Well... Now to show how far off base I was.
I looked over my notes (finally), and found that it was neither trino,
tillo, nor trill. It was indeed called a tremolo! Apologies to all
for any confusion *that* may have caused. Also, I see in my notes that
i and m are indicated, but that for those of us who had trouble, i and
a might be easier and achieve the same effect. I seem to have adopted
the i and a -- an injury to my hand results in a tendon burn if I try
too much to perfect this with i and m.
Again, apologies to all for my sloppiness!
cud
__________________________________________________________________
From: Monica Hall <mjlh...@tiscali.co.uk>
To: Chris Despopoulos <despopoulos_chr...@yahoo.com>
Cc: Vihuelalist <vihuela@cs.dartmouth.edu>
Sent: Mon, April 18, 2011 8:21:29 AM
Subject: [VIHUELA] Re: Strumming techniques - was With/Without Bordones
Well trino and trillo are two different things - but I can understand
how they might get muddled up.
Monica
----- Original Message ----- From: "Chris Despopoulos"
<[1]despopoulos_chr...@yahoo.com>
To: "Martyn Hodgson" <[2]hodgsonmar...@yahoo.co.uk>
Cc: "Vihuelalist" <[3]vihuela@cs.dartmouth.edu>
Sent: Monday, April 18, 2011 11:36 AM
Subject: [VIHUELA] Re: Strumming techniques - was With/Without Bordones
> Dear Martyn...
> Well, I called this thing a trill -- the term "tillo" never passed
my
> lips (or fingers, I guess). I understood it as "trill", sitting in
a
> class given in another language... And my hearing has deteriorated
> with the years, I might add. I thought the word was "trino", which
I
> believe is "trill" in Spanish. In that formulation alone I see at
> least three opportunities for error... Does trino = trill? Did he
say
> trino or trillo? Does trino = trillo? Did I play the thing right?
> You give me far too much credit! And indeed, I hope to inquire
about
> the sources...
> Anyway, I had hoped to open up this line of discussion. I'm glad
for
> it, and hope to learn as a result! Many thanks to all...
> cud
> __________________________________________________________________
>
> From: Martyn Hodgson <[4]hodgsonmar...@yahoo.co.uk>
> To: Chris Despopoulos <[5]despopoulos_chr...@yahoo.com>
> Cc: Vihuelalist <[6]vihuela@cs.dartmouth.edu>
> Sent: Mon, April 18, 2011 6:01:50 AM
> Subject: [VIHUELA] Re: Strumming techniques - was With/Without
Bordones
> Dear Chris,
> I'm sure it's wise for us all to explore these things further and
> with
> care and reference to the sources.
> Regarding courses: I'm not sure if I'd accept as gospel some
personal
> assertion of preference not backed up by hard evidence - whoever
the
> tutor may be! It is interesting in this context that you were told
> this
> strum was a 'trillo' whereas it is clearly a repicco since it
employs
> more than the index finger alone.....
> best wishes
> Martyn
> --- On Mon, 18/4/11, Chris Despopoulos
> <[1][7]despopoulos_chr...@yahoo.com>
> wrote:
> From: Chris Despopoulos <[2][8]despopoulos_chr...@yahoo.com>
> Subject: Re: [VIHUELA] Re: Strumming techniques - was
With/Without
> Bordones
> To: "Martyn Hodgson" <[3][9]hodgsonmar...@yahoo.co.uk>, "Monica
Hall"
> <[4][10]mjlh...@tiscali.co.uk>, "Stuart Walsh"
> <[5][11]s.wa...@ntlworld.com>
> Cc: "Vihuelalist" <[6][12]vihuela@cs.dartmouth.edu>
> Date: Monday, 18 April, 2011, 10:12
> Allow me a few points:
> I don't believe my so-called trill is part of the flamenco
technique.
> Perhaps that's why I accepted it so readily! But I'm not aware of
> any
> flamenco performances using this approach. For a rolling
> continuation
> of strums Flamenco seems to use all four fingers, sometimes
followed
> by
> an upstroke of the index to give 5 beats in one.
