Oh dear. How sad. Are we so incapable of conversing in a civil manner? What
a pathetic bunch we are. I created this unmoderated list so that we could
all come together and contribute in various degrees to our greater
understanding. Obviously I was being too idealistic, and human nature is far
more
Dear Antonio,
Please reconsider staying with us. It is my understanding that Matanya
left the list for his personal reasons, and he was not asked to leave. I
do not believe there is a moderator of the vihuela list. Also, Matanya has
a history of joining and leaving the lute list, for his per
Dear all,
I don´t know how such a situation may have arised, but
one fact is perfectly clear to me: in a list devoted
to communicate and share, either all of us - even
those we disagree with - have a place, or there is no
point in pursuing what may become a futile exercice.
I have often read Mata
Robert Strizitch (sp) did a book of transcribed
DeVisee back in the 1970's. My recollection- been
about 5 years since I've seen the book- is that he
used a lot of circled numbers for the strings.
Difficult to look at and play on the baroque guitar
though.
Sal Salvaggio
_
Vihuela is too soft to be used in ensembles.
> To my knowledge Thomas, there is not any ensemble music specifically for
> vihuela & other instruments. There are many modern recordings, but I think
> they are all arrangements. They may have used vihuela solos or songs as
> something from which to
To my knowledge Thomas, there is not any ensemble music specifically for
vihuela & other instruments. There are many modern recordings, but I think
they are all arrangements. They may have used vihuela solos or songs as
something from which to begin, but consulted with other versions to come u
James and Rob,
Thanks for responding.
For me, the main problem is that if one is going to take the considerable
trouble of transcribing a tablature collection the result should be as
multi-functional as possible. But how multi-functional can that be?
Obviously, as Ron pointed out, five-course gu
Hi folks,
a question: is there something like ensemble music with vihuela?
I just know about the songs and wonder if there is literature to play with
other instruments (like the english broken consort for example).
Best wishes
Thomas
--
Thomas Schall
Niederhofheimer Weg 3
D-65843 Sulzbach
06
Thanks Arto, I always knew you were a true
friend...
RT
--
http://polyhymnion.org/adc
>> Roman, you are welcome to this list. You are doubtless happy that MO
>> has gone, however there are many of us who wish he had stayed.
>
> If I had to choose betwe
No attachments, James. If you can't put it on a website, email it to me and
I will find space on my website.
Rob
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 28 February 2005 18:58
To: [EMAIL PROTECTED]; vihuela@cs.dartmouth.edu
Subject: Re: Modern Notation
No problem! I think I was not very clear in my first post. I was a bit
depressed about it all.
Cheers,
Rob
-Original Message-
From: Stephan Olbertz [mailto:[EMAIL PROTECTED]
Sent: 28 February 2005 19:05
To: vihuela@cs.dartmouth.edu; Rob MacKillop
Subject: Re: MO
Dear Rob,
I apologize
Well, any notation which doesn't represent exact pitch is in essence
tabulature.
Yes, as I mentioned in my e-mail; it would be "tablature disguised as
modern notation". The tablature manuscripts themselves don't always give you a
clear idea of the stringing intended, which determines actual p
> [EMAIL PROTECTED] writes:
> Which in itself is scordatura, i.e. another form of tabulature.
> Sorry, I don't get your point here.
> James
Well, any notation which doesn't represent exact pitch is in essence
tabulature.
RT
To get on or off this list see list information at
http://www.cs.dartmou
In a message dated 2/28/2005 11:03:38 AM Pacific Standard Time,
[EMAIL PROTECTED] writes:
Which in itself is scordatura, i.e. another form of tabulature.
Sorry, I don't get your point here.
James
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/i
> In my many years teaching and arranging experience, I have to say that the
> most difficult instrument to transform into a classical guitar, is the
> baroque guitar. Piano music, lute music, even orchestral music can sound
> fine on the classical guitar, but Baroque guitar music NEVER sounds good
Dear Garry,
I have the Alpuerto version. It wasn't cheap and I found it not that useful
because of the countless editorial decisions that had been made for
transcribing the manuscript into tablature and guitar notation. I would
definitely love to see the facsimile, but I seem to remember that i
Dear Rob,
I apologize for my wrong reading of your posting! Maybe I was a bit hasty...
Best regards,
Stephan
Am Mon, 28 Feb 2005 14:39:25 - schrieb Rob MacKillop <[EMAIL PROTECTED]>:
> You got the message the wrong way round, Stephan. I didn't kick him off this
> list - I am not in a posi
Hi Stanley,
Thanks for your contributions to this site...
IMHO it all depends on who the transcription is aimed at. Players of baroque
guitars don't need a transcription - obvious. Players of classical guitars
would need a different transcription from those who maybe don't play a
guitar of any so
> In a message dated 2/28/2005 7:57:42 AM Pacific Standard Time,
> [EMAIL PROTECTED] writes:
> Following on from the tuning / stringing discussion, I'm curious to know
> what folks think about standard notation transcription of five-course
> tablatures - how to deal with unknown tunings, octave st
In a message dated 2/28/2005 7:57:42 AM Pacific Standard Time,
[EMAIL PROTECTED] writes:
Following on from the tuning / stringing discussion, I'm curious to know
what folks think about standard notation transcription of five-course
tablatures - how to deal with unknown tunings, octave stringing,
>
> Actually I have had a problem trying to access Alain's site. The address
> seems to be different from that I had some time ago. Please can you tell me
> what it is?
>
> Monica
Are you a registered user? Check with Alain for the URL.
RT
>
>>> There may be a bit of a problem about this as
Greetings all!
