Monica,
well here is my way, not the only possible, naturally. ;-
on the first line in the second bar - are the figures over the second
D 5-6?
Yes. And I'd play 5-b6. (and also the last chord if 1st bar G-minor.
on the first line in the third bar the second 7-6 - should the 6 be
sharp
and theorbo there are lots of Lully, and here and there some pieces also
by other great names of those times.
Best,
Arto
On 16/11/12 22:02, Arto Wikla wrote:
Dear lutenists of every type and baroque guitarists,
I find it quite interesting that monsieur de Visee made some
arrangements
Dear flat back lutenists,
My try on de Visee's Chaconne in A minor is - as I told - is in
http://www.youtube.com/watch?v=RqHHPeLMNYUfeature=youtu.be
http://vimeo.com/53172045
As I said, there is the original(?) theorbo version of this d-minor lute
version, but I have a strong memory
, Arto Wikla [1]wi...@cs.helsinki.fi wrote:
Perhaps someone in the main lute list and in the vihuela list
(mainly baroque guitar list) could be interested in de Visee stuff
by baroque lute? I tried to play some:
Robert de Visee: Pastoralle in F# minor
[2]http
Great project and very beautiful video! Thanks Bud!
Arto
On 13/09/12 18:29, bud roach wrote:
Hello Friends-
On this issue I do have something to contribute- a very specific
example from the alfabeto repertoire (along with some shameless
self-promotion!)
In preparation
gary digman wrote:
There may be a reason to be concerned about whether one is tuned in E,
G or A. Dissonances become more dissonant as pitch is lowered. This
might noticeably change the texture of the music.
This is interesting! Why dissonances would become more dissonant as
pitch is
This is interesting! Why dissonances would become more dissonant as
pitch is lowered? Is it an opinion or a physical fact?
Speaking as a piano tuner, I can say it's a physical fact on a piano.
Much less so on a harpsichord, and undoubtedly much less so on a vihuela
also. Piano strings are
Roman Turovsky wrote:
I've read through that PDF, and it contains quite a few Ukrainian items,
some of them in really peculiar versions. For example- #22 is really
based on
http://www.torban.org/pisni/images/hryts1.pdf
http://www.torban.org/pisni/images/hryts1.mid
On Wednesday 02 May 2007 19:03, bill kilpatrick wrote:
http://www.youtube.com/watch?v=mFyvrCMmt8k
Nice! Very nice! Thanks Bill.
Arto
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Dear all,
BTW, who of us played lute or vihuela better in 1970's than those video
examples of Williams or Akkermann, not to speak of Bream?
Just a thought...
Arto
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James Tyler, Robert Spencer,
Anthony Bailes, Diana Poulton, Dumbois, Donna Curry,
Richard Glenn, Jurgen Hubscher, Walter Gerwig, Konrad
Ragossnig, Anthony Rooley, Narcisso Yepes
And you never know how far to the skies the Internet reaches today...
Arto
To get on or off this list see
Utopia
dir. and baroque harp Andrew Lawrence-King
.
* Ricardo Padilla, percussion
* Annamari Pölhö, organ
* Visa Jämsä, dulcian
* Arto Wikla, chitarrino
* Timo Peedu, baroque guitar
* Teppo Hirvonen, baroque guitar
Composers: Milan, Gutiérrez de Padilla, Hidalgo
Dear Monica
I don't know whether there is still anyone on this list - but if there
is
There are! ;-)
perhaps they can tell me what they know about Mean Tone Temperament on
plucked stringed instruments, especially the baroque guitar.
For background you perhaps can read the following
Dear all,
still a tiny addon to my comment on Monica's message:
On Thu, 23 Mar 2006, Monica Hall wrote:
As far as I'm aware the guitar was usually tuned to a sort of equal
temperament - at least that is what Doisi de Velasco says and how else
would they have been able to play in the 12
On Tue, 15 Nov 2005, billkilpatrick wrote:
scorching, arto. i took the liberty of posting your mp3 address to the
various charango sites. complimenti - bill
Thanks Bill.
I added also my tab of the Bella Pedrina (and some other pieces) to
the page. So you can see I strum much more than
Hi vihuela list
On Friday 04 November 2005 21:26, Rob MacKillop wrote:
Your comment about the bray harp (see below) is an interesting one.
For those who are unaware, the 'bray' refers to a bit of wood on the
soundboard of a Renaissance harp which touched the string gently. As
the string was
Dear Rob,
you wrote among other matters:
Your comment about the bray harp (see below) is an interesting one. For
those who are unaware, the 'bray' refers to a bit of wood on the soundboard
of a Renaissance harp which touched the string gently. As the string was
struck it would buzz as it
Dear vihuelists and early guitarists,
this info has been already submitted to the lute list, but perhaps
everyone here is not reading the main list. That is why I copy
my messages here:
In Yale, Beinecke Lib. there are some mss. online. I happened to notice
that there are also some pieces for
Hi (and a copy to the vihuela-list)
On Thursday 15 September 2005 01:35, you wrote:
thank you arto, i will. i think i have a cd of his
... does he play harp?
He is a harpist virtuoso, but in his bands there have been also
strummers of renaissance and baroque guitars. I'll google a little,
Dear Bill,
On Wed, 14 Sep 2005, bill kilpatrick wrote:
andean. haven't a clue what rhythms might have been
popular during the baroque period in europe (outside
the conservatory, of course ... ) you game to try
something from the baroque repertoire with a south
american flavor?
..
Hi all
On Sun, 14 Aug 2005, Lex Eisenhardt wrote:
There is Biagio Marini's op XXII. In this ensemble work of rather
straightforward homophonic dances Marini added alfabeto. The guitar can be
used, 'a beneplacito'. There is a modern edition by S.P.E.S. In this case
the guitar is probably
Dear Bill,
On Wed, 18 May 2005, bill kilpatrick wrote:
a possible tuning for these pieces would be
Gg-cc-ee-aa which is one course shy of a charango
tuning.
I am not sure, if I have understood your quest right, and if I tell
something you already know, I am sorry! So only just in case:
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