> That said, if the ring finger is never used in a strum, then this
> "trill" is indeed an anachronism. It uses i and a. I'll add that
the
> wrist is indeed still, and you can anchor your hand with your
thumb.
> Historically accurate or not, it is an interesting right-hand
> technique, and it can be used elsewhere I'm sure.
> So now I wonder how to achieve an indefinitely long rolling of
> strums.
> I'll try to work out these translations of instructions to see
what
> can
> happen... right-hand control is always good. Indeed, the right
hand
> is probably the more important hand with the guitar. You can play
> hundreds of notes with your left hand, but if the right hand is
dead,
> you'll play hundreds of dead notes. On the other hand (no pun
> intended), if you can only play a single note with your left hand
but
> your right hand is capable of exquisite variations, you will
> exquisitely express that note every time.
> Finally, with luck I'll soon attend another course where I can
> inquire
> into the sources for this interesting little trill.
> cud
>
__________________________________________________________________
> From: Martyn Hodgson <[7][13]hodgsonmar...@yahoo.co.uk>
> To: Monica Hall <[8][14]mjlh...@tiscali.co.uk>; Stuart Walsh
> <[9][15]s.wa...@ntlworld.com>
> Cc: Vihuelalist <[10][16]vihuela@cs.dartmouth.edu>
> Sent: Mon, April 18, 2011 3:57:29 AM
> Subject: [VIHUELA] Re: Strumming techniques - was With/Without
> Bordones
> Dear Stuart,
> Thanks for this. I do hope you won't really give up! Like you
I'm
> sometimes reluctant to be quite so strict about what strum I
employ
> but
> I think, also like you, I'm aware of the historical
instructions.
> I do think these strums were part of general play as, indeed,
> required
> by Corbetta (as well as de Visee et al - note his careful use of
> strum
> requiring a thumb and strum without - how often is this adhered
> to?).
> And I've given an example of the double upstroke to numerous
> Allemandes
> which I suggest are better played this way (ie double upstroke
> executed
> by the middle and first finger being well seperated and
strumming
> upwards).
> I think the Roncalli 'strum' is a red herring!: in fact for this
> chord
> Roncalli employs the well recognised guitar sign also used in
> contemporary tiorba tablatures for an extended arpeggio. But
> Chris's
> use of a flamenco strum certainly gave rise to this interesting
> exchange.....
> regards
> Martyn
> --- On Sun, 17/4/11, Stuart Walsh
<[1][11][17]s.wa...@ntlworld.com>
> wrote:
> From: Stuart Walsh <[2][12][18]s.wa...@ntlworld.com>
> Subject: Re: [VIHUELA] Re: Strumming techniques - was
> With/Without
> Bordones
> To: "Monica Hall" <[3][13][19]mjlh...@tiscali.co.uk>
> Cc: "Martyn Hodgson" <[4][14][20]hodgsonmar...@yahoo.co.uk>,
> "Vihuelalist"
> <[5][15][21]vihuela@cs.dartmouth.edu>
> Date: Sunday, 17 April, 2011, 18:50
> On 17/04/2011 17:07, Monica Hall wrote:
> > Well - before we start to discuss this... it might be helpful
to
> have
> > English translations of what Corbetta says in the preface -
and
> to
> have to
> > hand the music. The French preface is slightly different for
the
> Italian
> >
> > French Preface
> >
> > You will see the example of a batterie placed in a caprice de
> chacone
> [p.72]
> > where the note with the longer stem indicates that the thumb
> should
> be used
> > for both up and down strokes; and you will observe that when
> you
> see four
> > notes tied together, you ought to use the second finger
> descending,
> and then
> > after with the first finger you will do the same upwards in a
> very
> quick
> > beat; and you will continue always with the fingers and the
thumb
> following
> > the example which you will see there.
