-Original Message-
From: Jon Murphy <[EMAIL PROTECTED]>
Sent: Apr 2, 2005 3:59 AM
To: "Dr. Marion Ceruti" <[EMAIL PROTECTED]>,
Ed Durbrow <[EMAIL PROTECTED]>,
lute list
Subject: Re: memorization/Re: Gallot speaks...
Wow, motion and moto
if memorizing the details of the
divisions is aural or "spatial".
Best, Jon
- Original Message -
From: "Dr. Marion Ceruti" <[EMAIL PROTECTED]>
To: "Ed Durbrow" <[EMAIL PROTECTED]>; "lute list"
Sent: Saturday, April 02, 2005 3:18 AM
Subjec
lute list
Subject: Re: memorization/Re: Gallot speaks...
Marion wrote:
>I don't believe it is necessary to have a lot of theoretical knowledge
>though. If you can explain it to your self you are analyzing. A teacher
>once told me, 'analysis is making the best case for the piece.&#x
Marion wrote:
>I don't believe it is necessary to have a lot of theoretical knowledge
>though. If you can explain it to your self you are analyzing. A teacher
>once told me, 'analysis is making the best case for the piece.' It
>may be as simple
>as describing it in mundane terms: it goes up the
As one who has experienced all sorts of memory over 70 years I'll say that
Ed's analysis is technically correct (although I'd disagree with the muscle
memory being the most dangerous, it has saved my butt a number of times on
the ski slope - but an aerial recovery from an unseen bump isn't the same
ple I'm talking about.
Michael Thames
www.ThamesClassicalGuitars.com
- Original Message -
From: <[EMAIL PROTECTED]>
To:
Sent: Wednesday, March 30, 2005 3:56 AM
Subject: Antwort: Re: memorization/Re: Gallot speaks...
>
>
>
>
>
> Hi Michael,
>
> most of
ion Ceruti" <[EMAIL PROTECTED]>
To: "Michael Thames" <[EMAIL PROTECTED]>; "lute list"
; "Ed Durbrow" <[EMAIL PROTECTED]>
Sent: Wednesday, March 30, 2005 9:46 AM
Subject: Re: memorization/Re: Gallot speaks...
-Original Message-
From: Mi
Thank you, Ed, for your very interesting and informative message.
Please see my comments below.
Cheers,
Marion
-Original Message-
From: Ed Durbrow <[EMAIL PROTECTED]>
Sent: Mar 30, 2005 9:04 AM
To: lute list
Subject: Re: memorization/Re: Gallot speaks...
>I would be interested t
> I wonder if lute concerts will ever be on the level of guitar concerts
>where lutenist's have the proper professional stage presence to not be
>staring at their music all the time. This might give them more appeal to
>the general concert going public, and more acceptance by guitarist's. I
>alw
>I would be interested to know if anyone has seen a study
>of different methods that musicians use to memorize music.
>Such a study would be quite interesting indeed.
I've been threatening to right an article about the subject for the
LSA Quarterly. Actually, I've already written a great deal, bu
-Original Message-
From: Michael Thames <[EMAIL PROTECTED]>
Sent: Mar 29, 2005 10:19 PM
To: lute list , Ed Durbrow <[EMAIL PROTECTED]>
Subject: Re: memorization/Re: Gallot speaks...
Ed,
Thanks for advice. I think your right about memorizing it and then using
the tab as
" , "Ed Durbrow"
<[EMAIL PROTECTED]>
Kopie:
Thema: Re: memorization/Re: Gallot speaks...
Ed,
Thanks for advice. I think your right about memorizing it and then using
the tab as a reference. Just playing through stuff is fun but you don't
really progress, or perfect anything.
l Message -
From: "Ed Durbrow" <[EMAIL PROTECTED]>
To: "lute list"
Sent: Monday, March 28, 2005 9:29 PM
Subject: memorization/Re: Gallot speaks...
> >I've always been curious about the aspect of memorization in lute
music.
> >In this paragraph Gallot
Funny you should mention this.
RT
> ++This style of playing is called "troppo espressivo."
> Some singers use this style too and it drives the accompanist nuts.
> MC
--
http://polyhymnion.org/torban
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-Original Message-
From: Stewart McCoy <[EMAIL PROTECTED]>
Sent: Mar 28, 2005 5:09 PM
To: Lute Net
Subject: Gallot speaks...
Dear Bernd,
According to my Harrap's Standard French and English Dictionary,
flatter la corde means "to caress the string, to play with
expr
est to all,
Marion
-Original Message-
From: Ed Durbrow <[EMAIL PROTECTED]>
Sent: Mar 28, 2005 8:29 PM
To: lute list
Subject: memorization/Re: Gallot speaks...
>I've always been curious about the aspect of memorization in lute music.
>In this paragraph Gallot seems to
>I've always been curious about the aspect of memorization in lute music.
