martyn hodgson writes:
> You misunderstand the point: for larger theorboes, ie those that would
> normally be required to lower the 2nd an octave as well as the first, the
> physics doesn't work.
I understood you perfectly the first time. I just don't agree. Neither do
you, when it comes down
David Rastall at [EMAIL PROTECTED] wrote:
> 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?
I've learned to take anything Lebrecht says with a grain of salt. This
particular article has a
Stewart McCoy at [EMAIL PROTECTED] wrote:
> The music is typically French, with a thin texture suitable
> for a theorbo, but ornaments and left-hand stretches made it too
> much of a struggle, for me at least. I didn't pursue the repertoire,
> thinking that the fault was my instrument rather than
Leonard Williams at [EMAIL PROTECTED] wrote:
> George Kelischek workshop produces and distributes a variety of early
> and folk instruments from Brasstown in N or S Carolina (US)--can't recall
> which state. They've had a good
> reputation, but there is a tendency to introduce modern "improvement
Roman Turovsky at [EMAIL PROTECTED] wrote:
> Monteverdi operas modulate sufficiently for Claudio M. to have him ask his
> musicians to tune in ET, for which he suffered criticism from a gentleman
> named Artusi. Who remembers Artusi now?
Alas, I can't seem to find my list of the persons who remem
Vance Wood at [EMAIL PROTECTED] wrote:
> It seems that my casual remarks to a casual question about the authority of
> the church has provoked the passion of one or more members of the list.
It may seem that way to you. It seems to me that someone disagreed with
you.
HP
Caroline Usher wrote:
> As the essay that I pointed to yesterday puts it,
> From a historical point of view, the idea that the medieval church was corrupt
> is based on a couple of methodological fallacies, such as disrespect for the
> peculiarities of medieval religion, arbitrary use of historica
Roman wrote:
>> Monteverdi operas modulate sufficiently for Claudio M. to have him ask his
>> musicians to tune in ET, for which he suffered criticism from a gentleman
>> named Artusi.
I wrote:
> I ... can't find any reference to equal temperament from either Monteverdi
> or Artusi. Perhaps y
Martin Shepherd:
>> And ET is not "indispensable" for modulation - as I hoped I had made clear,
>> it is just one of many temperaments which allow modulation to any key. It
>> also has the unfortunate effect of making all keys sound the same, and
>> therefore largely removes the point of modulat
Roman Turovsky writes:
> I didn't say that Artusi's criticism was directed at CM's instructions.
Yes you did. You said:
>>> Monteverdi operas modulate sufficiently for Claudio M. to have him ask his
>>> musicians to tune in ET, for which he suffered criticism from a gentleman
>>> named Artusi.
Caroline Usher at [EMAIL PROTECTED] wrote:
> You are citing the worst period from the entire history of the Church
I'd have thought it one of the better periods. By "worst," I suppose you
mean "most apparently venal," but venality, and indeed, "corruption," would
be far down on my list of factor
Wayne Cripps at [EMAIL PROTECTED] wrote:
> You can (and I have) used unflavored gelatin as hide glue.
> It doesn't smell so bad as some hide glues sold as such...
Can you recommend a particular product? It sounds perfect for repairing a
ukelele that my kids will doubtless smash up again soon.
H
Stewart McCoy at [EMAIL PROTECTED] wrote:
> As often as not, transposing the voice part to match a lute in G
> brings the singer's notes into a sensible range. For example, airs
> de cour which imply a lute in A tend to have quite a high range. By
> transposing down a tone for the sake of a lute i
eryone is
equal. In Dowland's time, such an assertion might have been construed as
treason.
Howard Posner
Roman Turovsky at [EMAIL PROTECTED] wrote:
> Most of us are raised with the idea that everyone is
>> equal. In Dowland's time, such an assertion might have been construed as
>> treason.
> Didn't Quakers professed such a treasonous belief?
Something like it, and they drew a lot of heat for it.
means. Don't get me started.
My law degree, from the University of California at Los Angeles, says "Juris
Doctor." This is typical. "JD" is always understood to mean law school
graduate. I've never seen "Bachelor of Law," but I can't say that no law
school awards such a degree.