> >
> > In another chaconne [p.75] there is another batterie which I
have
> printed
> > previously (desia). And because it has the gift of pleasing,
I
> wanted to
> > place it here, where you will see that there are six strokes
in
> the
> form of
> > quavers. You will play four [quavers] on the first, second
and
> third
> > strings carrying the hand downwards; after you will make the
> other
> two
> > strokes on the two fourth and fifth strings carrying the hand
> upwards
> > without touching the others; after changing the fingering [of
the
> left hand]
> > you do the same with the other six. Changing the fingers for
the
> next
> four
> > which follow, you will strike the first chord a little
strongly
> and
> the
> > other three very sweetly. You will play the others in the
same
> way
> changing
> > the fingering as you commence the first of each six. This is
why
> you
> will
> > find an "f" that indicates that you strike rather strongly on
the
> first
> > stroke and in this way the batterie will be more delicate.
> >
> > Italian Preface
> >
> > You will see an example of a repicco placed in a ciaccona [on
> p.72],
> where
> > the longer tail to the note signifies the thumb; having
already
> begun with
> > the fingers [i.e. played the chord once with all four
fingers],
> then
> do the
> > same, upwards with the thumb, making the same upwards.
Observe
> that
> the
> > four tied notes signify that one must first make the note with
> second
> finger
> > and then with the first close to it, and thus again as
upstrokes
> at
> a
> > quicker tempo, and continue with the fingers and thumb.
> >
> > In another next ciaccona [on p.75] you will see another
repicco
> already
> > placed in the press where to confusion I have place the same
more
> perfect
> > thing. Where you see six quaver strokes, play four of them
from
> the
> third
> > course downwards, and moving the hand make the next two
strokes
> on
> the other
> > two courses, the first and second i.e. 5th & 4th], without
> touching
> the
> > others [1st , 2nd & 3rd]. After changing the fingers on the
> frets,
> play in
> > the same way for the other six quavers, and changing the
fingers
> at
> the next
> > four, strike the first quaver loudly, and the other three
softly.
> Do
> the
> > same on changing the fingers at the other [groups of four]
until
> the
> first
> > six begin again. Where you find an f this means play the
first
> of
> the four
> > beats loudly, and thus you will achieve a beautiful repicco.
> >
> > Marchetti's exlanation of the repicco is much simpler...
> >
> > The repicco is made giving four strokes, that is two down and
two
> up. The first stroke is played downwards with the middle
finger
> and
> the second down with the thumb; the third stroke is played
upwards
> with the thumb and the fourth up with the index finger playing
> however
> [with the index finger] only the cantino, or first course. One
> repicco equals two strokes.
> >
> >
> >
> > Over to you now...
> >
> >
> >
> > Monica
> >
> 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)
> [1][6][16][22]http://www.monicahall.co.uk/
> (and there is another translation of Foscarini in Tyler's 'The
> Early
> Guitar'.)
> 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?
> Taro Takeuchi has evolved some impressive sounding strumming
> techniques
> and he has not used flamenco techniques.
> I was interested in Chris's first chord in the Roncall Preludio
> because
> it sounds quite different from other strums I've heard.
