In Seclusion After Defeat
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Fomrhi-110.Pdf
v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009. -
The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A
The Lute Society Microfilm Catalogue Version 2 12/13 The list is divided by instrument. Works for Renaissance lute with voice and in ensemble are separated because of the size of the main list. The categories are: Renaissance lute Renaissance lute with voice Renaissance lute in ensemble (with other instruments) Lute in transitional tunings (accords nouveaux) Vihuela Baroque lute Renaissance guitar Baroque guitar Bandora Cittern Mandore Orpharion Theorbo Musical scores without plucked instrument tablature Theoretical works without music The 'Other instruments' column shows where there is music in the work for other listed instruments. The work also appears in the other list(s) for ease of reference. The list is sorted by composer or compiler, where known. Anonymous manuscripts are listed at the end of each section, sorted by shelf mark. Date references are to HM Brown Instrumental Music printed before 1600. Where the date is asterisked the work is not in Brown. Tablature style is shown as French (F), German (G), Italian (I), Inverted Italian (II) or Keyboard (K) The Collection and MCN fields identify each reel and the collection to which it belongs. Renaissance Lute Other Composer/ Compiler Title Shelf Mark or HMB Tab Format Coll MCN Duplicates Notes Instrument(s) Intabolatura di Julio Abondante Sopra el Julio Abondante 1546 I Print MP 59 Lauto Libro Primo 1 Julio Abondante Intabolatura di Lauto Libro Secondo 15481 I Print MP 60 GC 195 Intabolatura di liuto . , novamente Julio Abondante ristampati, Libro primo 15631 I Print MP 62 GC 194, -
The Renaissance Cittern
The Renaissance Cittern Lord Aaron Drummond, OW [email protected] 1. HISTORY,DEVELOPMENT, CONSTRUC- while chromatic citterns are more associated with Italian TION and English music. [3] As far as the body of the instrument goes, citoles and ear- The Renaissance cittern most likely developed from the lier citterns had the back, ribs and neck carved from a single medieval citole. The citole was a small, flat-backed instru- block of wood with the soundboard and fingerboard being ment with four strings. It was usually depicted as having added. Later citterns were constructed from a flat back, frets and being plucked with a quill or plectrum. The citole bent ribs and separately carved neck, which cut down on in turn may have developed from a kind of ancient lyre called the materials cost. [10] Constructed citterns differ in con- a kithara by adding a fingerboard and then gradually remov- struction from lutes in that in citterns the back is made ing the (now redundant) arms. [1] The cittern may have been from a single flat piece of wood, whereas the lute has a large viewed as a revival of the ancient Greek instrument despite number (typically ten or more) of ribs which must be sep- being quite different in form. The word kithara also evolved arately bent and joined to the achieve the \bowl" shape. into the modern word guitar. This made lutes substantially more difficult to build as well Some modern instruments such as the German waldzither as more delicate than the cittern. Internally there are braces (literally `forest-cittern') and various Iberian instruments to strengthen the back and the soundboard, but like the lute, (Portuguese guitar, bandurria, etc) claim some descent from guitar, viol, etc there is no soundpost or bass bar. -
MGS Guitarist Sept/Oct
A Publication of the Minnesota Guitar Society • P.O. Box 14986 • Minneapolis, MN 55414 SEPTEMBER/OCTOBER 2007 VOL. 23 NO. 5 SundinSundin HallHall ConcertsConcerts AnAn ExcitingExciting NewNew SeasonSeason Begins!Begins! Lucas Harris baroque lute Saturday September Berta Rojas classical guitar Saturday October Also In This Issue News and Notes about OpenStage Local Artists concerts and more Minnesota Guitar Society Board of Directors Newsletter EDITOR OFFICERS: BOARD MEMBERS: Paul Hintz PRESIDENT Joe Haus Steve Kakos PRODUCTION Alan Norton VICE-PRESIDENT Joanne Backer i draw the line, inc. Annett Richter ARTISTIC DIRECTOR Joe Hagedorn David’s Print Shop Daniel Sturm DISTRIBUTION TREASURER Jim Campbell Kuan Teoh Todd Tipton MANAGING DIRECTOR Paul Hintz Todd Tipton Web Site Production SECRETARY Patrick Strother Brent Weaver Amy Lytton <http://www.mnguitar.org> Minnesota Guitar Society The Minnesota Guitar Society concert season is co-sponsored by Mission Statement Sundin Hall. This activity is made To promote the guitar, in all its stylistic and cultural diversity, possible in part by a grant from the through our newsletter and through our sponsorship of Minnesota State Arts Board, through public forums, concerts, and workshops. an appropriation by the Minnesota State Legislature and a grant from To commission new music and to aid in its the National Endowment for the promotion, publication, and recording. Arts. Matching funds have been To serve as an educational and social link between amateur and provided by General Mills, AT&T, professional guitarists and the community. and Ameriprise Financial. To promote and help create opportunities for Minnesota guitarists and players of related instruments. To reserve tickets for any Sundin Hall concert, call our phone line at 612-677-1151 and leave a message. -
Pasqualini Demarzi Six Sonatas for Cetra Or Kitara