Howard Posner
Martin Shepherd at [EMAIL PROTECTED] wrote:
> So why do we allow ourselves to be beguiled by ideas of a golden past?
I don't. I just like the music.
out it, either: the entire first verse is for
bass only (i.e. just the "Cold and Raw" tune, unharmonized), giving the
queen about half a minute to get the joke before the singer starts singing
another melody over it. It's pure speculation on my part, but unless I
badly mistake Purcell's sense of humor, the singer on Mary's birthday in
1692 was Mrs. Hunt.
Howard Posner
.
BTW, the bass part of "May her blest example" Orpheus Britannicus, which was
published posthumously, differs in spots from the one in the birthday ode,
which was busier and more interesting. But they are both obviously "Cold
and Raw."
Howard Posner
Alain Veylit at [EMAIL PROTECTED] wrote:
> But what on earth is "signalling a page-turn in
> Hebrew-fashion"?
It could simply mean turning back to the previous page (for the da capo), as
if reading from right to left as in Hebrew.
Less likely, I think, it could refer to an ethnic stereotype abou
t;
Purcell did indeed compose more than his share of raunchy or salacious
songs, though I can't think of any that were ballads.
Howard Posner
Eloy Cruz at [EMAIL PROTECTED] wrote:
> You can check Nina Threadwell's dissertation "The chitarra spagnola and
> Italian monody",
You'll have better luck finding it if you look under "Treadwell"
Roman Turovsky at [EMAIL PROTECTED] wrote:
> IMO: Baroque Lute is ill-suited to any group endeavor, excepted accompanying
> a single voice singing maximum at mezza voce.
You're playing continuo whether you're accompanying 1 voice or 100.
> Existence of fine chamber music with Baroque Lute does n
Anyone know of any music for tiorbino other than Castaldi's duets?
Alain's response prompts me to clarify my question. I'm not looking for
music that can be played on a tiorbino (I suppose any Italian or French
theorbo piece could be played on a tiorbino). I'm asking whether any
composer other than Castaldi specifically designated music for tiorbino. I
think th
did something like that for Bach suites with the Brandenburg
>Consort (and it was very nice), but I don't think every conductor would be
>that tolerant.
I have to register my amusement at the thought of a conductor "tolerating"
Nigel North.
Howard Posner
Roman Turovsky at [EMAIL PROTECTED] wrote:
> However what I meant wasn't his
> personality, but how much he euphoniously deviated from the rest of the
> band.
I wasn't referring to his personality either.
This is what's called "folk etymology." Beware acronymic explanations of
words that have been in the language for a long time (the OED records
written uses of "shit" in the 1300's, and it was undoubtedly around before
the Norman conquest) particularly when they're based on such obviously
strained
Who wrote the original song?
James A Stimson at [EMAIL PROTECTED] wrote:
> 6. Ian Anderson
I haven't followed this thread much, but isn't Anderson disqualified because
he wrote for lute?
David Rastall at [EMAIL PROTECTED] wrote:
> Are you sure it's not Jan Ackerman your'e thinking of ?
No, Ian Anderson. My four-year-old has latched onto Songs From the Wood in
that never-get-tired-of-it way that little kids have, so I know whereof I
speak.
Thomas Schall at [EMAIL PROTECTED] wrote:
> At the video a "lute" appears but where in the songs? I have listend to
> it *very* often and wonder ...
At the beginning of "Velvet Green," with the harpsichord. And we've already
talked about Thick as a Brick. There are probably others. I daresay I
Greg M. Silverman at [EMAIL PROTECTED] wrote:
> According to http://home.cogeco.ca/~mansion1/martinbarre.html, the only
> Tull recording with Martin playing lute was Songs from the Wood
Don't believe everything you don't read on the web. The "review" included
with the Thick as a Brick LP notes "
Arto Wikla at [EMAIL PROTECTED] wrote:
> That was an interesting sound clip indeed!
> But was it really a lute? At least at the end of the clip,
> there clearly was an 12-string guitar mixed to the "lute
> sound"!
