All I can say is that I agree with this. The problem arises when
several people reply to a message consecutively, some at the top and
some at the bottom.
The important thing is to keep the discussion in a logical sequence
which everyone can follow.
Monica
----- Original Message -----
From: [1]Martyn Hodgson
To: [2]Monica Hall
Sent: Monday, April 18, 2011 3:23 PM
Subject: Re: [VIHUELA] list - protocol
As said, the reply at the top is usual (and historic!) practice. But
it's also always a good idea to cut and paste in the relevant section
one is queying/amplifying if the original is long
--- On Mon, 18/4/11, Monica Hall <[3]mjlh...@tiscali.co.uk> wrote:
From: Monica Hall <[4]mjlh...@tiscali.co.uk>
Subject: [VIHUELA] Re: Strumming techniques - was With/Without
Bordones
To: "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Date: Monday, 18 April, 2011, 12:16
Dear Martyn
It wasn't specifically your message. It is just that some of us put
our reply at the beginning and others at the end. Stuart puts his
replies at the end so that when when replying to his I try to do the
same. But others put it at the beginning. Surely we can agree
on a
simple matter like this.
Monica
----- Original Message -----
From: [1]Martyn Hodgson
To: [2]Monica Hall
Cc: [3]Vihuelalist
Sent: Monday, April 18, 2011 9:08 AM
Subject: Re: [VIHUELA] Re: Strumming techniques - was With/Without
Bordones
Dear Monica,
I'm replying at the beginning: I think this is the more logical way
to
do it - this way the most recent communication is always at the top
(
rather like letters files). And I'm sorry you found my earlier
mailing
was such a mess! - I'll try to do better.....
I think I've already responded to much of yours below in my
previous email earlier today. But let me re-emphasise how much I
agree
with you when you write:
' but it does seem to me that the idea that because some of these
dances were
originally rather risque, all the pieces found in books like that of
Roncalli and even Foscarini are meant to be played in such an
agressive
and jazzed up manner. Most of the sources emphasise the idea that
you
should play with delicacy and sweetness - it is important to read
what
they say!'
regards
Martyn
PS And don't get me started on modern amplification.......
--- On Sun, 17/4/11, Monica Hall <[5]mjlh...@tiscali.co.uk> wrote:
From: Monica Hall <[6]mjlh...@tiscali.co.uk>
Subject: [VIHUELA] Re: Strumming techniques - was With/Without
Bordones
To: "Stuart Walsh" <[7]s.wa...@ntlworld.com>
Cc: "Vihuelalist" <[8]vihuela@cs.dartmouth.edu>
Date: Sunday, 17 April, 2011, 20:14
> And Monica has translated Foscarini's instructions on playing the
Trillo,
> Picco and Repicco in her essay 'Giovanni Paulo Foscarini:
Plagiarist
or
> Pioneer? (at the very end)
>
> [4][9]http://www.monicahall.co.uk/
I have also translated Montesardo's explanation of the trillo in the
section
"The baroque guitar made simple!".
> And looking at all that, many people (like me) probably decide to
give up!
> Maybe the really showy stuff is for some alfabeto and/or for some
> chaconnes/passaccales rather than general application in mixed
tablatures?
I am inclined to agree with you. I don't want to offend anyone
(really)
but it does seem to me that the idea that because some of these
dances
were
originally rather risque, all the pieces found in books like that of
Roncalli and even Foscarini are meant to be played in such an
agressive
and jazzed up
manner. Most of the sources emphasise the idea that you should
play
with delicacy and sweetness - it is important to read what they say!
Which is why I love to quote chunks of them.
> I was interested in Chris's first chord in the Roncall Preludio
because it
> sounds quite different from other strums I've heard.
Yes so was I ....but again what Roncalli has actually indicated as I
understand it is that the chords like that at the beginning of the
preludio should be arpeggiated - as with Bartolotti. I couldn't
understand why Chris had done it like that!! There seemed to be no
3rd in the chord either.
Another thing that bothers me in general is the way in which the
sound
in many recordings seems to be amplified. Even turning the volume
down
doesn't in any way soften the music - it just makes it sound
indistinct
and further away. The Foscarini CD e.g. sounded like heavy metal
whereas in a live performance even with the odd line up it wouldn't
sound like that. Surely it is possible to capture the sound of a
live
performance more faithfully.
I could go on for ever - but most of these matters are too complex
to
discuss intelligently in a hurry and on a list like this. And this
message when I received it was a complete mess. I have tried to
tidy
it up.
I do think at least we should agree whether we will reply at the end
or
the beginning and everyone do the same things.
Monica
To get on or off this list see list information at
[5][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. mailto:[11]hodgsonmar...@yahoo.co.uk
2. mailto:[12]mjlh...@tiscali.co.uk
3. mailto:[13]vihuela@cs.dartmouth.edu
4. [14]http://www.monicahall.co.uk/
5. [15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. mailto:hodgsonmar...@yahoo.co.uk
2. mailto:mjlh...@tiscali.co.uk
3. mailto:mjlh...@tiscali.co.uk
4. mailto:mjlh...@tiscali.co.uk
5. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
6. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
7. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
8. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
9. http://www.monicahall.co.uk/
10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
11. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
12. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
13. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
14. http://www.monicahall.co.uk/
15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
