the guitar for a French setting, I now note that it depicts a
humorous dialogue between a Spaniard and a haughty French lady
('Espagnol je me supplie') - so even here in this exception a 'foreign'
connection and usage for the guitar.
Martyn
--- On Fri, 19/3/10, Martyn Hodgson
Subject: Re: Guitar strumming indications up to 1620s
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 17 March, 2010, 20:50
Well - it's a bit late at night and I have been away all day helping to
look after my sister who
Thank you for this. However all I can get is an online request form to
join a 'chat room' on the subject! Is there a link which enables one to
access the resource files direct?
Martyn
--- On Tue, 16/3/10, David van Ooijen davidvanooi...@gmail.com wrote:
From: David van
Thank you David, I clicked on Download and the pdf eventually loaded
(I think I expected to see details of what I was downloading first).
419 pages I see - will take time to digest. Any highlights that you can
see?
Martyn
--- On Tue, 16/3/10, David van Ooijen
All, of course, helped by these chords being in a lower position with the
thicker frets.
M
--- On Sun, 11/10/09, Stewart McCoy lu...@tiscali.co.uk wrote:
From: Stewart McCoy lu...@tiscali.co.uk
Subject: [VIHUELA] Chord I
To: Vihuela List vihuela@cs.dartmouth.edu
Date: Sunday, 11 October,
Stuart,
Regarding wether the CA basses were doubled at the octave, the 1651
illustration of Granata's CA shows pegs for 5 double courses on the
fingerboard and 8 single (relatively short as compared with a theorbo)
basses. In short, the instrument was strung like a theorbo and
atiorbata
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Friday, 28 August, 2009, 5:45 PM
Well I must apologise first for a very silly mistake that I have
made. In Granata's Tuning B I have not included the low octave
strings
--- On Sat, 29/8/09, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Guitarre theorbee or rather Chittarra
atiorbata
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date
But of course the Russian guitar employs overwound strings (as did the
theorbo-like extension on the 19th century 'Bass' guitar as played by
Mertz, Dubez and others) and produces a strong bass with relatively
short basses and thus does not really tell us much about the earlier
Thank you Monica.
As you'll know from our earlier exchanges, I agree with the conclusions
about the guitarre theorbee. However there are a couple of significant
points about the chitarra atiorbata which you seem to have overlooked
or ignored and which point to a rather different
Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Guitarre theorbee or rather Chittarra
atiorbata
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Friday, 28 August, 2009, 12:00 PM
Well - I feel I am between the devil
Message - From: Martyn Hodgson
Sent: Friday, July 24, 2009 11:07 AM
Subject: [VIHUELA] Re: Guitarre theorbe (Strad patterns and lute shaped
Cat)
I've now found the book and Pollens' article so plse don't bother
copying it to me.
Firstly, I see that we're
Many thanks for this; is it yr own measurement or is it from some other
source (the one I can't find!)?
Odd that Sacconi mismeasures so much (he gives 320mm long), but perhaps
the piece of paper is 921 and the pattern drawing only measures 320?
Martyn
--- On Thu, 23/7/09,
octave basses.
MH
--- On Fri, 24/7/09, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: [VIHUELA] Re: Guitarre theorbe
To: vihuela@cs.dartmouth.edu, Alexander Batov
alexander.ba...@vihuelademano.com
Date
Again my memory fails, since I think I've seen a paper (about 5 years
ago?) with this pattern in it. But all I can lay my hands on at the
moment is Sacconi's work of 1979 ' I SEGRETI DI STRADIVARI' in which
he describes all the relics contained in the Civic Museum Cremona. Of
-
From: Martyn Hodgson [2]hodgsonmar...@yahoo.co.uk
To: Vihuelalist [3]vihu...@cs.dartmouth.edu; Monica Hall
[4]mjlh...@tiscali.co.uk
Sent: Thursday, July 23, 2009 11:00 AM
Subject: [VIHUELA] Re: Guitarre theorbe
Again my memory fails, since I think I've seen a paper
mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] PS to ...Re: Guitarre theorbee
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 22 July, 2009, 7:58 AM
Yes - Donald does
Yes I read Stewart Pollens' paper but am also pretty sure the Strad
patterns give no information about the theorboed extension so the c.