It's Ian Anderson's six-string with a capo on the third fret, playing along
with th
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
> I might consider it as an instrument for a beginner to learn continuo if the
> price stays low.
Beware the string length. Some swan-neck lutes have fingerboard lengths of
more than 70 cm, which does not work well in G tuning unless the pitch is
rea
If your local paper doesn't have "9 Chickweed Lane" try this link:
http://members.comics.com/members/common/affiliateArchive.do?site=cc&comic=c
hickweed
There have been plenty of acrimonious breakups in the classical world,
indeed in the early music world, some of them involving big-name lute
players.
Art is a passionate business, which magnifies differences of opinion, and
egos can be large, which also magnifies differences. Enormous amounts of
bill at [EMAIL PROTECTED] wrote:
> vivaldi's temper
> tantrums
??
Roman Turovsky at [EMAIL PROTECTED] wrote:
> Handel could send his librettist packin', and write for oboe instead. I
> don't think Elton could ever write for oboe.
It's not so hard to write for oboe.
Handel might indeed have sent his librettist packing when he was an
impresario in London. He co
Roman Turovsky at [EMAIL PROTECTED] wrote:
>> It's not so hard to write for oboe.
> Really? Have you tried?
Hasn't everyone?
> There is no music set to a poem.
> That's why real poetry is best not set to music, it has its own. Poetry set
> to music is almost invariably mediocre, more so when the
David Rastall at [EMAIL PROTECTED] wrote:
> Seriously, I was wondering whether "passymeasures" had its derivation
> in the word "passamezzo."
It's the generally accepted derivation.
bill at [EMAIL PROTECTED] wrote:
> my favorite tautological (nice word, that - thanks) corruption of the
> language is sometimes made by european sports commentators when
> discussing events in football's "champion sleague"
Tautological may be a nice word, but it doesn't mean what you think it do
David Rastall at [EMAIL PROTECTED] wrote:
> I think it was Mark Twain (I think...)
George Bernard Shaw. You may be thinking of Twain's remark that the King's
English is not the king's, but a joint stock company in which America is the
majority stockholder.
He didn't consider India, of course.
Howard Posner (Mrs.)
P.S. I have never told a French person to get a backbone.
You wrote:
> more lute music is to be heard at Ralph's than anywhere else in Southern
> California... Probably some studies showed that (low decibel level) early
> music can put people in the comfortable (zombie) state conducive to the
> happy consomption of supposedly happy (yet now dead) chicken
You wrote:
> but it seems to me that
> those big chain supermarket music compilations must represent big bucks for
> someone (not necessarily the recording artists).
Probably true. The recording artists get royalties at whatever the
negotiated rate is. I suspect it's lower for store soundtracks
You wrote:
> if i've taken
> your collective measure - as it were - correctly i would say that a
> popularization of the lute repertoire would probably cause most of you
> to drop it immediately and go off in search of something even more
> esoteric
* * *
> for the
Eugene Braig wrote:
> I determine the degree of my emotional response to all artistic
> endeavors based upon an inverse log scale to the degree of popularity of
> said art.
A laudable goal, but your market research expenses must be astronomical.
Martin wrote:
> As to why 13c lutes had single seconds (and whether they always did) I leave
> it to others to speculate.
One obvious speculation is that a 13-course bass-rider lute was a modified
11-course. The easiest conversion was to add the bass rider and leave
everything else alone.
HP
Ken Be wrote:
> Certainly converting renaissance lutes into baroque
> configurations by adding an additional top course (and additional diapason
> courses)
> seems logical enough, but I'm wondering why keeping the top two courses single
> remained a feature on all baroque lutes thereafter.
Maybe
You wrote:
> 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.
His M
> How was the band's name whose music one can only bear to listen when
> being on a different planet?
Not quite that. In the interests of accuracy, from Douglas Adams' "The
Restaurant at the End of the Universe", chapter 17:
"Disaster Area, a plutonium rock band from the Gagracka Mind Zones, ar
You wrote:
> isn't it also the tune for "pistol packin' mama"
No, but there are a lot of songs of all sorts built on the same chord
progression.