> Stuart
> > ----- Original Message ----- From: "Martyn Hodgson"
> <[2][7][17][23]hodgsonmar...@yahoo.co.uk>
> > To: "Vihuela Dmth" <[3][8][18][24]vihuela@cs.dartmouth.edu>
> > Cc: "Chris Despopoulos"
<[4][9][19][25]despopoulos_chr...@yahoo.com>;
> "Early
> Guitar Dmth"
> > <[5][10][20][26]early-gui...@cs.dartmouth.edu>
> > Sent: Sunday, April 17, 2011 9:57 AM
> > Subject: [VIHUELA] Re: Strumming techniques - was With/Without
> Bordones
> >
> >
> >>
> >> 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
> <[6][11][21][27]despopoulos_chr...@yahoo.com>
> >> wrote:
> >>
> >> From: Chris Despopoulos
> <[7][12][22][28]despopoulos_chr...@yahoo.com>
> >> Subject: [VIHUELA] Re: With/Without Bordones
> >> To: "Stuart Walsh" <[8][13][23][29]s.wa...@ntlworld.com>
> >> Cc: "Vihuelalist"
<[9][14][24][30]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][10][15][25][31]s.wa...@ntlworld.com>
> >> To: Chris Despopoulos
> <[2][11][16][26][32]despopoulos_chr...@yahoo.com>
> >> Cc: Vihuelalist
<[3][12][17][27][33]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][13][18][28][34]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][14][19][29][35]http://cudspan.net/baroque/
> >> >
> >> >
> >> > To get on or off this list see list information at
> >> >
>
>
[3][6][15][20][30][36]http://www.cs.dartmouth.edu/~wbc/lute-admin/index
.htm
> l
> >> >
> >> --
> >> References
> >> 1. [7][16][21][31][37]http://cudspan.net/baroque/
> >> 2. [8][17][22][32][38]http://cudspan.net/baroque/
> >> 3.
>
>
[9][18][23][33][39]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.
html
> >>
> >> --
> >>
> >> References
> >>
> >> 1.
>
>
[19][24][34][40]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@nt
lwor
> ld.c
> om
> >> 2.
> >>
>
>
[20][25][35][41]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulo
s_ch
> riss
> @yah
> [26][36]oo.com
> >> 3.
>
>
[21][27][37][42]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs
.dar
> tmou
> th.e
> du
> >> 4. [22][28][38][43]http://cudspan.net/baroque/
> >> 5. [23][29][39][44]http://cudspan.net/baroque/
> >> 6.
>
[24][30][40][45]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >> 7. [25][31][41][46]http://cudspan.net/baroque/
> >> 8. [26][32][42][47]http://cudspan.net/baroque/
> >> 9.
>
[27][33][43][48]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >>
> >
> >
> >
> >
> --
> References
> 1. [34][44][49]http://www.monicahall.co.uk/
> 2.
>
>
[35][45][50]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@
yaho
> o.co
> .uk
> 3.
>
>
[36][46][51]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dar
tmou
> th.e
> du
> 4.
>
>
[37][47][52]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_ch
riss
> @yah
> [48]oo.com
> 5.
>
>
[38][49][53]http://uk.mc263.mail.yahoo.com/mc/compose?to=early-guitar@c
s.da
> rtmo
> [50]uth.edu
> 6.
>
>
[39][51][54]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_ch
riss
> @yah
> oo.com
> 7.
>
>
[40][52][55]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_ch
riss
> @yah
> oo.com
> 8.
>
>
[41][53][56]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlwor
ld.c
> om
> 9.
>
>
[42][54][57]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dar
tmou
> th.e
> du
> 10.
>
>
[43][55][58]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlwor
ld.c
> om
> 11.
>
>
[44][56][59]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_ch
riss
> @yah
> oo.com
> 12.
>
>
[45][57][60]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dar
tmou
> th.e
> du
> 13. [46][58][61]http://cudspan.net/baroque/
> 14. [47][59][62]http://cudspan.net/baroque/
> 15.
[48][60][63]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 16. [49][61][64]http://cudspan.net/baroque/
> 17. [50][62][65]http://cudspan.net/baroque/
> 18.
[51][63][66]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 19.
>
>
[52][64][67]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlwor
ld.c
> om
> 20.
>
>
[53][65][68]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_ch
riss
> @yah
> oo.com
> 21.
>
>
[54][66][69]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dar
tmou
> th.e
> du
> 22. [55][67][70]http://cudspan.net/baroque/
> 23. [56][68][71]http://cudspan.net/baroque/
> 24.
[57][69][72]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 25. [58][70][73]http://cudspan.net/baroque/
> 26. [59][71][74]http://cudspan.net/baroque/
> 27.
[60][72][75]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> --
> References
> 1.
>
[73][76]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld.c
om
> 2.
>
[74][77]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld.c
om
> 3.
>
[75][78]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co
.uk
> 4.