160cm for the open basses is Stewart Pollens' own guess (based, I'd
suggest, on the octave low disposition of the basses and similar
: [VIHUELA] Re: PS to ...Re: Guitarre theorbee - Berners
book(let)
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Thursday, 23 July, 2009, 2:21 PM
Many thanks - that saves me a trip to the British Library.
What you say does
these as new inventions rather than development of the
17thC Gth/Gat and thus telling us nothing about the stringing of the
earlier instruments.
M
--- On Wed, 22/7/09, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Re
of compensation.
The tessitura of he fingerboard plucked strings could range to a low
bourdon A.
Lex
- Original Message -
From: Martyn Hodgson [3]hodgsonmar...@yahoo.co.uk
To: Vihuelalist [4]vihu...@cs.dartmouth.edu; Lex Eisenhardt
[5]eisenha...@planet.nl
Sent
Ooijen davidvanooi...@gmail.com
Subject: [VIHUELA] Re: Chitarra atiorbata/Guitarre theorbee
To: Vihuelalist vihuela@cs.dartmouth.edu
Date: Sunday, 19 July, 2009, 8:52 PM
On Sun, Jul 19, 2009 at 5:51 PM, Martyn
Hodgson[1]hodgsonmar...@yahoo.co.uk wrote:
Has anyone actually
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 20 July, 2009, 8:44 AM
I have a query about the Gallot guitarre theorbee
If we assume this guitarre theorbee is a standard Chitarra atiorbata
just using scordatura this would
AM
Are we discussing battuto or pizzicato? The GTh was probably mainly
used for
plucking.
Lex
- Original Message -
From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk
To: Vihuelalist [2]vihu...@cs.dartmouth.edu; David van Ooijen
[3]davidvanooi...@gmail.com
Sent
to the composer (?)
that
he forgot to make use of the fourth and fifth course.
Should one assume that inconsistency was something desirable, in
particular for guitarists, their instrument and their music?
Lex
- Original Message -
From: [1]Martyn Hodgson
To: [2
by no means uniform.
Lex
- Original Message -
From: [1]Martyn Hodgson
To: [2]Vihuelalist ; [3]Lex Eisenhardt
Sent: Sunday, July 19, 2009 10:21 AM
Subject: Re: [VIHUELA] Re: Murcia
The whole
Following on from our earlier discussion, one of the problems with the
lower octave tuning for the theorboed basses is the relatively short
string length of the theorboed guitar basses to produce a satisfactory
bass response with plain gut. From what I can see the=the extended
which did much of the
damage and led many to assume low octave basses on these instruments.
Martyn
--- On Wed, 3/6/09, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: Image of chitarra atiorbata
To: Martyn Hodgson
Did any concencus emerge from the last time (6 months?+ ago) these
instruments were discussed as to whether the basses were at the lower
octave (descending from a low octave strung 5th course - rather like a
theorbo) or the upper octave (descending from the higher re-entrant
...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: [VIHUELA] Re: [VIHUELA] Haendel - Cantata
Spagnuola
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Date: Monday, 11 May, 2009, 12:49 PM
When you say 'seems' does this mean it is an accurate
--- On Sun, 10/5/09, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: [VIHUELA] Haendel - Cantata Spagnuola
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Sunday
Subject: Re: [VIHUELA] Re: [VIHUELA] Haendel - Cantata Spagnuola
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Saturday, 9 May, 2009, 4:33 PM
The title written at the top of the first page of the manuscript is
Cantata
Spagnuola
elsewhere in the MS before jumping to conclusions
MH
--- On Sun, 10/5/09, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [VIHUELA] Re: [VIHUELA] Haendel - Cantata Spagnuola
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc
Without having seen the original MS it's difficult to be sure if
Chrysander's edition is wholly accurate, certainly his naming the two
upper staves of the system as for guitar seems editorial (since he
places the chittara in brackets). It would also be revealing to see if
this MS
davidvanooi...@gmail.com wrote:
From: David van Ooijen davidvanooi...@gmail.com
Subject: [VIHUELA] Re: [VIHUELA] Re: [VIHUELA] Haendel - Cantata
Spagnuola
To: vihuela@cs.dartmouth.edu
Date: Saturday, 9 May, 2009, 9:39 AM
On Sat, May 9, 2009 at 10:04 AM, Martyn Hodgson
[1
If the music is primarily meant to accompany dancers, then no doubt
there's clearly much in the position that the speed remains constant.
