Sacra.
*[1]http://www.jobringmann.de/facsimile-links
On Wed, May 1, 2019, 11:28 PM Mathias Rösel
<[2]mathias.roe...@t-online.de> wrote:
Not easy to read, c and e almost undiscernible at many places.
'penny'orth
Robin
On 06/03/2019, 21:00, "Sean Smith" <[2]lute-...@cs.dartmouth.edu
on behalf of [3]lutesm...@gmail.com> wrote:
à à à à To say that plucking the string closer to the bridge is
"louder" opens
à à Ã
So true, Robert (and Martyn). The loss of thumb-index alternation also
led to the loss of strong-weak beats within passaggi. Granted both
thumb and index are expected to engage both strings, it's inevitable
that one would win out being stronger and on the fundamental side.
When index
To say that plucking the string closer to the bridge is "louder" opens
a few cans of worms here. To pluck the string at any place along its
length from 12th fret to near the bridge is to put the same amount of
energy into the string but introduces various overtones depending on
where
Edward: Check your string adjacent if possible and see how much stretch
it actually uses. Roland's advice sounds plausible. At 72cm I have a
little stretch (and less on the 60cm) but you should have ~3x as much
at 180cm. That may be all you need.
Although I don't have an extended nec
Awesome!
Thanks, everyone!
Sean
On Wed, Jan 16, 2019 at 9:56 PM Dmitry Medvedev
<[1]d.p.medve...@gmail.com> wrote:
From RISM (somewhat ordered):
f.1 Ce n'est rien que de fuir (Anonymus)
f.1v-2 Super flumina Babylonis (La Fage, Jean de)
f.2
I'm not able to read all the titles to the intabulated works. Is there
a description of the manuscript with a listing of contents available on
the web?
It is a recent addition to Jo Bringmann's facsimile page:
[1]http://www.jobringmann.de/facsimile-links
Thanks in advance, Sean
ut but
.85 at the tenth just doesn't sound right to me.
On Mon, Oct 8, 2018 at 1:20 PM Sean Smith <[1]lutesm...@gmail.com>
wrote:
I've always been plagued with a bit of fret buzz on my ren. guitar and
was looking at the belly frets as a culprit. Measuring fret 12 wit
I've always been plagued with a bit of fret buzz on my ren. guitar and
was looking at the belly frets as a culprit. Measuring fret 12 with my
calipers I found a height of .95 mm. (Belly surface to top of the fret)
Could I safely bring this down?
The belly surface-to-midstring diamete
(sorry to send it twice, Rainer, but once more for the greater list)
I would suggest the article by Crawford Young in Vol. 52 #1 of the LSA
Quarterly:
"Tablature before 1400? Reflections on Lute-specific notation and
Boethian roots"
Sean
[cleardot.gif]
On Sun, Oct 7, 2018 a
I can drop by the library on my way home this afternoon ... but I'll
check this space in the case someone beats me to it.
Sean
On Thu, Oct 4, 2018, 2:15 PM Martin Shepherd <[1]mar...@luteshop.co.uk>
wrote:
Hi All,
I don't have access to a library. Can anyone provide me
Then it would appear I've played a part in the confusion as well. I
hadn't understood that Ed hadn't heard it. My apologies. Sean
On Sat, Aug 25, 2018 at 5:37 AM Edward Martin
<[1]edvihuel...@gmail.com> wrote:
Dear ones,
I was asked to provide the answer to the list, s
wrote:
__
From: Sean Smith <[2]lutesm...@gmail.com>
To: lute <[3]lute@cs.dartmouth.edu>
Sent: Sunday, 26 August 2018, 12:41
Subject: [LUTE] Re: Nigel's Francesco vol 2
Dear Sean
Don`t worry, Don Quijote de la
Fair enough.
On Sun, Aug 26, 2018 at 11:20 AM howard posner
<[1]howardpos...@ca.rr.com> wrote:
> On Aug 26, 2018, at 10:38 AM, Sean Smith <[2]lutesm...@gmail.com>
wrote:
>
> If we cannot hear the differences between the two in
If we cannot hear the differences between the two instruments from a
recorded performance, what conclusions should we draw? Is the
difference more apparent when we are in the same room? Should we
suspect they have been mixed (deliberately? inadvertently?) to make
them more similar?
tions
which notes to hold, sometimes three notes, which leave you with few
ways to go to the next chord, or none, if you put the wrong fingers
on
them. :)
His Ricercars are very good practice material for voice leading.
Am 04.08.2018 um 01:15 schrieb Sean Smith:
&g
Antonio Rota in his first book has a Saltarelo and Piva in the Dm
Antico dance cycle that includes the passage (more or less similar in
each)
I2 0.2.3.5.7.I
I3 2.3.5.7.8.I etc.
It may not be clear above but it's a run of thirds where each cipher
has a dot following. The passa
Ed,
I asked Paul O'Dette at the LSA seminar last month about the general
ratio between dances, fantasies/ricercars and intabulations in the 16th
century. He put it at about one third for each.
