age -
From: Monica Hall
Date: Wednesday, September 12, 2012 1:37 pm
Subject: [VIHUELA] Re: G chord on Baroque Guitar
To: RALPH MAIER
Cc: Vihuelalist
>I don't think that it is particularly convenient or
> good practice to
>finger the chord in the wa
Interesting thread. Just a thought, and I'm obviously spitballing, but
I wonder if there is anything that might be gleaned from this
observation in regards to the use of the fourth finger in general. Is
there anything in the sources that might suggest its
avoidance/preference? Just c
Fabulous! Thanks very much for this, Monica.
Ralph
- Original Message -
From: Monica Hall
Date: Tuesday, June 12, 2012 4:56 am
Subject: [VIHUELA] Re: Murcia - Cifras selectas online
To: Vihuelalist
> I just received this message. Those of you who are interested in
Thanks for this. It may be a good opportunity for students to get into
it. Anyone tried them yet?
Ralph
- Original Message -
From: Luca Manassero
Date: Thursday, October 14, 2010 3:45 pm
Subject: [VIHUELA] Pakistani Baroque Guitar?
To: vihuela@cs.dartmouth.edu
Thanks very much for this, Monica. Much of the work I'll be doing this
Spring and next Fall will involve some very capable singers. With any
luck some of this will see some action fairly soon. Cheers.
Ralph Maier
- Original Message -
From: Rob MacKillop
It's interesting that Murcia would suggest a partial barre with the 2nd
finger in his table. There are however plenty of instances where the I
chord is written out using a partial barre with the first finger (for
example, the Gallarda fol.5, line 2, m.3).
If you find the barre dif
I'd also be keen on finding out how many players use it, and to what
extent. If you want to hear it in use might I be so bold as to suggest
checking out my CD as well. I seem to recall using dedillo on almost
every track.
Ralph
PS: glad the website discussion was useful to y
Hi Stuart,
If you're in North America, my experience with Curtis Daily (Aquila
USA) has been great:
[1]i...@aquilausa.com (email)
[2]www.aquilausa.com (website)
Email Curtis with the details (pitches, string-length) and he should be
able to supply you with something
Sorry if this is a double-post. Forgot to hit "reply all".
Cheers.
Ralph
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I agree. What's wrong with the capo? Yes, we're way past any notions of
fixed pitch. Technical expedience and audience perceptions aside, the
advantage of the capo and reason I encourage students to at least give
it a whirl is that it allows the player to temporarily suspend his
disb
e until
> > the end of the 15th
> > century - and probably played only a single line.
> > Playing finger style in
> > several parts began to be deveolped towards the end
> > of the 15th century - as
> > I understand it.
> >
> > Monica
> &g
t; please, what are the other two?
>
> - bill
>
> --- Rob <[EMAIL PROTECTED]> wrote:
>
> > Wayne has told me that the archive computer has
> > decided it doesn't like
> > me...and is refusing to archive my posts. I'm trying
> > not to ta
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