However, to take the example of, say, the developed English lute
galliard with divisions suggests a significantly slower speed than most
--- On Mon, 30/3/09, Nelson, Jocelyn nels...@ecu.edu wrote:
From: Nelson, Jocelyn nels...@ecu.edu
Subject: Re: [VIHUELA] Re: four-course guitar music 'plus diminuees'
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Stuart Walsh
s.wa...@ntlworld.com, Daniel F Heiman heiman.dan
Monica (and Rob),
I clicked on the link and got to the Ning (What's Ning incidentally?)
site but couldn't see the Playford in the 'scores' section. I then
clicked on yr name (in members section) and found the Playford and
clicked on it - but nothing! Does one have to be a member
I've joined up since this seemed the simpler course. But can someone
tell me : why 'Ning'
MH
--- On Fri, 27/3/09, Mjos Larson rockype...@earthlink.net wrote:
From: Mjos Larson rockype...@earthlink.net
Subject: Re: [VIHUELA] Re: Playford on Ning
To: Martyn Hodgson
Dear Stuart,
I don't see why the 'diminuee' sections need to be played at the same
speed as the plain. Once the tune is established then an auditor would
be able to recognise it in a slower, more decorated, exposition. Isn't
there something about this in the Spanish vihuelist's
: Wednesday, 17 December, 2008, 4:53 PM
i?
Well yes indeed - but there isn't a great deal of evidence that the
guitar was strung in unison throughout
Monica
- Original Message -
From: [1]Martyn Hodgson
To: [2]Stuart Walsh ; [3]Monica Hall
Cc: [4]Vihuelalist
Also well - I can't really agree with yr assertion that campanellas
have 'nothing to do with the stringing': if both lower courses were in
unison at the lower octave I think that even my 'Old Ones' (not
'ancients'!) would have raised an eyebrow or two..
Martyn
--- On Wed,
://www.amazon.co.uk/Lost-Music-of-Fernando-Sor/dp/B0018Y
DPJA/ref=sr_1_1?ie=UTF8s=musicqid=1227290706sr=8-1 (cut and paste
into browser)
Or serch [3]www.amazon.co.uk or com for Lost Music Fernando Sor
Rob
2008/11/22 Martyn Hodgson [EMAIL PROTECTED]
Rob,
Interesting but I can't
Fernando Sor
Rob
2008/11/22 Martyn Hodgson [EMAIL PROTECTED]
Rob,
Interesting but I can't seem to open this link
regards
Martyn
--- On Fri, 21/11/08, Rob MacKillop [EMAIL PROTECTED]
wrote:
From: Rob MacKillop [EMAIL PROTECTED]
Subject: [VIHUELA] Sor's
Josephine was a celebrated concert pianist (better known outside guitar circles
than Mertz) - you might be better off enquiring from piano related sites.
MH
--- On Fri, 3/10/08, Fabio Rizza [EMAIL PROTECTED] wrote:
From: Fabio Rizza [EMAIL PROTECTED]
Subject: [EARLY-GUIT] Josephine Plantin
-entrant course rather than theorbo but that doen't
really tell us what
instruments he played...
Monica
- Original Message -
From: Martyn Hodgson
[EMAIL PROTECTED]
To: Monica Hall [EMAIL PROTECTED]
Cc: Vihuelalist
vihuela@cs.dartmouth.edu
Sent: Sunday, September 28, 2008 7:53 AM
PROTECTED] wrote:
From: Monica Hall [EMAIL PROTECTED]
Subject: Re: [VIHUELA] Re: The Learned Guitarist...