>
[76][79]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@yaho
o.co
> .uk
> 5.
>
[77][80]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmou
th.e
> du
> 6. [78][81]http://www.monicahall.co.uk/
> 7.
>
[79][82]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@yaho
o.co
> .uk
> 8.
>
[80][83]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmou
th.e
> du
> 9.
>
[81][84]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss
@yah
> oo.com
> 10.
>
[82][85]http://uk.mc263.mail.yahoo.com/mc/compose?to=early-gui...@cs.da
rtmo
> uth.edu
> 11.
>
[83][86]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss
@yah
> oo.com
> 12.
>
[84][87]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss
@yah
> oo.com
> 13.
>
[85][88]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld.c
om
> 14.
>
[86][89]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmou
th.e
> du
> 15.
>
[87][90]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld.c
om
> 16.
>
[88][91]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss
@yah
> oo.com
> 17.
>
[89][92]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmou
th.e
> du
> 18. [90][93]http://cudspan.net/baroque/
> 19. [91][94]http://cudspan.net/baroque/
> 20. [92][95]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 21. [93][96]http://cudspan.net/baroque/
> 22. [94][97]http://cudspan.net/baroque/
> 23. [95][98]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 24.
>
[96][99]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld.c
om
> 25.
>
[97][100]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chris
s@yah
> 26. [98][101]http://oo.com/
> 27.
>
[99][102]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmo
uth.e
> 28. [100][103]http://cudspan.net/baroque/
> 29. [101][104]http://cudspan.net/baroque/
> 30.
[102][105]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 31. [103][106]http://cudspan.net/baroque/
> 32. [104][107]http://cudspan.net/baroque/
> 33.
[105][108]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 34. [106][109]http://www.monicahall.co.uk/
> 35.
>
[107][110]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@ya
hoo.c
> o.uk
> 36.
>
[108][111]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartm
outh.
> edu
> 37.
>
[109][112]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chri
ss@ya
> hoo.com
> 38.
>
[110][113]http://uk.mc263.mail.yahoo.com/mc/compose?to=early-guitar@cs.
dartm
> outh.edu
> 39.
>
[111][114]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chri
ss@ya
> hoo.com
> 40.
>
[112][115]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chri
ss@ya
> hoo.com
> 41.
>
[113][116]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld
.com
> 42.
>
[114][117]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartm
outh.
> edu
> 43.
>
[115][118]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld
.com
> 44.
>
[116][119]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chri
ss@ya
> hoo.com
> 45.
>
[117][120]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartm
outh.
> edu
> 46. [118][121]http://cudspan.net/baroque/
> 47. [119][122]http://cudspan.net/baroque/
> 48.
[120][123]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 49. [121][124]http://cudspan.net/baroque/
> 50. [122][125]http://cudspan.net/baroque/
> 51.
[123][126]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 52.
>
[124][127]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld
.com
> 53.
>
[125][128]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chri
ss@ya
> hoo.com
> 54.
>
[126][129]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartm
outh.
> edu
> 55. [127][130]http://cudspan.net/baroque/
> 56. [128][131]http://cudspan.net/baroque/
> 57.
[129][132]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 58. [130][133]http://cudspan.net/baroque/
> 59. [131][134]http://cudspan.net/baroque/
> 60.