>> Francesco was done, Francis thanked him and gave him his weight in gold.
Rather less than his weight, I think.
You wrote:
> i'd like to know if those who criticize the coalition for their human
> rights abuses base their criticisms on some very disturbing photos or
> on the deeds that were committed in them.
That's an easy question to answer. All people who take up the lute because
it's rare and arcane,
Bill wrote:
> my server couldn't connect to the sweeping generalization site you
> mention.
>
> go there often, do you?
Not necessary. These days I get free home delivery.
Alain Veylit wrote:
> Is a "fifth" really a unit
> of measure for whisky?
And any other liquor, including wine. 750 ml is close enough to a fifth of
a gallon not to worry about the difference.
I don't get the Ashcroft jokes, BTW.
[EMAIL PROTECTED]
> the instrumental piece "Horizon", is an old favourite of mine, I played since
> my teen years.
>
> To my hears, this piece sounds like a classic piece (Bach? someone else?)
The sample I just listened to, which may or may not have been the beginning,
starts with a few notes
Francesco Tribioli wrote:
> Considering that the first telescope was invented by Galileo 8 years after
> Tycho Brahe's death,
Galileo did not invent the telescope; indeed, he learned of it from
published sources.
Those trying to find "Galileo's Daughter" will have a better time looking
for the
Herbert Ward
> England has produced many famous and innovative rock guitarists (and their
> bands): Hendrix, Harrison, Page, and Clapton, to name a few. How
> plausible is it that this is attributable, at least in part, to England's
> lute history?
Not very. Hendrix was an American, and the ot
bill killpatrick wrote:
> i find the whole hip approach to early music to be something of a
> tyranny. if we were to apply it to other disciplines - like painting
> or opera, for example - then we wouldn't have verdi's shakespearian
> operas or anything much beyond cave drawings.
You don't seem
> unless alternate choices of music can be seriously considered for the
> baroque lute and alternative instruments considered for the playing of
> baroque music, then i'd say this thread is at an end.
You can play anything you want on a baroque lute (you can probably have
Roman intabulate it for y
At the risk of setting a quarrel new abroach, I point out this article from
the Birmingham (England, not Alabama) Post about a legal judgment that a
musicologist's work in reconstructing an orchestral piece was substantial
enough to warrant copyright protection. It has not much bearing on law in
t
[EMAIL PROTECTED] writes:
> Perhaps someone can explain why Hyperion believes they should collect
> revenues on this CD and not compensate the musicologist when the production
> the CD
> was enabled by his labor.
I think you missed this part:
>The nub of the dispute with Hyperion is that the re
Roman Turovsky
> I seriously doubt you'd get a FLOOD or a FLURRY of doubled responses
I routinely delete all the individual addresses from my posts.
[EMAIL PROTECTED]
> Sawkins' copyright claim would be limited to the improvements which he added
> or the derivative work, not the original unimproved work. A minor distinction,
> but still with a difference.
>
> I could reproduce the work that is in the public domain without his
> 'improvements'
> Hi, I have an OLD, OLD 10 course built by Larry Brown back in like 1981.
> The face is split (somewhat).
>
> I will get it fixed by Larry, eventually. I will have to send it off to
> him.
>
> I got it second hand for about $1100.
>
> This was my first lute and up until the time of the fractur
and make a
missing thumb report, which, frankly, is really embarrassing and
occasionally dangerous. I live in Los Angeles, and the last time I reported
my thumb missing, an overzealous police officer attacked it with a
flashlight.
Howard Posner
I wrote:
> I believe Kapsberger's instructions were to use the index finger on the
> fourth note, since the last note of the arpeggio is on the third or fourth
> course, even when it isn't the highest note.
Chris Wilke, wisely considering me an unreliable source, writes:
> t4, i2, m1, i3 makes p
Richard Yates writes
> I transcribed a few Kapsberger pieces for the GFA Soundboard a few years
> ago. Part of that article said: "Among Kapsberger's works, the toccatas
> show the boldest ventures into the new era. The one I have chosen, from the
> Libro Primo d'intavolatura di Chitarone (Venice,
Richard Yates writes:
> You assume that Kapsberger's example implies that he considered it to be
> mandatory rather than just to illustrate the sequence that would give an
> ascending chord.