To: Martyn Hodgson [EMAIL PROTECTED]
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Saturday, 27 September, 2008, 9:00 AM
Well - Foscarini says that he is a lutenist by profession
Were these actually lutenists are rather theorbo players? - not the same.
MH
--- On Sat, 27/9/08, Monica Hall [EMAIL PROTECTED] wrote:
From: Monica Hall [EMAIL PROTECTED]
Subject: [VIHUELA] Re: The Learned Guitarist...
To: Michael Gillespie [EMAIL PROTECTED]
Cc: Vihuelalist
There is indeed speculation (first put forward in 1979) that the mandora's 6
strings and tuning inspired the addition of an extra course to the 5 course
'baroque' guitar.
Regrettably there is no unequivocal evidence that this was the case; merely
indirect, such as the unusual tuning for the
If sitting, iconography shows the instrument mostly resting on the right thigh
(as also often found with contemporary lute depictions) rather than cradled in
the lap as with the modern 'classical' guitar. The use of straps/ribbons
allows the instrument to be held higher on the body (also
followed by
the description of the strings.
I wonder if anyone has seen the paper pattern? Or has a
copy of it?
Monica
- Original Message -
From: Martyn Hodgson
[EMAIL PROTECTED]
To: Monica Hall [EMAIL PROTECTED]
Cc: Vihuelalist
vihuela@cs.dartmouth.edu
Sent: Tuesday
: Re: [LUTE] Re: arch-guitar
To: [EMAIL PROTECTED]
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Wednesday, 10 September, 2008, 2:14 PM
Well - if you find it - do let us know!
Monica
- Original Message -
From: Martyn Hodgson
[EMAIL PROTECTED]
To: Monica Hall [EMAIL PROTECTED
From: Martyn Hodgson [EMAIL PROTECTED]
Subject: Re: [VIHUELA] Re: arch-guitar
To: David van Ooijen [EMAIL PROTECTED]
Date: Wednesday, 10 September, 2008, 5:24 PM
David,
I think (or thought) Rob said that his instrument was
strung so that the lowest bass went down to A, (ie 3 lines
Rob,
Are the basses at the upper octave and does this work for you?
Martyn
--- On Sun, 7/9/08, Rob MacKillop [EMAIL PROTECTED] wrote:
From: Rob MacKillop [EMAIL PROTECTED]
Subject: [VIHUELA] arch-guitar
To: Vihuela vihuela@cs.dartmouth.edu
Date: Sunday, 7 September, 2008, 11:23 PM
Just
I'm hoping to pop 'oop North' to see Donald shortly and will ask if he's got
any further information on this.
Martyn
--- On Tue, 26/8/08, Monica Hall [EMAIL PROTECTED] wrote:
From: Monica Hall [EMAIL PROTECTED]
Subject: [VIHUELA] Re: Chitarrone Francese
To: Stuart Walsh [EMAIL PROTECTED]
Dear Alexander,
A very comprehensive paper and some super pics - thank you. Perhaps you might
consider having it published in the newly resurrected FomRHI Quartetly? Contact
the FoMRHI Sec Chris Goodwin.
regards,
Martyn
--- On Tue, 26/8/08, Alexander Batov [EMAIL PROTECTED] wrote:
From:
The instrument that Rob's been lent
--- On Mon, 25/8/08, Monica Hall [EMAIL PROTECTED] wrote:
From: Monica Hall [EMAIL PROTECTED]
Subject: [VIHUELA] Re: Chitarrone Francese
To: Martyn Hodgson [EMAIL PROTECTED]
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 25 August, 2008, 4:30 PM
...).
