[VIHUELA] Re: videos

On Jul 11, 2008, at 11:36 AM, Stuart Walsh wrote: > Really? > > this: > > http://www.vimeo.com/1322063 The same > My performance is not so good but is it really bad enough to be an > obscenity? That's what inquiring minds want to know > I joined vimeo following a link put up by Rob. I t

[VIHUELA] Re: videos

On Jul 11, 2008, at 10:51 AM, Stuart Walsh wrote: > Anyway - some amateur performances on a guitar which has absolutely > nothing to give to the world - of some Foscarini pieces (possibly a > bit unexpected): I clicked on the link and got a message that "This is a private video," accompani

[VIHUELA] Re: Sanz and the High G

On Apr 26, 2008, at 2:08 AM, Rob MacKillop wrote: > and I imagine all manner of stringing, tuning and pitch was in use. It hardly requires imagination, since three stringing different configurations are known even before we start talking about high Gs, or guitars in nominal pitches other than

[VIHUELA] Re: Sanz and the High G

On Apr 25, 2008, at 7:16 AM, Martyn Hodgson wrote: > cannot we assume that, like with lutes, the first course of guitars > were pitched as high (or at least not too far off) as they co= > uld reasonably bear. You can only assume this if you also assume the lack of a high octave on the th

[VIHUELA] Re: Sanz and the High G

On Apr 24, 2008, at 3:36 PM, Stuart Walsh wrote: > Monica's position is rather like mysterianism in the philosophy > of mind. It's all just one big mystery: the stringing , the > tuning, the performance practice of the seventeenth century > guitarists- the existing evidence points anywh

[VIHUELA] Re: Castaldi

> It is indeed the Laurens/Dumestre recording. Have you heard it. Seguro que si. My review of it ran in the May 2004 LSA Quarterly. That's why I was casting about asking the same questions you're asking now. -- To get on or off this list see list information at http://www.cs.dartmouth.

[VIHUELA] Re: Castaldi

On Sep 11, 2007, at 9:24 AM, Monica Hall wrote: > Many thanks Howard. Most illuminating and entertaining. I trust it was the part I wrote that was entertaining, rather than the part that Josephus wrote. If the latter, I'll have to make it a point never to accept a dinner invitation from you

[VIHUELA] Re: Castaldi

On Sep 11, 2007, at 3:12 AM, Monica Hall wrote: > I'm reviewing a CD of music by Castaldi. It has on it an > extaordinary piece - a setting of a letter addressed by a Jewish > women, Heleazaria, to the Emperor Tito Vespasiano during the Seige > of Jerusalem which occurred in about 70 A.D. I

[VIHUELA] Re: la follia - joyous family reunion

On Tuesday, Apr 17, 2007, at 07:07 America/Los_Angeles, EUGENE BRAIG IV wrote: > I enjoyed this. > Of course, half of these things aren't quite like baroque instruments, > but who cares? Acknowledge them for what they are and enjoy. I'm not > fond of the term "6 course Baroque Mandolin", esp

[VIHUELA] Re: Charango as vihuela

On Tuesday, Jan 23, 2007, at 15:41 America/Los_Angeles, bill kilpatrick wrote: > would it have been required of necessity > that i throw away my iberian, charango-like prototype, > simply in order to play along? I'm surprised that you'd want to play along, given your proclivity to harp on one

[VIHUELA] Re: Charango as vihuela

On Friday, Jan 19, 2007, at 04:29 America/Los_Angeles, bill kilpatrick wrote: > from this i gather you've decided to: (a) ignore it. You're assuming that I needed to decide something. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Charango as vihuela

On Thursday, Jan 18, 2007, at 13:46 America/Los_Angeles, bill kilpatrick wrote: > the modern charango is acknowledged to be in some way > related to the 16th cent. vihuela. As you and I are acknowledged (except by Republicans) to be in some way related to chimpanzees. This does not make us chi

[VIHUELA] Re: Pujol vihuela recording

LGS-Europe wrote: > I have just bought a cd of the 16 july1954 concert in Madrid of Rosa > Barbany, soprano, and Emilio Pujol on vihuela (!) in a programme of > Spanish > songs. Terrible sound quality, If this was a live concert, Pujol may simply have been pushing hard to play louder and beco

[VIHUELA] Re: La Cancion del Emperador

David Rastall wrote: > Also "Chuck One" of Spain, right? ( No doubt called that > by a different set of close friends!) Son of "Juana la Loca" and > father of Phillip II. The same. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: La Cancion del Emperador

On Sunday, Apr 16, 2006, at 14:06 America/Los_Angeles, Arto Wikla wrote: > I woud say Carlos V. i.e. Charles V of the Holy Roman Empire, or "Chuck Five" as his close friends called him. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Mean tone temperament

Monica Hall wrote: > I have got these two CDs of baroque guitar music to review. One of > them says that the instrument is tuned to A=415 in mean-tone > temperament; the other to A = 440 in mean tone temperament. No more > information than that is given in the notes, but one of the CDs has 2

[VIHUELA] Re: Meantone temperament

Eugene C. Braig IV wrote: > you still can't truly fret any instrument to any > temperament scheme other than roughly equal temperament without > tastini or > some other device for sectioning frets. This may be correct as a matter of mathematics, but it doesn't work like this in the real world.