Sean
On Sun, Jul 29, 2018 at 7:43 AM, Ed Durbrow <[1]edurb...@gmail.com>
wrote:
Just to add, of the two deRippe fantasies, one of them uses a 4th
course that's dropped one whole tone. You see this tuning from time to
time in other pieces but it doesn't need a string change.
s
On Thu, Jun 7, 2018 at 10:14 AM, Sean Smith <[1]lutesm...@gmail.
Hi Tristan,
Nobody's written yet so I'll have a go.
Like most lute objects the ren. guitar has a top string tuned as high
and as comfortably as possible. For a 55cm length that translates to an
A (415, 450 or nearby). I use the same diameter schedule as the top 4
courses on othe
The printed trios are somewhat different from the trios in his hand
from the Castlefranco ms in that the ms. contains very few errors and
each part has its own part to play within the trio.
Sean
On Tue, May 22, 2018 at 7:54 AM, Mathias Rösel
<[1]mathias.roe...@t-online.de> wrot
Dear Wannabe Mac Fronimo users,
I have just opened both Fronimo 2.1 and 3.0 on my Mac using Crossover 17
running on High Sierra. I have not explored of it yet but I thought I’d post
this so more experienced Mac users can go through it for its strengths and
weaknesses. I have a lot of projects
Time for a stray thought? Maybe.
I’ve always wondered if by combining a guitar, flute/penny whistle, violin,
bass and bazouki/mandolin — sometimes all, sometimes less — there wasn’t a
subconscious effort to recreate the English broken consort? Even in blue grass
bands one gets something of the
Hi Rainer,
I havenât found the page âdeadâ at all. Some links have been lost however
and, yes, it could use a serious update but I still find it a useful tool. I
asked the LSA about it and they report that they are working towards making the
700+ titles of their entire microfilm library
I’m currently partial to the intabulators who took on the work of Archadelt.
There's Vindella’s all Acadelt book (1546), the many variations of “Quand’io
pens’al martir” and even the chansons for voice and renaissance guitar (A.
LeRoy, Cinqiesme Livre). And Crecquillon, non Papa, Pathie, deRore,
I’m glad Frank Spinacino doesn’t work that bar. He’d’ve mangled that Martini.
> On Nov 13, 2017, at 4:28 PM, Stewart McCoy wrote:
>
> A lute walks into a bar: "Tonight's programme will be entertaining - we've
> got to get through 300 bars, and there aren't many rests."
> A lute walks into a ba
A texted version (Cantus and Bassus parts included) of “Tant vous allez douce
Guillemette” is found in Emanuel Adriaensen’s _Pratum Musicum…_, Antwerp,
1584^6 where it is attributed to Abrahan. Howard Mayer Brown gives RISM 1564^11.
Sean
> On Oct 19, 2017, at 7:31 AM, Isabelle Villey wrote:
>
Right on, Arthur,
The Spinacino book, like the other opening publications by Petrucci, does
indeed look back to the 15th century and is the largest cache we have of
Burgundian chansons set for the lute. Interestingly, there seems to be a few
different styles in their intabulation. Only one ron
Sorry to bother y’all with that. Ignore that and this. Sean
> On Sep 8, 2017, at 10:49 AM, Sean Smith wrote:
>
> 0
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
0
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I received a nice gig from the effect.
Sean
> On Sep 7, 2017, at 1:55 PM, howard posner wrote:
>
>
>> On Sep 7, 2017, at 1:40 PM, John Mardinly wrote:
>>
>> So is there any chance that this will result in archlute themed backpacks,
>> pencil cases, blankets, pillows or other Disney theme
I think it’s safe to say we pay attention to details of movies when they
overlap our areas of specific interest. When I started doing optics I suddenly
noticed that every characters' eyeglasses were of neutral power unless thick
ones were part of the plot. It may not ruin the show but I mentall
I recently saw a hurdy gurdy (19th century?) in an antique shop with some drone
gut strings that looked (to my eye) about 1.5 - 1.75 mm in diameter. They were
pretty old. I’ll bet it’s still there with that $3k price tag if anyone wants
it. A nice old theorbo’d Vandervogl, too, that they had la
Interesting to see this play out again. I was in exactly the same situation 2
years ago, scratching my head over this same piece of music that I thought I
had prepared for. Any others out there?
Ron, I agree, learning about sources is every bit as important as technique,
instruments and aesthe
Dear Denys, Rainer
I was thinking of the Libro Ottavo, too, but found the same pattern in
Intabulatura di Lauto del Divino FdM & del eccelente PPB da Milano … Libro
Secondo, Venice, 1546.
First instance in this book: First pavana, last system of 2nd page (m. 71), the
third cipher is one too m
I know the versions and fictas go all over the map but I’d hardly call any
offensive. Paired up, they get very interesting, of course. I remember a mate
and I going at them and pairing as many as we could w/ every size lute and
cittern(s). “Piquant!” “Chewy!” “Clashy!” Never the ‘O’ word, tho.
> .I would have never thought a string would
> go flat in higher positions it is usually the opposite.