M
--- On Mon, 18/8/08, Monica Hall [EMAIL PROTECTED] wrote:
From: Monica Hall [EMAIL PROTECTED]
Subject: [VIHUELA] Re: Search for Scottish pieces
To: Martyn Hodgson [EMAIL PROTECTED]
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Date: Monday, 18 August, 2008, 4:40 PM
They are not really
Rob,
Other than these two, the only others which come to mind are in a sense all
pieces in Corebetta's 1671 book dedicated to the Stuart monarch. In particular
there's a nice sarabande: La Stuart (f. 71) and the preceding Allemande: La
Royalle
Martyn
--- On Mon, 18/8/08, Rob MacKillop
The thing that slightly puzzles me about these guitar variant tunings is why
some (not all of course) were bothered with. Some chords (usually the tonic)
are, of course, made easier but others in the same piece not. As you say Murcia
transcribed back. Rather like him, by and large, I
. So I'm
experimenting a bit.
-- R
On Jul 20, 2008, at 3:04 AM, Martyn Hodgson wrote:
Like many others I use modern chord names when playing
guitar
continuo: this enables the underlying harmony (shades
of Rameau) to
be played without obvious errors. However I play solo
A CD Rom of facsimiles of ALL 7 vihuela books (plus some Ms tablatures)
whichpublished by a Spanish company Musica Prima (ISBN 84-95609-41-X). I got my
copy about a year or so ago (through the Lute Society) and I think it only cost
around £15 - a real bargain. I think the publication was
about illustrations is that they capture a single moment in
time - and what is picturesque. What they can tell us is rather limited.
As with everything else I suspect different players did different things for
different reasons - yesterday, today and for ever.
Monica
From Martyn
, Martyn Hodgson wrote:
After trying various options I've plumped for one
which a scribe/
engraver might more easily have mistaken/overlooked:
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Dear Rob,
How exactly is your guitar strung?. Presumably you are obliged to lower
= the general pitch of the instrument (say a minor third or so) to
avoi= d frequent string breakages of a high third course. A gene= ral
lowering of pitch will have a deliterious effect in the
evidence Peter has for using the guitar
in this way.
Monica
- Original Message -
From: Martyn Hodgson
To: [EMAIL PROTECTED] ; 'Monica Hall' ; 'Vihuelalist'
Sent: Friday, January 18, 2008 8:40 AM
Subject: Re: [VIHUELA] Re: tablature, alfabeto and BC
Two dances
I got so far with these and, infact, still have the icons on my desk top, but
couldn't do the final hurdle so I'd like to know too.
MH
Monica Hall [EMAIL PROTECTED] wrote:
I wonder whether anyone on these lists can explain to me how to obtain and
install the Ghostview Ghostscript
To: Vihuelalist
Cc: [EMAIL PROTECTED]
Subject: [VIHUELA] Re: tablature, alfabeto and BC
- Original Message -
From: Monica Hall
To: Martyn Hodgson
Cc: vihuelalist [EMAIL PROTECTED]
Sent: Thursday, January 17, 2008 3:58 PM
Subject: Re: [LUTE] Re: tablature, alfabeto and BC
Well - the short answer
The modern use of the 'baroque' guitar in period ensembles is as much due to
the frequently misguided tastes of directors/conductors, who often crave the
exotic thinking that without it audiences attention will wander, as to
guitarists (and harpists etc) putting themselves forward.
MH
Martyn Hodgson [EMAIL PROTECTED] wrote: Date: Tue, 15 Jan 2008 09:05:50
+ (GMT)
From: Martyn Hodgson [EMAIL PROTECTED]
Subject: Re: 'Strumming' Foscarini (and others) - even more agreement
To: Monica Hall [EMAIL PROTECTED]
Monica Hall [EMAIL PROTECTED] wrote: I'd be interested
!
Monica
From: Martyn Hodgson
To: Monica Hall
Cc: Vihuelalist
Sent: Monday, January 14, 2008 1:32 PM
Subject: Re: [VIHUELA] Re: Foscarini again -
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
actually strum signs. And there are strum signs all over the
place in Foscarini.
Hooray!
Monica
-Original Message-
From: Rob [mailto:[EMAIL PROTECTED] Sent: 13 January 2008 16:40
To: 'Martyn Hodgson'; 'Stuart Walsh'; vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Re: Foscarini again
-
From: Martyn Hodgson
To: Monica Hall ; Stuart Walsh
Cc: Vihuelalist
Sent: Monday, January 14, 2008 8:58 AM
Subject: Re: [VIHUELA] Re: Foscarini again -
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
is
a bit ambiguous!