[132][135]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
> --
>
> References
>
> 1. mailto:[136]despopoulos_chr...@yahoo.com
> 2. mailto:[137]despopoulos_chr...@yahoo.com
> 3. mailto:[138]hodgsonmar...@yahoo.co.uk
> 4. mailto:[139]mjlh...@tiscali.co.uk
> 5. mailto:[140]s.wa...@ntlworld.com
> 6. mailto:[141]vihuela@cs.dartmouth.edu
> 7. mailto:[142]hodgsonmar...@yahoo.co.uk
> 8. mailto:[143]mjlh...@tiscali.co.uk
> 9. mailto:[144]s.wa...@ntlworld.com
> 10. mailto:[145]vihuela@cs.dartmouth.edu
> 11. mailto:[146]s.wa...@ntlworld.com
> 12. mailto:[147]s.wa...@ntlworld.com
> 13. mailto:[148]mjlh...@tiscali.co.uk
> 14. mailto:[149]hodgsonmar...@yahoo.co.uk
> 15. mailto:[150]vihuela@cs.dartmouth.edu
> 16. [151]http://www.monicahall.co.uk/
> 17. mailto:[152]hodgsonmar...@yahoo.co.uk
> 18. mailto:[153]vihuela@cs.dartmouth.edu
> 19. mailto:[154]despopoulos_chr...@yahoo.com
> 20. mailto:[155]early-gui...@cs.dartmouth.edu
> 21. mailto:[156]despopoulos_chr...@yahoo.com
> 22. mailto:[157]despopoulos_chr...@yahoo.com
> 23. mailto:[158]s.wa...@ntlworld.com
> 24. mailto:[159]vihuela@cs.dartmouth.edu
> 25. mailto:[160]s.wa...@ntlworld.com
> 26. mailto:[161]despopoulos_chr...@yahoo.com
> 27. mailto:[162]vihuela@cs.dartmouth.edu
> 28. [163]http://cudspan.net/baroque/
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> 34.
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> 35.
[170]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss
> 36. [171]http://oo.com/
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> 44. [179]http://www.monicahall.co.uk/
> 45.
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> 46.
[181]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.
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> 47.
[182]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
h
> 48. [183]http://oo.com/
> 49.
[184]http://uk.mc263.mail.yahoo.com/mc/compose?to=early-guitar@cs.dartm
o
> 50. [185]http://uth.edu/
> 51.
[186]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
h
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[188]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
> 54.
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e
> 55.
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h
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h
> 66.
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e
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> 73.
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> 74.
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> 75.
[210]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 76.
[211]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@yahoo.c
o.uk
> 77.
[212]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.
edu
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> 79.
[214]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@yahoo.c
o.uk
> 80.
[215]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.
edu
> 81.
[216]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
hoo.com
> 82.
[217]http://uk.mc263.mail.yahoo.com/mc/compose?to=early-guitar@cs.dartm
outh.edu
> 83.
[218]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
hoo.com
> 84.
[219]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
hoo.com
> 85.
[220]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
> 86.
[221]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.
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> 87.
[222]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
> 88.
[223]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
hoo.com
> 89.
[224]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.
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[231]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
> 97.
[232]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
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> 98. [233]http://oo.com/
> 99.
[234]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.
e
> 100. [235]http://cudspan.net/baroque/
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> 106. [241]http://www.monicahall.co.uk/
> 107.
[242]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@yahoo.c
o.uk
> 108.
[243]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.
edu
> 109.
[244]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
hoo.com
> 110.
[245]http://uk.mc263.mail.yahoo.com/mc/compose?to=early-guitar@cs.dartm
outh.edu
> 111.
[246]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
hoo.com
> 112.
[247]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
hoo.com
> 113.
[248]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
> 114.
[249]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.
edu
> 115.
[250]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
> 116.
[251]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
hoo.com
> 117.
[252]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.
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> 119. [254]http://cudspan.net/baroque/
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> 122. [257]http://cudspan.net/baroque/
> 123. [258]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
> 124.
[259]http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
> 125.
[260]http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
hoo.com
> 126.
[261]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.
