To Vihuela (early guitar) list:
The aside by Chris on the 'trill' he was taught to execute raises an
important issue not, I think, much discussed: the precise manner of
strumming used by the Old Ones.
The repertoire of strumming styles used by players of the 'baroque'
guitar these days often seems to me to more related to modern robust
flamenco play than the precise technique used by earlier players (at
least based on what they wrote). Chris's description of his strum is,
of course, similar to the 'repicco' described by Corbetta in his 1671
collection (NB bourdon on 4th course!). Translation of extract
'....Note that the four tied beats strike down the first note with the
middle finger then with the index and then the same as upstroke' (I
hope this is accurate if not a a literal translation........). That an
experienced player Stuart thought it a new (to him) style of strumming
may perhaps illustrate how many of us (me included!) fail to adhere
always to the earlier instructions.
Incidentally, I think to call it a trill (or more correctly 'trillo')
as Chris was told, is perhaps wrong: my understanding of this term is
that it is a strum ornament executed by the index alone not by two
fingers or more.
Yrs in exectation of a response or two
Martyn
--- On Sat, 16/4/11, Chris Despopoulos <despopoulos_chr...@yahoo.com>
wrote:
From: Chris Despopoulos <despopoulos_chr...@yahoo.com>
Subject: [VIHUELA] Re: With/Without Bordones
To: "Stuart Walsh" <s.wa...@ntlworld.com>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Date: Saturday, 16 April, 2011, 20:19
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 <[1]s.wa...@ntlworld.com>
To: Chris Despopoulos <[2]despopoulos_chr...@yahoo.com>
Cc: Vihuelalist <[3]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][4]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][5]http://cudspan.net/baroque/
>
>
> To get on or off this list see list information at
> [3][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
--
References
1. [7]http://cudspan.net/baroque/
2. [8]http://cudspan.net/baroque/
3. [9]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
--
References
1. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
2. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chr...@yahoo.com
3. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
4. http://cudspan.net/baroque/
5. http://cudspan.net/baroque/
6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
7. http://cudspan.net/baroque/
8. http://cudspan.net/baroque/
9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