He certainly didn't say his set of examples was optional, and it doesn't
"illustrate the sequence that wou
Thomas Schall
> I have accepted to play again to a service/official event (politicians
> as well as priests will participate) in remembrance of the so-called
> "Reichsprogromnacht" when the Nazis the first time showed their ugly
> grimace to a wider public.
>
> My question would be for ideas what
David Schoengold did some intabulations of Jewish songs in renaissance
tuning in PDF and other formats at:
http://web.gerbode.net/ft2/composers/Jewish_holiday/.
Maybe some of them will do. I'd avoid M'oz Tzur, which sounds positively
Lutheran (I've always supposed it was a Lutheran import to the
Re Mathias" comments on Maoz Tzur and Oseh Shalom Bimromav:
I am well aware of what the words mean, Mathias, but the words are not the
present topic: I'd assumed Thomas was going to be playing and not singing,
and in any case I was referring him to intabulations, not the songs
themselves. We are
Roman Turovsky
> SA vets have a reasonable shot themselves at being a persecuted minority (of
> sorts.). They were gotten rid of rather quickly.
A few hundred of the leaders were killed in June 1934. But there were
hundreds of thousands of storm troopers; I've seen estimates as high as 3
mill
On Aug 15, 2009, at 9:16 AM, Martin Shepherd wrote:
> Er - you need to take the gloves off when you play the lute.
Is this true? Why didn't anyone tell me about this before?
Somewhere between "don't shift before a weak note" and "don't leave
an empty case open when there's a cat around" you'd th
Nice line near the end: "In this noisy world, I think of the lute as
the still, small voice of truth." . I suppose Emma knows a "still,
small voice" is how God appears to Elijah in 1 Kings 19: 12.
On Aug 22, 2009, at 6:44 AM, Karen Hore wrote:
Just saw this programme scheduled to be on
On Aug 26, 2009, at 6:17 AM, Christopher Witmer wrote:
> s improvisational ability something that you either have or you
> don't? Or is it something that can be learned? Are there any tips
> concerning how my daughter could most effectively approach this?
I'm assuming the skills we're talking abo
On Aug 27, 2009, at 12:21 PM, Antonio Corona wrote:
> "They must be played with a somewhat fast air [so much for the slow
> pavan] and it is required that they be played twice or
> thrice" (Debense tañer con el compas algo apresurado, y requierense
> tañer dos o tres veces). Milan does not
On Aug 27, 2009, at 9:29 PM, Antonio Corona wrote:
> You are quite right, but that was not the point I was trying to
> make. Rather than questioning how to manipulate the piece, I was
> trying to show the inconsistency of forcing a historic category
> into a context that contradicts it explicitly.
Thanks for the information.
On Aug 31, 2009, at 2:24 PM, Stewart McCoy wrote:
Dear Howard,
Some time ago you were asking about tablature sources where the
tablature is like Luis Milan's, i.e. Italian tablature upside down. I
notice that there is some music added to one of Denss's books,
whic
On Sep 10, 2009, at 9:38 AM, Suzanne and Wayne wrote:
> Once you've been lurking on this list for awhile, you learn
> that it has a male geek bias.
I've never expressed an opinion in favor of male geeks on this list.
--
To get on or off this list see list information at
http://www.cs.dartmouth
On Sep 10, 2009, at 10:16 AM, Mayes wrote:
> Do we care how many of our
> lute-playing colleagues are left-handed, Black, gay, moustachioed?
Yes, no, no and yes, respectively, judging from recent posts.
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To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-
On Sep 11, 2009, at 11:52 AM, Ron Fletcher wrote:
> It has been mentioned that the flute and harp are considered as having
> female bias. So what is preventing females learning to play the lute?
Geez Louise, guys. Someone wrote that 95 of the most recent 100
posts were from men. That highly un
On Sep 10, 2009, at 1:45 PM, Laura Maschi wrote:
> Even if I can't play too well, I try to put my soul in it,
You and Voldemort...