edu
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> 128. [263]http://cudspan.net/baroque/
> 129. [264]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
> 130. [265]http://cudspan.net/baroque/
> 131. [266]http://cudspan.net/baroque/
> 132. [267]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
>
--
References
1. mailto:despopoulos_chr...@yahoo.com
2. mailto:hodgsonmar...@yahoo.co.uk
3. mailto:vihuela@cs.dartmouth.edu
4. mailto:hodgsonmar...@yahoo.co.uk
5. mailto:despopoulos_chr...@yahoo.com
6. mailto:vihuela@cs.dartmouth.edu
7. mailto:despopoulos_chr...@yahoo.com
8. mailto:despopoulos_chr...@yahoo.com
9. mailto:hodgsonmar...@yahoo.co.uk
10. mailto:mjlh...@tiscali.co.uk
11. mailto:s.wa...@ntlworld.com
12. mailto:vihuela@cs.dartmouth.edu
13. mailto:hodgsonmar...@yahoo.co.uk
14. mailto:mjlh...@tiscali.co.uk
15. mailto:s.wa...@ntlworld.com
16. mailto:vihuela@cs.dartmouth.edu
17. mailto:s.wa...@ntlworld.com
18. mailto:s.wa...@ntlworld.com
19. mailto:mjlh...@tiscali.co.uk
20. mailto:hodgsonmar...@yahoo.co.uk
21. mailto:vihuela@cs.dartmouth.edu
22. http://www.monicahall.co.uk/
23. mailto:hodgsonmar...@yahoo.co.uk
24. mailto:vihuela@cs.dartmouth.edu
25. mailto:despopoulos_chr...@yahoo.com
26. mailto:early-gui...@cs.dartmouth.edu
27. mailto:despopoulos_chr...@yahoo.com
28. mailto:despopoulos_chr...@yahoo.com
29. mailto:s.wa...@ntlworld.com
30. mailto:vihuela@cs.dartmouth.edu
31. mailto:s.wa...@ntlworld.com
32. mailto:despopoulos_chr...@yahoo.com
33. mailto:vihuela@cs.dartmouth.edu
34. http://cudspan.net/baroque/
35. http://cudspan.net/baroque/
36. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.htm
37. http://cudspan.net/baroque/
38. http://cudspan.net/baroque/
39. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
40. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlwor
41. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_ch
42. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dar
43. http://cudspan.net/baroque/
44. http://cudspan.net/baroque/
45. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
46. http://cudspan.net/baroque/
47. http://cudspan.net/baroque/
48. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
49. http://www.monicahall.co.uk/
50. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@yaho
51. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmou
52. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss
53. http://uk.mc263.mail.yahoo.com/mc/compose?to=early-gui...@cs.da
54. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss
55. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss
56. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld.c
57. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmou
58. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld.c
59. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss
60. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmou
61. http://cudspan.net/baroque/
62. http://cudspan.net/baroque/
63. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
64. http://cudspan.net/baroque/
65. http://cudspan.net/baroque/
66. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
67. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld.c
68. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss
69. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmou
70. http://cudspan.net/baroque/
71. http://cudspan.net/baroque/
72. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
73. http://cudspan.net/baroque/
74. http://cudspan.net/baroque/
75. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
76. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
77. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
78. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
79. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
80. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.e
81. http://www.monicahall.co.uk/
82. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
83. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.e
84. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@yah
85. http://uk.mc263.mail.yahoo.com/mc/compose?to=early-guitar@cs.dartmo
86. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@yah
87. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@yah
88. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
89. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.e
90. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
91. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@yah
92. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.e
93. http://cudspan.net/baroque/
94. http://cudspan.net/baroque/
95. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
96. http://cudspan.net/baroque/
97. http://cudspan.net/baroque/
98. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
99. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
100. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@yah
101. http://oo.com/
102. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.e
103. http://cudspan.net/baroque/
104. http://cudspan.net/baroque/
105. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
106. http://cudspan.net/baroque/
107. http://cudspan.net/baroque/
108. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
109. http://www.monicahall.co.uk/
110. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@yahoo.c
111. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth
112. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
113. http://uk.mc263.mail.yahoo.com/mc/compose?to=early-guitar@cs.dartm
114. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
115. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
116. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
117. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth
118. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
119. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
120. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth
121. http://cudspan.net/baroque/
122. http://cudspan.net/baroque/
123. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
124. http://cudspan.net/baroque/
125. http://cudspan.net/baroque/
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127. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
128. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@ya
129. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth
130. http://cudspan.net/baroque/
131. http://cudspan.net/baroque/
132. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
133. http://cudspan.net/baroque/