[VIHUELA] Re: Mean tone temperament

Jon Murphy wrote: > What are "distant keys"? Keys that have few notes in common with the "home" key. A piece in C major will typically modulate to G or F or minor, but gets far afield if it drifts into A-flat or F-sharp, and in any equal temperament those sections will sound dissonant and

[VIHUELA] Re: Mean tone temperament

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 different major and minor > keys - as they were wont to do? 1) On the whole, they di

[VIHUELA] Re: melancholy and the vihuela

Craig Allen wrote: > But remember that Dowland too wrote music that if not actually > melancholy was downright morose. If he were alive today he'd be taking > anti-depressants and his doctors would have him on a suicide watch. No more than they would call Quentin Tarantino a homicidal maniac.

[VIHUELA] Re: What is the historical vihuela?

Monica Hall wrote: > But we are not talking about the theorbo Perhaps you didn't notice that I was responding only to your remark that you didn't see the advantage of longer strings in accompanying. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-adm

[VIHUELA] Re: What is the historical vihuela?

Monica Hall wrote: > This is what puzzles me a bit as I can't see the advantage of having a > long > string length for accompanying. Interesting that you're saying this a few days after Benjamin Narvey posted Linda Sayce's article arguing, in essence, that theorbos with short string lengths

[VIHUELA] Re: What is the historical vihuela?

Monica Hall wrote: > The string length however is only really relevant in so far as this > has any > bearing on it's authenticity. I would question whether a female > player, who > probably didn't have the technical ability of Rolf Lislevand, would > have > been able to play anything meaningfu

[VIHUELA] Re: What is the hysterical vihuela?

Monica Hall wrote: > I > can't see either why there should be any advantage in having a longer > string > length when accompanying, unless it is to tune to a lower pitch. This > is > not necessary if you are a member of the fair sex accompanying yourself > either. But an alto singing a song wr

[VIHUELA] Re: What is the historical vihuela?

Monica Hall wrote: > On reflection, as a member of the fair sex I am a bit sceptical about > this > (as with everthing else!).I would find it impossible to play even > the > simplest of music on an instrument with a string length of 72.7. You need to have a chat with Lynda Sayce. To ge

[VIHUELA] Re: What is the historical vihuela?

bill kilpatrick wrote: > crank? ... pummeling the baroque guitar supporters? > ... wuffing up the renaissance guitar list? ... crank, > (something) and wanton wiles? ... > > calm down. I'm perfectly calm, I assure you. I said you were a crank because you fit the dictionary definition. The othe

[VIHUELA] Re: What is the historical vihuela?

bill kilpatrick wrote: > playing this music on a charango - or ukulele > if it comes to that - is not useless. nor are single > voice melodies from more complex compositions played > on whatever comes to hand. My point is that if you can't play vihuela music on it, it's not a vihuela. This i

[VIHUELA] Re: What is the historical vihuela?

bill kilpatrick wrote: > i don't > think i'll ever get you to acknowledge the historic > validity of my cute little chordaphone of choice Nobody here has said that the charango doesn't have historical validity, although we do have one crank on the list who seems to have such a low opinion of

[VIHUELA] Re: What is the historical vihuela?

bill kilpatrick wrote: > do you mean to infer that repertoire is the deciding > factor? The word you're looking for is "imply," and I'd say the answer to your question is no. Garry was not implying, but rather assuming, that an instrument useless for playing vihuela music is not a vihuela. Th

[VIHUELA] Re: What is the historical vihuela?

Monica Hall wrote: > I think we need to be very cautious about all the illustrations in the > vihuela books as the engravers are often incompetant and unreliable, Or not paid enough to make it worthwhile or just not interested in putting a lot of accuracy and detail into a tiny picture. The in

[VIHUELA] OT: More charango stuff (was bordón - revisit ed)

bill kilpatrick wrote: > what is the historical vihuela, howard? An instrument on which vihuela music can be played, and which resembles the instrument Orpheus holds on the cover of El Maestro. > Among the millions who >> play or listen to >> the charango, there are probably only a handful who

[VIHUELA] Re: [VIHUELA] Re: [VIHUELA] bordón - revisited

Eugene C. Braig IV wrote: > I know you perceive some kind of anti-charango snobbery amongst > members, > but I don't perceive that amongst most. It's just that what most of > the > world conceptualizes as "vihuela" is not charango and charango thus > isn't > an ordinary focus of this forum.

[VIHUELA] Re: rain ...