Monica
From: Martyn Hodgson
To: Monica Hall
Cc: Vihuelalist
Sent: Monday, January 14, 2008 1:32 PM
Subject: Re: [VIHUELA] Re: Foscarini again -
Yes - I think we're reaching some sort of middle way. However, in the case we
were particularly discussing I still return
'
My dog's pennyworth:
Why doesn't it make sense to strum? Surely it's a particular effect he's
after: I think he does indeed want it strummed.
The entire section gradually gets 'higher' and it's all part of a long rising
phrase. I'm using a bourdon on the 4th but even with
.
Martyn
PS Where did you get your Book 5 from?
Stuart Walsh [EMAIL PROTECTED] wrote:
Martyn Hodgson wrote:
'
My dog's pennyworth:
Why doesn't it make sense to strum? Surely it's a particular effect he's
after: I think he does indeed want it strummed.
The entire section
revise my alfabeto!! After that I more or less
got it right...
Rob
www.rmguitar.info
-Original Message-
From: Rob [mailto:[EMAIL PROTECTED]
Sent: 13 January 2008 16:40
To: 'Martyn Hodgson'; 'Stuart Walsh'; vihuela@cs.dartmouth.edu
Subject: [VIHUELA] Re: Foscarini again -
I've made
Transcription fine - EXCEPT the second bar repeat the Bb on 5th course (so can
be 'strummed')
Martyn
Monica Hall [EMAIL PROTECTED] wrote:
Prompt action from Stuart!!!
You can see my transcription at
It's here:
http://www.pluckedturkeys.co.uk/FoscariniToccatta1.jpg
Monica
.
Martyn
Monica Hall [EMAIL PROTECTED] wrote:
It's Foscarini - not BArtolotti!
Monica
- Original Message -
From: Martyn Hodgson
To: ; 'Stuart Walsh' ;
Sent: Sunday, January 13, 2008 5:06 PM
Subject: [VIHUELA] Re: Foscarini again -
Absolutely Rob - the build up is, I think
So they do - thank you.
However, the problem with my earlier suggestion is that I just can't do it: I
played through yesterday and thought it just needed a bit more application and
returned to it today but still can't play the third bar from the end of the
second line AS WRITTEN without
You spoil us ambassador(ess): I don't know why, but I get into an almost
Pavlovian response mode when you pose these questions and feel obliged to come
up with something.
Here I think it's about emphasis - a firmer/stronger, but controlled, strum
than with just the index. On the 2nd
I've always assumed these were just light strums across two adjacent strings;
simplty an extension of just strumming on three (eg the 630 on the first beat
of the fourth full bar of this line).
As, I think, you imply, one needs to be a bit careful not to strum any other
surrounding
John Cousens always said it was from the use of watch keys - he lent me some
when stringing a Preston guittar and they fitted perfectly. My supposition
would therefore be that the same people who made watch mechanisms in 18thC
London (centre of the industry)made these tuners to P's
' tuning only ever look
at the first course and seem blissfully unaware that the chromatic/diatonic
sequence is different on different courses!
Martyn
Alexander Batov [EMAIL PROTECTED] wrote:
On Tuesday, November 27, 2007 4:11 PM Martyn Hodgson wrote:
It would be of further interest to do
Peter,
Many thanks for this - look forward to seeing it.
May I though comment on one thing: when many lutenists say my lute's fretted
in 'meantone' they often really only think of the first course and seem
blissfully unaware that the chromatic/diatonic semitone sequence is different
It seemed OK when I received it, but it corrupted when I enclosed it in my
reply to you!
I get these sort of problems when answering emails - the page format suddenly
changes for no apparent reason.
MH
Alexander Batov [EMAIL PROTECTED] wrote:
I do apologize to everybody again.
I guess it's not surprising that the fret settings of the 1st and 6th course
are close since they're supposed to be a double diapason (2 octaves) apart.