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For newcomers who look at the wikipedia article, Camilla de Rossi's
"Il Sacrifizio di Abramo" is not a "four-movement sinfonia" but an
oratorio with a four-movement sinfonia for strings and continuo
(between the first and second parts) that has a prominent lute
obbligato, which occasionally sounds
On Sep 10, 2009, at 7:35 PM, EUGENE BRAIG IV wrote:
> The performer, Falletta, is now pretty famous as a guitarist and
> conductor; She now has a concerto competition named in her honor
She's the music director of the Buffalo Philharmonic. How she gets
the buffalos to play decently is a mystery.
On Sep 11, 2009, at 7:26 AM, Edward Martin wrote:
> I actually have an aluminum case, which was built for me by a friend
> of Donna Curry. it works extremely well for air travel, but that was
> years ago.
Building one of those things now might cost more than replacing the
instrument.
--
To get
On Sep 11, 2009, at 6:26 AM, Roland Hayes wrote:
> Funny. An orchestra in Buffalo must must not be able to play
> decently?
He who laughs last doesn't get the joke...
You might check out Sean Smith's post about the horn section.
> BTW I loved your
> intabulation of the polka and fugue from Schw
Check the back issues of the Q; somewhere I recall a story by Suzanne
herself about the days when she and Poulton were both, ostensibly,
students of Arnold Dolmetsch. As she tells it, they both had rather
more on the ball than Dolmetsch did, which I can certainly believe,
and sometimes his instruc
On Sep 15, 2009, at 7:43 AM, nedma...@aol.com wrote:
>I think of thumb-over as allowing use of m-i whenever desired.
> So, I
>think of the person useing thumb over technique as using m-i
> more than
>the person using thumb under - at least whenever bass notes are
> present
>along w
On Sep 15, 2009, at 11:43 AM, nedma...@aol.com wrote:
> But, I am making a basic assumption (based upon a limited amount of
> reading) that a style of thumb-under technique was in general use
> before a style of thumb-over technique evolved and became also
> generally used. Also, that this later
On Sep 15, 2009, at 2:33 PM, Antonio Corona wrote:
Dear Howard,
What is the source for the theory that in Spain and its areas of
influence thumb-out was the norm?
I suppose, since I already wrote
I've long since forgotten the evidence for the
south-to-north migration theory, BTW.
you'
On Sep 25, 2009, at 10:35 AM, Suzanne and Wayne wrote:
he piece
"RunStenand Varin said", by Michael Atherton, was set into tablature
by the composer, because the composer PLAYs the lute.
And did we notice that the second movement is a riff on the best-
known of Besard's entrees?
--
To get on
On Sep 25, 2009, at 10:47 AM, howard posner wrote:
> And did we notice that the second movement is a riff on the best-
> known of Besard's entrees?
I meant Ballard, of course.
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On Sep 25, 2009, at 4:54 PM, Roman Turovsky wrote:
Them Egyptians had no tools to build pyramids either.
Etruscans had no tools to build the city wall of Amelia.
However we have those walls, and some early music playable only in ET.
Your analogy is rather less solid than the pyramids. The noti
On Sep 25, 2009, at 5:20 PM, David Rastall wrote:
> would have necessitated transpositions of as much as a minor third.
> Where does the color-coding idea fit into that scheme? You don't
> get a combination of colors; you get everybody playing out of tune.
Probably not; see below.
> And what a
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/watch?vÇFGPIRJx6I
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On Sep 28, 2009, at 9:01 PM, Christopher Stetson wrote:
> My question (not answered in the book): In which traditional scale
>does someone from, for example, Java have AP (or PP); slendro (5
>unequally "spaced" tones to the octave), pelog (seven equally
> spaced
>tones), or both? I
However, and I confess I don't remember the details, some
researchers
seem to think that there is an absolute pitch independent of
memory.
The problem with that, as we both realize, is that it presupposes
something like a Platonic Ideal of A at 440 imbedded in our
synapses.
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