Dear Bill, Monica, List
It's very interesting that Los Ympossibles from CS4 are virtually the same
piece as today's La Lloroncita from veracruz. I think it's also very much
alike a song from argentina, but right now I can't remember the name of
it...
It's also interesting that los ymposibles has a
ze' plot 'zickens ... thank you monica.
Monica Hall <[EMAIL PROTECTED]> wrote: The romanesca is
III VII i V III VII i V i
same chords - different order
Monica
- Original Message -
From: bill kilpatrick
To: Monica Hall
Sent: Monday, January 14, 2008 5:55 PM
Su
The romanesca is
III VII i V III VII i V i
same chords - different order
Monica
- Original Message -
From: bill kilpatrick
To: Monica Hall
Sent: Monday, January 14, 2008 5:55 PM
Subject: Re: [VIHUELA] Re: la lloroncita
ahhh ... i wasn't aware of the differ
But Guardame las vacas is based on the Romanesca not the Folia
And here is no weepy woman in the lyrics...
If anything it is the woman who is doing the seducing...
Monica
- Original Message -
From: "bill kilpatrick" <[EMAIL PROTECTED]>
To:
Sent: Monday, January 14, 2008 4:16 PM
S
http://www.tothestage.com/MediaDetail.Page?MediaId=346
http://www.tothestage.com/MediaDetail.Page?MediaId=347
http://www.youtube.com/profile?user=billkilpatrick
http://earlymusiccharango.blogspot.com/
http://billkilpatrickhaiku.blogspot.com/
-
Support the
I'm not sure what I did! It think it was mostly index, but maybe the odd
thumb-up here and there - not thumb down, as you suggest. But I really
didn't put any thought into it, so.
Rob
www.rmguitar.info
_
From: Martyn Hodgson [mailto:[EMAIL PROTECTED]
Sent: 14 January 2008 1
I've spent quite a few hours exploring possible strumming methods for these
sort of passages (ie where one is strumming low courses and/or mid courses
without sounding others) and now think that a sort of combination pluck and
strum is the best solution (rather than the exclusive index strum
Yes - I think we are more or less in agreement. I used to think with
Bartolotti that you should always repeat the chord with the auxiliary note.
But I have been re-reading the instructions in the earliest books and suddenly
had this feeling that perhaps I got it wrong about Bartolotti as what
Yes - I think we're reaching some sort of middle way. However, in the case we
were particularly discussing I still return to the strum sign which I think
makes all the difference - Rob shows well how it can be translated in practice
(even makes me want to return to F).
Incidentally, I gave th
Well - we are talking about Foscarini not Bartolotti.
In his instructions at the beginning of Book 1 Bartolotti does say that you
should hold the chord in place whilst you play the intervening notes but it is
not entirely clear whether you should always repeat the chord with the passing
note.
Monica, why do you think that the single notes are not played as a chord with
any of the preceding note(s)? I realise this is your position but I still don't
understand why you hold it: as someone else has said, if F had wanted this
there's a perfectly clear way to intabulate it. As you know I
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