134. http://cudspan.net/baroque/
135. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
136. mailto:despopoulos_chr...@yahoo.com
137. mailto:despopoulos_chr...@yahoo.com
138. mailto:hodgsonmar...@yahoo.co.uk
139. mailto:mjlh...@tiscali.co.uk
140. mailto:s.wa...@ntlworld.com
141. mailto:vihuela@cs.dartmouth.edu
142. mailto:hodgsonmar...@yahoo.co.uk
143. mailto:mjlh...@tiscali.co.uk
144. mailto:s.wa...@ntlworld.com
145. mailto:vihuela@cs.dartmouth.edu
146. mailto:s.wa...@ntlworld.com
147. mailto:s.wa...@ntlworld.com
148. mailto:mjlh...@tiscali.co.uk
149. mailto:hodgsonmar...@yahoo.co.uk
150. mailto:vihuela@cs.dartmouth.edu
151. http://www.monicahall.co.uk/
152. mailto:hodgsonmar...@yahoo.co.uk
153. mailto:vihuela@cs.dartmouth.edu
154. mailto:despopoulos_chr...@yahoo.com
155. mailto:early-gui...@cs.dartmouth.edu
156. mailto:despopoulos_chr...@yahoo.com
157. mailto:despopoulos_chr...@yahoo.com
158. mailto:s.wa...@ntlworld.com
159. mailto:vihuela@cs.dartmouth.edu
160. mailto:s.wa...@ntlworld.com
161. mailto:despopoulos_chr...@yahoo.com
162. mailto:vihuela@cs.dartmouth.edu
163. http://cudspan.net/baroque/
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165. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
166. http://cudspan.net/baroque/
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169. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.walsh@ntlworld.c
170. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss
171. http://oo.com/
172. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmou
173. http://cudspan.net/baroque/
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175. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
176. http://cudspan.net/baroque/
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178. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
179. http://www.monicahall.co.uk/
180. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
181. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.e
182. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@yah
183. http://oo.com/
184. http://uk.mc263.mail.yahoo.com/mc/compose?to=early-guitar@cs.dartmo
185. http://uth.edu/
186. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@yah
187. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@yah
188. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
189. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.e
190. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
191. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@yah
192. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.e
193. http://cudspan.net/baroque/
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195. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
196. http://cudspan.net/baroque/
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198. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
199. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
200. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@yah
201. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.e
202. http://cudspan.net/baroque/
203. http://cudspan.net/baroque/
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207. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
208. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
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210. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
211. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
212. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
213. http://www.monicahall.co.uk/
214. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
215. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
216. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chr...@yahoo.com
217. http://uk.mc263.mail.yahoo.com/mc/compose?to=early-gui...@cs.dartmouth.edu
218. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chr...@yahoo.com
219. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chr...@yahoo.com
220. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
221. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
222. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
223. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chr...@yahoo.com
224. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
225. http://cudspan.net/baroque/
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227. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
228. http://cudspan.net/baroque/
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230. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
231. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
232. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chriss@yah
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234. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.e
235. http://cudspan.net/baroque/
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237. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
238. http://cudspan.net/baroque/
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240. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
241. http://www.monicahall.co.uk/
242. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
243. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
244. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chr...@yahoo.com
245. http://uk.mc263.mail.yahoo.com/mc/compose?to=early-gui...@cs.dartmouth.edu
246. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chr...@yahoo.com
247. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chr...@yahoo.com
248. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
249. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
250. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
251. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chr...@yahoo.com
252. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
253. http://cudspan.net/baroque/
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255. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
256. http://cudspan.net/baroque/
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259. http://uk.mc263.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com
260. http://uk.mc263.mail.yahoo.com/mc/compose?to=despopoulos_chr...@yahoo.com
261. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu
262. http://cudspan.net/baroque/
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265. http://cudspan.net/baroque/
266. http://cudspan.net/baroque/
267. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
