To play an octave higher.
Please read my earlier messages: double reentrant was for large theorbos AND
for those instruments strung at a significantly higher pitch standard
fespecially or solo music eg in D (as Talbot's Lesser French Theorbo at 76cm NB
note the word 'Lesser' for this size
From: "Martyn Hodgson" <[EMAIL PROTECTED]>
In short, if you can you should just detune the first course and only
detune the next if the second string is likely to break.
So why making a double reentrant tuning on a tiorbino?
Diego
To get on or off this list see list information at
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Thank you very much Martyn for these precisions.
Actually, I think I am going to experiment with my smaller theorbo with a
single reentrant first string. I will play continuo in some Locke music soon.
It could be a good opportunity to try that !
Best,
Jean-Marie
Expéditeur original:Mart
ments used for continuo play and, in particular, on 'best practice'.
rgds
MH
Martyn Hodgson <[EMAIL PROTECTED]> wrote:
Date: Fri, 8 Feb 2008 16:47:12 + (GMT)
From: Martyn Hodgson <[EMAIL PROTECTED]>
Subject: Re: [LUTE] Re: Pittoni's theorbo?
To: Jean
David,
I'm afraid I thought Jean-Marie was the author of this email so I replied to
him! It will come to the main list but I will also forward it to you - I hope
it is helpful, especially on single reentrant being the usual for small
theorbos if you can get away with it (ie the second wont
Dear Jean-Marie,
There's quite a history to this discussion, both recently and some months ago
and you may care to look in the archives for the long and, I'm afraid, rather
tedious and repetitive thread.
Basically the historical case (evidence for your 'burden of proof') for
saying t
Thanks Ron. I think I've got everything under control now ;-)
Best,
Jean-Marie (F)
Expéditeur original:Ron Fletcher
Adresse expéditeur original: [EMAIL PROTECTED]
>Hi Jean-Marie,
>
>1) To make a private reply to an individual, click 'Reply'.
>
>It is important to check that their e-mail a
(Sorry David for sending this to your private mailbox. I don't master yet all
the subtleties of replying to the list when I get messages from such or such
person )
Thanks David. That's a clear statement, full of good sense and and I totally
concur. My "not so small" theorbo, which I use for co
Martyn wrote:
If you have anything like the Praetorius, Mace, Picinni, Talbot evidence on
large theorbos but clearly relating to smalI instruments in this tuning, I'd
like to see it please.
<<
So far we have seen evidence of reentrant tuning for large theorbos, thank
you for the references
Chris,
I'll wont go on after this but will just repeat that the only historical
evidence (from me- see earlier) on reentrant theorbo sizes in A or G is for
large instruments. If you have anything like the Praetorius, Mace, Picinni,
Talbot evidence on large theorbos but clearly relating to
Martyn,
Argh - I get it, you don't agree with my and
others' take on the matter. However, I must point out
(as others have ad nauseum) that your arguement relies
quite heavily on speculation and selective disregard
of aspects of the historical record. What I don't
like so much is the tone t
On 2/7/2008, "Martyn Hodgson" <[EMAIL PROTECTED]> wrote:
> Oh dear - not again. This is,of course, very speculative and the weight of
> evidence is against a high octave on the second course (mainly because it'd
> break on anything approaching a decent sized continuo theorbo).
Well, inspired b
Oh dear - not again. This is,of course, very speculative and the weight of
evidence is against a high octave on the second course (mainly because it'd
break on anything approaching a decent sized continuo theorbo). As explained
ad nauseum elsewhere, the 'Old ones'clearly explain that the reason
Monica,
--- Monica Hall <[EMAIL PROTECTED]> wrote:
>
> Well - like baroque guitarists - perhaps
> theorbo-players were willing to
> tollerate the displaced notes in order to enjoy all
> the other benefits which
> re-entrant tunings conferred upon them!
>
I doubt it. Many of the benefits of
What are it's musical advantages? It seems to be
creating rather a
problemSurely it would make more sense from a
musical point of view to
tune the instrument straight down from treble to
bass - like the violin,
harpsichord etc...
There are a number of advantages to having the top two
s
Where's the evidence that theorbo double reentrant tuning was the principal
and 'persisting' attraction of the instrument and not its 'power' due to large
size? This unsupported statement looks more like a speculative case for
supporting small theorbos in unhistorical tunings (passim previo
Monica,
--- Monica Hall <[EMAIL PROTECTED]> wrote:
>
> What are it's musical advantages? It seems to be
> creating rather a
> problemSurely it would make more sense from a
> musical point of view to
> tune the instrument straight down from treble to
> bass - like the violin,
> harpsicho
On Feb 6, 2008, at 12:37 PM, Monica Hall wrote:
> Campanellas are a particular kind of scale passage in which each
> note of the scale is played on a different string so that the notes
> overlap creating a bell like effect.
