Thanks for your thoughts, Monica.
Eugene
> -Original Message-
> From: Monica Hall [mailto:mjlh...@tiscali.co.uk]
> Sent: Thursday, February 03, 2011 3:45 PM
> To: Eugene C. Braig IV
> Cc: Vihuelalist
> Subject: Re: [VIHUELA] Re: Baroque guitar, where to start?
>
> Well - yes. A lot of
Well - yes. A lot of the pieces in Murcia's "Passacalles y obras" are
actually his arrangements of pieces by other people and vary quite a lot.
But stringing isn't obviously an issue. For example he has rearranged
quite a few pieces by Campion which use different scordature in the
original.
I like this thesis. Also, the music of these composers tends to exist both
in publication and widely scattered manuscripts compiled by different
individuals in different places. I wouldn't be surprised if different
players transcribed it differently in their own manuscript versions to best
suit t
I have just been reading part of the introduction to Alejandro Vera's
edition of this new Murcia manuscript.
In the passage dealing with the perenniel problem of which stringing to use
he mentions that Neil Pennington thought Murcia's music was intended for the
re-entrant tuning, Craig Russell
They've been around in Russia too. There are two original 19th century
5-string bandurkas in the St-Petersburg collection; shallow-bodied,
fairly small in size (the one on your link looks like a re-construction
to me). By the way, I've never heard about 5-course bandurkas ... Also,
I'm not sur
..And not to mention into the present in some Latin American folk
traditions.
Best,
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Roman Turovsky
> Sent: Thursday, February 03, 2011 1:04 PM
> To: Alexander Batov
> Cc: Vihu
Also, Lhoyer's early music never extends below a low A where his later music
does. There is an evident transition to six strings as that format became
increasingly popular.
Best,
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behal
5 course/string guitars survived into the 19th century in Ukraine:
http://polyhymnion.org/images/bandurka.jpg !
RT
- Original Message -
From: "Alexander Batov"
Cc: "Vihuelalist"
Sent: Thursday, February 03, 2011 12:59 PM
Subject: [VIHUELA] Re: Baroque guitar, where to start?
I do
I don't think he ever did (the music just doesn't go lower than the open
A string) but I suppose there is a presumption that it was most likely
for a 5-string (i.e. single strung) guitar. 5-string guitars did
certainly exist at the time. Also, some original 5-course guitars were
converted to 5-
- Original Message -
From: "Eugene C. Braig IV"
To: "'Vihuelalist'"
Sent: Thursday, February 03, 2011 2:45 PM
Subject: [VIHUELA] Re: Baroque guitar, where to start?
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Chris Desp
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Chris Despopoulos
> Sent: Thursday, February 03, 2011 2:48 AM
> To: Harlan Glotzer; Monica Hall
> Cc: Vihuelalist
> Subject: [VIHUELA] Re: Baroque guitar, where to start?
>
>My pers
One last clarification... I'm not suggesting any one method will solve
all problems. Fate fore fend! I'm only relating my own experience as
I've done my best to make sense out of one method of stringing. For me
the bottom line is that it's loads of fun and it opens up musical
pos
To clarify, I do not use an octave on the G course. What I do is
finger an octave G on the E course on a very few instances in one piece
by Sanz (the 1st fugue), and for perhaps a couple of others (not
necessarily Sanz) I'm considering a similar approach. I honestly find
that fugue
Dear Everyone
I think everything which Chris has said in his long message is very helpful
and I agree with what he says.
However I would not start out with the idea that most of the music is
intended to be played with one method of stringing rather than another and
that somehow you can eliminate
Hello Franz,
> but some quite odd with melodylines suddenly jumping an octave up or
down. So
> I suspected that these were not written for re-entrant tuning, or
only the upper string
> being re-entrant, but to take it like this seems also not convincing
either.
I find that m
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