I’ve seen it happen regularly on my top string or 4th octave when an older
style nylgut (the white ones) has been on for a long time*. Usually after 7
months I have to decide whether to move
It’s also possible that the two strings are absorbing moisture at different
rates. Furthermore they may absorb hand sweat in different areas preventing or
promoting same.
“It’s way more complicated than we ever imagined!”
Sean
On Feb 28, 2017, at 5:53 PM, fournierbru wrote:
> Getting
Thank you for your hard work. That’s a lot of lute music!
Akemasita omedetoo gozaimasu,
Sean
On Dec 30, 2016, at 3:53 PM, T.Kakinami wrote:
> Information of facsimile I knew so far is updated. List is categorized by
> sources and by authors. Sources are from mainly bibliotheques around the
>
I never went to the soldering iron either until recently and I’m still
undecided. For a long time I used the gas stove and a stainless butter knife. I
could control the knife temp very easily and make a beautiful flat bulb on the
gut end, too. Often the soldering iron gets too hot for me.
A ca
It’s good to bring these things up from time to time to help our new crop of
players. I took the liberty of changing the subject line for that purpose. Here
are a few more tips if I might be so bold (after M&M’s dialogue).
Martin’s video for reference: https://youtu.be/Qs_pXOoBVLU
Martin: Th
But, … doubled gut frets!
I was struck by how classical guitar-like the fretboard was. Then I kept
thinking the extension would probably have to be longer on a HIP instrument.
Now I know. Thanks. Hull and spars notwithstanding, am I right in imagining the
rigging isn’t very different from a ha
Hi Michael,
Is this a modern edition? Secourez moi is in Attaignant's "Tres breve et
familiare…” (1529) but there are no dances in the book. It would require a
singer as well since most chansons are presented twice — once as
Cantus-and-lute and again as a lute solo.
Sean
On Sep 4, 2016,
What is the URL for the latest Fronimo build?
thanks, Sean
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Howard, tsk tsk tsk. The dolphin whistles the Van Eyck setting while Arion
accompanies on b.c.
Sean
On Jul 21, 2016, at 5:29 PM, howard posner wrote:
>
>> On Jul 20, 2016, at 11:36 AM, Rainer wrote:
>>
>> Arion on a Dolphin playing Lachrimae,
>
> I’ve heard about Arion riding the dolphin
I found that even with fewer hours put into practicing my left hand gets more
wrung out if the gut strings are aged. Consequently I tend use more pressure to
get a clean note — which, in turn, ages the strings/frets even more. It’s a bad
cycle. Same goes for frets. When I’m unconsiously fightin
strings (not just basses, where it
> might be an indication of loading), Dowland mentions them, and I think some
> strings were just dyed different colours for some reason which escapes us.
>
> M
>
>> On 28/05/2016 18:27, Sean Smith wrote:
>> Hmm, too early for a canario
9:59 AM, G. C. <[1]kalei...@gmail.com> wrote:
>
>pls. notice the RH nail contact?
> On Sat, May 28, 2016 at 4:42 PM, Sean Smith
> <[1][2]lutesm...@gmail.com>
>wrote:
> Good morning all,
> I was impressed thi
Good morning all,
I was impressed this painting:
http://www.fondationcustodia.fr/ununiversintime/1_meester_van_de_jaren_veertig_4494.cfm
I appreciate that the artist was very attentive so I started zooming around
with the magnifier. I noticed that while the spacing is unrealistic the top
strin
;
> http://lutesocietyofamerica.org/Tab-Facsimiles
>
>
>> On 10 May 2016, at 7:50 AM, Sean Smith wrote:
>>
>>
>>
>> Alternatively, most (all? I havenât checked all the links) library sites
>> that offer the vihuela books on the web can be found h
t; that ends with selecting 'Run as Administrator' - perhaps a more savvy reader
> of this will know what to do.
>
> Alan
>
>
> On 9 May 2016 at 22:34, Sean Smith wrote:
>
> Hi Monica,
>
> I have this CD of vihuela books and also found the interface less
Hi Monica,
I have this CD of vihuela books and also found the interface less than ideal. I
opened it as its own folder (Finder in my case although I imagine Explore would
do it, too) and found the group of images for each book. I named a new folder
on my desktop for each book/composer and drag
Dear Zak,
Thankfully this is not about tuning.
The Libro d’intavolatura is indeed fascinating and deserves greater interest. I
have a question about your word “circulated”. I was under the impression that
VG prepared the ms. for publication and it never proceeded further. Since it
remained i
t; Regards,
>
> Daniel
>
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
> Of Sean Smith
> Sent: 18 January, 2016 18:57
> To: lute list
> Subject: [LUTE] El atanbor
>
>
> Dear vihuelists, gui
Dear vihuelists, guitarists and historians,
The final piece in Valderabanos’ vihuela books is a "para discantar" over a
one-measure “punto” 'commonly known as “el atanbor”’.
Is there a meaning to this Atanbor? I’ve never seen in in relation to
lute/vihuela music before.
In the final line of
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