Yes, I think we got the definition right on the third try.
> In that
From: "Monica Hall" <[EMAIL PROTECTED]>
Scale passages are not known as campanellas. I can sing scale
passages. I can't sing campanellas.
Campanellas are a particular kind of scale passage in which each note of
the scale is played on a different string so that the notes overlap
creating a b
On Feb 6, 2008, at 1:10 PM, Rob Lute wrote:
> Don't believe everything you read on the lute net. <<<
>
>
> Now you tell me!
Well, you didn't ask...
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >>>Don't believe everything you read on the lute net. <<<
Now you tell me!
Rob
--
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Scale passages are not known as campanellas. I can sing scale
passages. I can't sing campanellas.
Campanellas are a particular kind of scale passage in which each note of the
scale is played on a different string so that the notes overlap creating a
bell like effect. In that context the di
--- Monica Hall <[EMAIL PROTECTED]> wrote:
>
> I would suggest that you start off first and
> foremost by asking what would
> work in practice with the kind of strings which
> might have been available in
> the 17th century.
>
This is the elephant in the room, though!
With all due respect t
>> Campanellas are not necessarily skips of 7ths and 9ths. That's not
>> how they're defined.
>
> I didn't say that they are. What I said was
>
> "skips of a 7th and 9th in scale passages (known as campanellas)
> are commonplace in baroque guitar music.
>
> It is the scale passages that are k
Monica Hall wrote:
I was tempted to point out early on in this discussion that skips
of a 7th and 9th in scale passages (known as campanellas)
Campanellas are not necessarily skips of 7ths and 9ths. That's not
how they're defined.
I didn't say that they are. What I said was
"skips of a 7
Monica Hall wrote:
> I was tempted to point out early on in this discussion that skips
> of a 7th and 9th in scale passages (known as campanellas)
Campanellas are not necessarily skips of 7ths and 9ths. That's not
how they're defined. They are passages of notes that ring over other
note
t;[EMAIL PROTECTED]>; "Lute Net"
Sent: Tuesday, February 05, 2008 12:00 AM
Subject: [LUTE] Re: Pittoni's theorbo?
Roland,
There are also John Wilson's pieces and other
English works that just use the single re-entrant
tuning. Unfortunately for Melli and Pittoni, th
I mention page 43 because It seems to encapsulate most of the perceived
'problems' in Pittoni and, with the link from the previous phrase, does suggest
that he well understood the implications of the low second course when he
choose to do so; especially note that here he isn't too 'lazy' t
IL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: Monday, February 04, 2008 2:36 PM
To: Jerzy Zak; Lute Net
Subject: [LUTE] Re: Pittoni's theorbo?
Jurek,
There are many problematic areas in regard to this matter. I
believe that the most satisfactory solution is the second course in
octaves since it
lo pieces.
>
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED]
> Sent: Monday, February 04, 2008 2:36 PM
> To: Jerzy Zak; Lute Net
> Subject: [LUTE] Re: Pittoni's theorbo?
>
> Jurek,
>
>
> There are many proble
On Feb 4, 2008, at 12:36 PM, Roland Hayes wrote:
> I seem to remember an archlute piece (Doni ms.) that does not
> use a chanterelle. To me this implies that the first course was
> problematic at times at least (a la french 11 c. pieces w/o
> chanterelle)
> and may have been replaced with a stri
replaced with a string an octave lower for both
continuo and solo pieces.
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: Monday, February 04, 2008 2:36 PM
To: Jerzy Zak; Lute Net
Subject: [LUTE] Re: Pittoni's theorbo?
Jurek,
There are many proble
Jurek,
There are many problematic areas in regard to this
matter. I believe that the most satisfactory solution
is the second course in octaves since it seems
sometimes to act as a "normal" low string and
sometimes like it in the high octave. Ive been
playing around with this for the past
Martyn,
Indeed, the Liste archives give ample exemples the 'Pittoni case' is
an unsolved problem. Of course you know, the problem is not only on
page 43, but on almost every page of this interesting from several
points of view publication. I've played in concert one of the sonatas
and hav
I was tempted to point out early on in this discussion that skips of a 7th
and 9th in scale passages (known as campanellas) are commonplace in baroque
guitar music and whatever method of stringing is used (short of octave
stringing on all 5 courses which is hardly practical) these can't be
elim
Martyn Hodgson <[EMAIL PROTECTED]> wrote: Date: Mon, 4 Feb 2008 09:51:28 +
(GMT)
From: Martyn Hodgson <[EMAIL PROTECTED]>
Subject: Pittoni's theorbo?
To: Jerzy Zak <[EMAIL PROTECTED]>, Lute Net
Thank you Jerzy.
I take it you're referring to the hypothesis that the occasional leap
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