Hi Stuart... Thanks
The effect on that A (er G) chord was taught to me in a class of
rasgueados for baroque guitar... They called it a trill. Basically,
it's alternating up/down strokes between two fingers. If U is up and D
is down, then the gesture is:
Da, Di, Ua, Ui -- repeated for the duration of the note. Yes, I use
the ring finger. But it turns out I use the ring finger for nearly
every rasgueado. I just have to shrug off any chastisement for
anachronism there, because I don't know that I could manage it any
other way.
__________________________________________________________________
From: Stuart Walsh <s.wa...@ntlworld.com>
To: Chris Despopoulos <despopoulos_chr...@yahoo.com>
Cc: Vihuelalist <vihuela@cs.dartmouth.edu>
Sent: Sat, April 16, 2011 1:55:20 PM
Subject: Re: [VIHUELA] With/Without Bordones
On 16/04/2011 16:56, Chris Despopoulos wrote:
> I've recorded a few pieces now with a bordon on the D course --
Suite
> by Roncalli, Paracumbe, and Folias by Sanz. These are compared to
> similar recordings I did without the bordon. Oddly enough, the
earth
> did not crack open and swallow my guitar, flaming toads did not
fall
> from the sky, and gravity as we know it still holds sway.
> I'm inclined to view the results along the lines of speaking a
language
> with an accent... Perhaps the emPHAsis is placed on differENT
> syllABles, but the import is generally the same, and the ability
to
> move the listener rests entirely with the speaker regardless of
his or
> her accent. I've found that the bordon reveals some aspects of a
piece
> I may not have noticed otherwise, but nothing earth-shattering. I
may
> try to record a few other pieces with a bordon just to be
thorough.
> (And I suppose I should try this exercise with bordones on two
> courses...) For my own pleasure I want to get back to fully
re-entrant
> tuning, but that's just a personal and possibly temporal
preference.
> If you're interested, you can hear the results at:
> [1][1]http://cudspan.net/baroque/
> Cheers cud
>
> --
Chris
You certainly play with a lot of fire! I think the bordon on the D
course does make quite a difference - a darker sound maybe, or more
depth. And, of course you now have extra notes below the third course.
How do you get that effect on the letter A (chord of G) in the first
bar
of the Roncalli Prelude?
Stuart.
> References
>
> 1. [2]http://cudspan.net/baroque/
>
>
> To get on or off this list see list information at
> [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
--
References
1. http://cudspan.net/baroque/
2. http://cudspan.net/baroque/
3. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