>In this paragraph Gallot seems to suggest it. Baron advises to memorize in
>the beginning stages of learning, but then goes on to say he's not
>recommending it ( don't have the book handy).
> Sterling Price, has vis
;Bernd Haegemann" <[EMAIL PROTECTED]>
To: "lute list"
Sent: Monday, March 28, 2005 10:49 AM
Subject: Gallot speaks...
> Happy Easter,
>
> in the beginning of his "Pièces de Luth Composées sur differens
Modes..."
> Gallot gives a short "Méthode qu&
> But thanks for the Lundgren translation; just out of curiousity, where is it
> from?
Stefan has edited a wonderful very large collection of baroque lute
pieces which he has called The Lute Companion. I guess he still sells
it, and it's worth its price.
http://www.luteonline.de/lundgren-editi
Stefan Lundgren published a huge work for (11-course) baroque lute, the
"baroque lute companion" which has some 200 pieces in increasing difficulty
level for each of the most used keys along with an introduction into baroque
lute playing quoting several of the main sources.
Very recommendable!
Hmmm, perhaps. I have always viewed that "thumb" sign as more of a carry
through stroke, a kind of double (or triple) pluck - not a strum per se. For
me, at least, a strum is really more akin to what is done on a baroque guitar,
something that uses several strings (at least 3 anyway to make a c
I think I agree with everything you say. Just to clarify, all that I wrote
above was specifically meant as an attempt to interpret Gallot's statement in
his 'advis' - it is purely within that context that my comments are to be
read. (i.e. I was not in general discourse about this repertoire, b
> In particular reference to Gallot, is there any music written by him
> at all that actually includes strumming per se? And in the "Pieces" to which
> his instructions pertain?
Gallot has a special sign resembling a T which is put below chords pour
frapper deux chordes du pouce ensemble ou se
> But one should not "practice" them - ideally they should be
> improvised in the moment, responding to each unique performance situation.
That applies, I suppose, to the Italian manners, rather than to the
French. Improvisation is confined, though. For both kinds or
embellishments one needs trai
Yes, perhaps you are right here. Although I am not aware of a contemporary
reference to the verb "flater" meaning "to strum". (Unless I've missed
something!) As far as I know, the verb is synonymous with "pincer", "to
pluck". In particular reference to Gallot, is there any music written by hi
See below:
In message <[EMAIL PROTECTED]> =?ISO-8859-1?b?
Ik1hdGhpYXMgUvZzZWwi?= <[EMAIL PROTECTED]> writes:
> > i.e. When first learning a piece, don't add ornaments and "agrements"
with
> > the right hand; first off, learn the fingerings in a simple fashion.
This
> > runs true with the n
> I do however agree that it is odd Gallot focuses only on the right hand and
> not the left also.
Perhaps you focus too much on a secondary meaning of the French word
flatter. Its first meaning is to touch softly, stroke. I take Gallot'
advice #5 to mean that students should keep their RH under
> i.e. When first learning a piece, don't add ornaments and "agrements" with
> the right hand; first off, learn the fingerings in a simple fashion. This
> runs true with the nature of Gallot's other suggestions doubtless designed
> for
> beginners
cannot find this, i. e. that the simple-ver
> 5. Ne flater pas les cordes de la main droite lors qu'on estudie pour s'en
> rendre mieux le maistre.
Stefan Lundgren's rendering (Lute Companion) reads:
Do not [carelessly?] strum the strings with the right hand while
studying.
Best wishes,
Mathias
--
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ClassicalGuitars.com
- Original Message -
From: "Benjamin Narvey" <[EMAIL PROTECTED]>
To: "Bernd Haegemann" <[EMAIL PROTECTED]>
Cc: "lute list"
Sent: Monday, March 28, 2005 5:43 AM
Subject: Re: Gallot speaks...
> Yes, it is rather a pickle i
Nope. An "agrement" is anything added to pleasure the ear and enhance the
sound, such as added grace notes, finger sweeps, "brise", et cetera, whether
performed by the left hand or right. Even tone colour is sometimes viewed
as "agrement" in some sources. I do however agree that it is odd Gal
Wouldn't that be the "left" hand rather than the "right" that adds the
ornaments?
Miles Dempster
On Monday, March 28, 2005, at 07:43 AM, Benjamin Narvey wrote:
> Yes, it is rather a pickle isn't it?
>
> I think the truest translation would be:
>
> "Do not flatter the strings with the right ha
Yes, it is rather a pickle isn't it?
I think the truest translation would be:
"Do not flatter the strings with the right hand when studying to master them."
i.e. When first learning a piece, don't add ornaments and "agrements" with
the right hand; first off, learn the fingerings in a simple f
Happy Easter,
in the beginning of his "Pièces de Luth Composées sur differens Modes..."
Gallot gives a short "Méthode qu'il faut observer pour jouer prprement du luth"
in 9 rules. They should be important, I thougth and tried to read them. Well,
...
Could somebody please help me and explain the
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