On Saturday, Oct 22, 2005, at 03:24 America/Los_Angeles, bill kilpatrick wrote: > guitar history properly begins with the appearance of > the first > written score for the instrument. If you said this about the lute, you'd be wrong by centuries. If you said it about most other instruments, you

[VIHUELA] style brisé

bill kilpatrick wrote: > i understood continuo to be a bass "run" that runs > continuously throughout a piece. You're thinking of "ground bass" or perhaps "basso ostinato." > i understood arpeggio to mean playing all the notes of > a chord consecutively It just means playing the notes of chor

[VIHUELA] Re: [VIHUELA] Re: [VIHUELA] style brisé

bill kilpatrick wrote: > unless i have it completely wrong, i play oud using > style brisÈ - alternating tremolo, sometimes in > continuo, between individual notes which together > comprise a simple chord (in the case of the oud) made > with two notes. I'm not sure what you're trying to say, but

[VIHUELA] Re: jarana or xarano

I'm always uneasy engaging Bill on this subject, suspicious that it's all a joke and I'm making a fool of myself by treating it as if he's serious. But one more time... bill kilpatrick wrote: > these are all good points i've raised - interesting > and original - Well, maybe interesting and ma

[VIHUELA] Re: jarana or xarano

Eugene C. Braig IV wrote: > > An utter lack of corroboration in extant European instruments. I don't > know why people would feel obliged to justify the worth of American > instruments by insisting they are their European parallels/conceptual > ancestors. I still don't understand why this debate

[VIHUELA] Luz y Norte

RTHUR NESS wrote: > I still do not understand its significance as the title of a guitar > treatise "Light [or "Lantern"] and North Star," as in a guide in the dark. HP To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: rasgueo

Eugene C. Braig IV wrote of the Harp Consort "Luz Y Norte" CD: > One more to have missed the Arto list: > 6895013> And if your interest is in strumology, this is the one you want. To get on or off this list see list in

[VIHUELA] Re: [LUTE] Re: Beethoven influences

> I certainly condone this discussion, but shouldn't it be happening > here: ? Beethoven played vihuela? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: uke as Baroque guitar

<[EMAIL PROTECTED]> wrote: > a video of a young bloke playing a Beatles ditty on a (large) uke. > Heís a very good player. > > Heís mixing strumming and punteado. Heís adding notes to strummed > chords and playing all manner of ërepiccoí.(repicci?). Repicos. It's a Spanish word, not an Italian

[VIHUELA] Re: guitar continuo

Monica Hall wrote: > The trouble with all of us today is that we think > that there is only one correct way of doing things (our way) and > everything > else must be wrong. This tells us more about the 21st century and what > matters to us than about what players did or thought in the seventeent

Re: Dedillo/redobles

bill kilpatrick wrote: > is dedillo the same as redobles - fast, single line > passage(s)? No. Dedillo is a way of playing passages of that sort using only the index finger, presumably in the manner of a plectrum. It's occasionally marked in vihuela sources. HP To get on or off this list se

Re: cement

bill kilpatrick wrote: > all i have is the internet. i didn't study music at > school and i don't have access to a library - i'm > totally dependent on you for information. Yet remarkably resistant to the information that's offered. > the fact that you knew (collectively - i assume most > of yo

Re: las sirenas

called by that name anywhere" and other times in the sense of "the six-course waisted-body lute for which Milan, Mudarra and others wrote music in tablature in 16th-century Spain." Howard Posner To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: Vihuela stringing

Martyn Hodgson wrote: > The grounds for Eph's view seems to be that only the very wealthy (ie the > 16thC Spanish) could afford firsts which had been through rigorous quality > checks (with high wastage) to ensure uniformity - we know that this was Is the underlying assumption that because there

Re: Ensemble music with Vihuela

Dr. Marion Ceruti wrote: > When I record, usually no other musician records with me. If it's any consolation, you're not the only person who has that effect on other musicians. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: Ensemble music with Vihuela

Roman Turovsky wrote: >> "Vihuela is too soft to be used in ensembles..." Since the vihuela is used in modern ensembles all the time, you must be speculating about how the vihuela was used in the Renaissance. Is there some reason to believe it was any softer than the lute, which was used in ensem

Re: MO

, fellow subscribers, do you want this list or not? I suppose it depends on whether we're going to have a major upheaval every time someone signs off. Howard Posner To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: Air on the G string?

Stanley Yates wrote: > Yet, as far as I know, there is no single statement to be found among the > perfromance practice sources of the period that discusses the modern concept > of differentiated plucking on an octave-strung course. This is not to say > that master guitarists of the time didn't do

Re: Air on the G string?

Monica Hall wrote: > And why not? We shouldn't > worry too much about "authenticity." Communicating with the listener is > more important. Making assumptions about the thought processes of people who disagree with you is a fool's game. That's why it succeeds as a persuasive device only in polit

Re: Paez?

Garry Bryan wrote: > > Thanks for the clarification. Of course now I have to ask: What do you mean by > "one of the few known manuscripts for vihuela" ? > > I know, for instance of books of vihuela tablature by, Milan, Narvaez (Luis, > not > Panfilo ), Mudarra, etc. and would have thought they w