It would be of great interest to do this sort of analysis for each course so as
to see the how the different chromatic/diatonic semitone
It would be of further interest to do this for each course so as to see the
different chromatic/diatonic semitone relationships between all the courses.
Alexander Batov [EMAIL PROTECTED] wrote: Palmer orpharion: fret positions
and their corresponding temperaments.
The + sign shows which
in Italy they may have acquired other
charactersitics.
Monica
- Original Message -
From: Martyn Hodgson
To: Monica Hall ; Vihuela Net
Sent: Sunday, November 04, 2007 12:55 PM
Subject: Re: [VIHUELA] Re: advice on 'passacailles'/chaconnes
I can't agree with this Monica: that all
My feeling of the speed is that it needs a certain lightness and rythmic
pulse to be a dance form rather than sounding, as you suggest, like a sort of
anthem.
Regarding stringing: I really would suggest that you to persist with octaves
on the 4th and certainly try high unison on the
I'm pleased someone else plays music from this wonderful MS which must contain
the logest piece ever written for baroque guitar (if, of course, it was ever
expected to be played in one sitting).
Regarding the particular piece: the harmonies and structure are reminiscent
of Gianoncelli's
Dear Monica,
At the back of MS 17.706 (Nationalbibliothek Vienna), which mostly contains
11 course lute music (first decades of 18thC), are 7 folios of theorbo pieces
in French tablature. The 'Accordo della Tiorba' clearly shows octave down for
the first two courses and an instrument
:
- Original Message -
From: Martyn Hodgson
To: Alexander Batov ; Cittern NET
; Vihuela Net
Sent: Wednesday, November 01, 2006 8:24 AM
Subject: [VIHUELA] Re: Why re-entrant tuning? (battente guitar)
However, I'm still puzzled why you are so certain that folded top guitars
were
the instrument may have been around
earlier than you suppose (see Peter Forrester's recent communication).
M
Alexander Batov [EMAIL PROTECTED] wrote:
Subject: [VIHUELA] Re: Why re-entrant tuning?
On Wednesday, October 18, 2006 8:42 AM, Martyn Hodgson wrote:
Indeed, the Preatorius
Dear Lex (and Monica),
I'm afraid I've not had the time to be involved in yr interesting recent
exchange of views but have quickly scanned most of the messages.
One thing which now seems to be pretty central to how you see the chords is
the harmonic importance you're placing on the
) by two pictures Nos 294 and 295. Do you know its
whereabouts now?
MH
Alexander Batov [EMAIL PROTECTED] wrote:
- Original Message -
From: Martyn Hodgson
To: Cittern NET ; Early Guitar NET
; Vihuela Net
Sent: Tuesday, October 17, 2006 2:48 PM
Subject: [VIHUELA] Re: Why re
Martyn Hodgson [EMAIL PROTECTED] wrote: Date: Tue, 17 Oct 2006 09:00:21
+0100 (BST)
From: Martyn Hodgson [EMAIL PROTECTED]
Subject: Re: [VIHUELA] Re: Why re-entrant tuning?
To: Alexander Batov [EMAIL PROTECTED]
Dear Alexander,
I am genuinely open minded about all this and remain
...). I have not played much on the instrument
lately (the recording was made for a long time.)
Sebastian is probably on the list
- Original Message -
From: Martyn Hodgson
To: Lex Eisenhardt ; Early Guitar NET ; Vihuela Net ; Cittern NET
Sent: Sunday, October 15, 2006 5:41 PM
Subject: Re
paper on wire strung guitars in the most recent
Galpin Society Journal.
Darryl Martin
The early wire-strung guitar - G.S.J. no. 59, May 2006, p.123-137.
M
- Original Message -
From: Martyn Hodgson
To: Lex Eisenhardt ; Cittern NET
; Early Guitar NET
; Vihuela Net
Sent: Monday, October
Lex,
Many years ago I made a battente for a customer (from Italy - talk about
coals to Newcastle) and recall having problems with getting 'authentic'
iron/steel strings (I used harpsichord wire from Thomas I recall up to pitch
(even as low as a tone below modern): the trebles kept
201 - 300 of 319 matches
Mail list logo