I'll probably be sorry for sharing this, because I'm certain that you'll all
immediate scurry to deplete the existing inventory, but I've found at least one
of the editions that Monica referred to, available online at the following:
http://translate.google.com/translate?hl=en&sl=es
> At 11:14 AM 2/28/2005, Roman Turovsky wrote:
>> I wasn't planning to invoke MO one more time, but SHARING is what he
>> reviles the most. Make no mistake about it.
> My experience with Matanya is that he is amongst the most sharing and
> generous men I know. I don't want to quibble on this topi
> -Original Message-
> From: Monica Hall [mailto:[EMAIL PROTECTED]
> Sent: Monday, February 28, 2005 9:45 AM
> To: Garry Bryan
> Cc: vihuela
> Subject: Re: Moderation and Sharing.
>
> There have actually been two modern editions of Ramillete de Flores.
>
> One edited by Javier Hinojosa
Actually I have had a problem trying to access Alain's site. The address
seems to be different from that I had some time ago. Please can you tell me
what it is?
Monica
- Original Message -
From: Roman Turovsky <[EMAIL PROTECTED]>
To:
Sent: Monday, February 28, 2005 4:01 PM
Subject: Re:
At 11:14 AM 2/28/2005, Roman Turovsky wrote:
>I wasn't planning to invoke MO one more time, but SHARING is what he
>reviles the most. Make no mistake about it.
My experience with Matanya is that he is amongst the most sharing and
generous men I know. I don't want to quibble on this topic, but
- Original Message -
From: "Roman Turovsky" <[EMAIL PROTECTED]>
To: "Rob MacKillop" <[EMAIL PROTECTED]>;
Sent: Monday, February 28, 2005 10:14 AM
Subject: Re: MO
> > Matanya has now left the list.
> >
> > It is not a question of who is right or who is wrong. It is a matter of
> > shari
Following on from the tuning / stringing discussion, I'm curious to know
what folks think about standard notation transcription of five-course
tablatures - how to deal with unknown tunings, octave stringing,
imperfect/suggested counterpoint, etc.
Stanley
--
Stanley Yates
http://www.StanleyYates.
> Matanya has now left the list.
>
> It is not a question of who is right or who is wrong. It is a matter of
> sharing. That concept is clearly lost on some people.
I wasn't planning to invoke MO one more time, but SHARING is what he
reviles the most. Make no mistake about it.
RT
--
http://polyh
I'm a little embarrassed to admit that I'm not too familiar with Corrette's
writing on guitar, but his writing for mandolin is sometimes considered
slightly suspect.
Eugene
At 11:02 AM 2/27/2005, Monica Hall wrote:
>Air on one or other string of a course?
>
> > Yet, as far as I know, there is n
> There may be a bit of a problem about this as neither Fronimo nor Django
> support some essential features of baroque guitar tablature - in particular
> strumming. Alain Veylit was working on this problem with Django but I don't
> know if he ever finally sorted it. I had an enormous problem prep
On Monday 28 February 2005 16:39, Rob MacKillop wrote:
> Roman, you are welcome to this list. You are doubtless happy that MO
> has gone, however there are many of us who wish he had stayed.
If I had to choose between them, ..., well it is best to shut my
mouth... ;-))
Arto
To get on or of
At 10:22 AM 2/28/2005, Roman Turovsky wrote:
>Be careful with what you wish for MO has antagonized most of his
>friends and almost all of his collaborators.
Not me...or if he has, I have taken it to be friendly ribbing, shrugged it
off, and laughed.
> >
> > Everyone: let's get along. We a
> You got the message the wrong way round, Stephan. I didn't kick him off this
> list - I am not in a position to do that to anyone. And I am personally
> saddened that he has chosen to go, but I understand his reasons. I actually
> invited him to take part in this list. He asked if RT was a contri
Well said.
Eugene
At 09:39 AM 2/28/2005, Rob MacKillop wrote:
>You got the message the wrong way round, Stephan. I didn't kick him off this
>list - I am not in a position to do that to anyone. And I am personally
>saddened that he has chosen to go, but I understand his reasons. I actually
>invit
There have actually been two modern editions of Ramillete de Flores.
One edited by Javier Hinojosa and published by Editio Violae in Zurich has a
facsimile of the ms. and tablature transcription. The other, edited by Juan
Jose Rey is published by Editorial Alpuerto in Madrid has tablature
transcr
> I wouldn't say it was any more "imperfect" than any other instrument,
> though - and I have already come to love it as it is, even to prefer it
> to other guitars, as I'm sure many of you have.
But that is how it is often referred to in 17th century sources - e.g. Sanz.
Monica
>
> Doc Rossi
>
>
You got the message the wrong way round, Stephan. I didn't kick him off this
list - I am not in a position to do that to anyone. And I am personally
saddened that he has chosen to go, but I understand his reasons. I actually
invited him to take part in this list. He asked if RT was a contributor, a
> I had the fortune of playing an original guitar, thought to be by Santo
> Serafin, now in the Edinburgh University Collection of Historic Musical
> Instruments. Out of curiosity I set it up with no bourdons on 4 and 5,
> but
> also with a high octave above the third course. I'll try to put an Mp
Greetings to all!
Rob said, "Matanya has now left the list."
Is this a euphemism for banning ( or removal ) or did Matanya voluntarily leave?
I'm not keen on moderation since it tends to turn into "micro-moderation" and
the sort of tyranny that only a Polycrates or Pisistratus could love, but wh
> I didn't know that this list is moderated. While in the past there were quite
> some flamewars on other lists between MO and others (it takes at least two,
> BTW), we all are capable of setting up appropriate filters in our software. I
> have been filtering out some people who contribute nothing
Dear Rob,
I didn't know that this list is moderated. While in the past there were quite
some flamewars on other lists between MO and others (it takes at least two,
BTW), we all are capable of setting up appropriate filters in our software. I
have been filtering out some people who contribute no
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