Dear Monica,
Frthr to my last, you may find this of interest
Martyn Hodgson [EMAIL PROTECTED] wrote:
Date: Tue, 5 Apr 2005 10:20:29 +0100 (BST)
To: Daniel Shoskes [EMAIL PROTECTED], Lute Net lute@cs.dartmouth.edu
CC: Lute Net lute@cs.dartmouth.edu
From: Martyn Hodgson [EMAIL PROTECTED
All good stuff Stewart, but does it apply to the 'baroque' guitar? As has
already been pointed out, the use of 'alfabeto' moveable chord shapes impies
equal temperament (or near).
In particular, the M, N and H chords frequently occur in Italian printed
collections using all frets
Dear Monica,
Yes, like you I wonder at it all - surely the point of moveable chord shapes
(alfabeto) is that equal temp is taken as read
Martyn
Monica Hall [EMAIL PROTECTED] wrote:
I don't know whether there is still anyone on this list - but if there is
perhaps they can
Martyn Hodgson [EMAIL PROTECTED] wrote: Date: Thu, 24 Nov 2005 12:07:37
+ (GMT)
From: Martyn Hodgson [EMAIL PROTECTED]
Subject: Query: Position of octaves on courses 4 5 in late 18thC guitars
To: Early Guitar NET early-guitar@cs.dartmouth.edu
As Monica (Hall) reports in her
- 4 octave placements
jarana - 1 placement
and from the 46 types of charango listed there was one
temple requintado tuning with an octave placed on
all 5 courses!
loaded with options ... pluralism triumphant ...
- bill
--- Martyn Hodgson wrote:
Martyn Hodgson wrote:
Date: Thu, 24 Nov
if it is accompanying several instruments.
Monica
Martyn Hodgson wrote: Date: Thu, 24 Nov 2005
12:07:37 + (GMT)
From: Martyn Hodgson
Subject: Query: Position of octaves on courses 4 5 in late 18thC guitars
To: Early Guitar NET
As Monica (Hall) reports in her monograph on baroque guitar
- Original Message -
From: Martyn Hodgson
To: Vihuela Net
Sent: Thursday, November 03, 2005 8:41 AM
Subject: [VIHUELA] Doubts over the additional 'peghole'
Further to all this, I'm not at all persuaded that the extra 'peg hole' is
original: as mentioned in previous communications
I agree with Eugene (see blw), there are no lists as far as I can see on which
one would find, say, a discussion of Scheidler's and Molitor's guitar sonates
and their relation to the Gallichon?Mandora and from thence the impact of
Guiliani in Vienna (it seems that the earlier composers were
Monica,
Further to the below, grtfl if you cld respond to my earlier message on
precisely this matter: I'm not always convinced by yr procrustean analysis.
rgds
Martyn
Monica Hall [EMAIL PROTECTED] wrote:
Then Corbetta is to blame, he does that sort of thing all the time.
Not
Thank you fr ths Lex,
I take yr points and, in particular, that Sanz was only recording his
recollection of Roman practice. Nevertheless, does it not represent a
compelling piece of contemporary (allbeit reported some 20 yrs after his visit)
evidence for re-entrant stringing rather than
Thank you Lex,
Regarding posn of low octave on 4th and 5th courses:
I do, of course, well understand that modern general practice is for low basses
to be 'closest to the floor' (hence my continuation dots..), my reason in
raising this matter with you was that if strict part writing in
really it is not.
You should always consider the possibility that notes on the 5th course
belong in the upper octave first.
I haven't got time to respond to the rest of the message, which doesn't seem
to be complete. Perhaps Lex would send it again.
Monica
- Original Message -
From: Martyn
Thank you for this summary of your views Lex.
After reading it I went to Corbetta 1648 and, indeed, the style of writing
(especially the use of chords on the three 'lowest' courses) does seem rather
different to his post 1671 stuff. I had previously thought this was a just a
stylistic (ie
After my message below
Monica Hall [EMAIL PROTECTED] wrote:Date: Sun, 4 Sep 2005 15:04:35 +0100
To: Martyn Hodgson [EMAIL PROTECTED]
CC: vihuela vihuela@cs.dartmouth.edu
From: Monica Hall [EMAIL PROTECTED]
Subject: [VIHUELA] Re: Foscarini/Corbetta - low basses
Maybe Lex forgot to send
to the rest of the message, which doesn't seem
to be complete. Perhaps Lex would send it again.
Monica
- Original Message -
From: Martyn Hodgson
To: Lex Eisenhardt ; Vihuela Net
Sent: Sunday, September 04, 2005 9:36 AM
Subject: [VIHUELA] Re: Foscarini/Corbetta - low basses
Thank you
that notes on the 5th course
belong in the upper octave first.
I haven't got time to respond to the rest of the message, which doesn't seem
to be complete. Perhaps Lex would send it again.
Monica
- Original Message -
From: Martyn Hodgson
To: Lex Eisenhardt ; Vihuela Net
Sent: Sunday
Thanks fr yr thougt provoking paper Alexander. You asked for comments:
Firstly, congrats on marshalling new information and perpectives. I was
particularly struck with the Daret painting when you introduced to me some
months ago and I agree that the Diaz MAY have been built as a 6 course
he based
this assertion.
Pisador's tuning instructions imply a unison 4th course, but say nothing
about the rest.
If anyone has more evidence, please share it!
Best wishes,
Martin
Martyn Hodgson wrote:
Not so much controversial perhaps but I'd be grateful for views on 16thC 6
course
Not so much controversial perhaps but I'd be grateful for views on 16thC 6
course vihuela stringing. There's some evidence that the basses were, unlike
the contemporary lute, tuned in unisons but I wonder..
Eph Segerman believes it was partly because the Spanish were so
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