Pasqualini Demarzi Six Sonatas for Cetra or Kitara Doc Rossi, 18th-century Cittern Andrea Damiani, Archlute and Baroque Guitar Doc Rossi & Andrea Damiani The Instruments The cittern seems to have started life as a conscious attempt at refashioning the Classical Greek “kithara” Sonata I: Sostenuto, Aria, Minuet to Italian Renaissance taste. The Renaissance cittern had a very shallow body, tapering from the neck (4.5-6cm) to the base (2-2.5cm) and, for the most part, used a re-entrant tuning that was well-suited to The Musical Priest (trad. arr. Rossi) playing with a plectrum, and to chording. Instruments typically had from 4 to 6 courses, double- and/or triple strung, sometimes with octaves, sometimes all unisons. Arch-citterns with up to 8 extra basses also Sonata II: Moderato, Largo, Allegro, Minuet existed. Typical fingerboard string lengths were from 44cm to 60cm, although several scholars believe that a much shorter instrument also existed, more suitable for the small but demanding solo repertoire. The Rights of Man (trad. arr. Rossi) String length has a distinctive though subtle effect on sound that is easier to hear than to describe – given the same pitch, similar string tension and double-strung courses, a longer string length is somewhat Sonata III: Moderato, Largo, Grazioso softer, with a characteristic “whoosh” during position changes that can be heard on today’s Appalachian dulcimer. The re-entrant tuning necessitates almost constant position changing when playing melodies of The Fairy Hornpipe - Whisky You're the Devil (trad. arr. Rossi) any range. The combination of shallow body and longer string length gives the Renaissance cittern a bright, jangling sound, which is further emphasized when it is played with a plectrum. -
Records Ofearfv~ English Drama
:I'M! - 1982 :1 r P" A newsletter published by University of Toronto Press in association with Erindale College, University of Toronto and Manchester University Press . JoAnna Dutka, editor Records ofEarfv~ English Drama The biennial bibliography of books and articles on records of drama and minstrelsy contributed by Ian Lancashire (Erindale College, University of Toronto) begins this issue ; John Coldewey (University of Washington) discusses records of waits in Nottinghamshire and what the activities of the waits there suggest to historians of drama ; David Mills (University of Liverpool) presents new information on the iden- tity of Edward Gregory, believed to be the scribe of the Huntington manuscript of the Chester cycle. IAN LANCASHIRE Annotated bibliography of printed records of early British drama and minstrelsy for 1980-81 This list, covering publications up to 1982 that concern documentary or material records of performers and performance, is based on a wide search of recent books, periodicals, and record series publishing evidence of pre-18th-century British history, literature, and archaeology . Some remarkable achievements have appeared in these years. Let me mention seven, in the areas of material remains, civic and town records, household papers, and biography . Brian Hope-Taylor's long-awaited report on the excavations at Yeavering, Northumberland, establishes the existence of a 7th-century theatre modelled on Roman structures . R.W. Ingram has turned out an edition of the Coventry records for REED that discovers rich evidence from both original and antiquarian papers, more than we dared hope from a city so damaged by fire and war. The Malone Society edition of the Norfolk and Suffolk records by David Galloway and John Wasson is an achievement of a different sort : the collection of evidence from 41 towns has presented them unusual editorial problems, in the solv- ing of which both editors and General Editor Richard Proudfoot have earned our gratitude . -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
2016 Convention Update by Lyndon Laminack & Mark Linkins
August 2016 • Volume XXXIII #3 2016 Convention Update by Lyndon Laminack & Mark Linkins Preparation continues for the 2016 convention at Valley members. Relatively few CMSA members perform as solo Forge. The members of the host committee, along with artists, but many do perform as members of orchestras the members of both host ensembles – the Munier and smaller ensembles. Ensemble performance offers Orchestra and the Philadelphia Mandolin Ensemble – its own challenges and rewards. Whether performing look forward to greeting attendees at the Welcome Party in a conducted or conductor-less ensemble, players on the evening of November 2. The party will include light must constantly be aware of issues related to blending, tapas-style fare and a cash bar. It is an opportunity to balance, and working together – both within and across connect with old friends and make new acquaintances. the sections of the ensemble – to interpret and give shape The host committee is very pleased to announce that to the music.” the Harrisburg Mandolin Ensemble (HMO) will provide musical entertainment for the Welcome Party. A Conference workshops will provide a rich opportunity “classico” configuration, HMO performs on only mandolin for attendees to hear and learn from the members of the family instruments (including mandobass). Drawing MMQ, composer-in-residence Neil Gladd, and various upon diverse musical backgrounds, the members of HMO CMSA presenters. Additionally, several workshops will perform a very eclectic repertoire. Within a single set, you offer opportunities to learn from Philadelphia-based are likely to hear pieces from artists as diverse as Django performing artists with unique musical backgrounds. -
S E P T E M B E R 2 0
september 2006 Published by the American Recorder Society, Vol. XLVII, No. 4 XLVII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com The Smart Choice! Two-Piece Three-Piece Soprano Recorder Soprano Recorder • Ivory color $ 00• Detachable thumb rest $ 25 • Detachable thumb rest 5 • Includes C# and D# holes 5 • Single holes for low C & D • Accessories: cloth carrying bag, provide ease of playing in lower register fingering chart, and cleaning rod • Accessories: cloth carrying bag, A303AI Ivory Color Baroque Fingering fingering chart, and cleaning rod A303ADB Dark Brown Baroque Fingering A203A Baroque Fingering A302A Ivory Color German Fingering A202A German Fingering Classic One-Piece Soprano Recorder • Dark brown with Ivory-colored trim • Accessories: vinyl carrying bag • Built-in thumb rest places right hand in and fingering chart correct, relaxed position A103N Baroque Fingering • Curved windway • Single holes for low C and D provide A102N German Fingering ease of playing in lower register $650 Sweet Pipes Recorder Method Books Recorder Time, Book 1 by Gerald and Sonya Burakoff A completely sequenced step-by-step soprano method book for young beginners (3rd & 4th grade) with musical and technical suggestions for teacher and student. Note sequence: B A G C’ D’ F# E D. Includes 37 appealing tunes, lyrics, dexterity exercises, fingering diagrams, and fin- gering chart. For group or individual instruction. 32 pages. CD accom- paniment available. SP2308 Recorder Time, Book 1 . .$3.50 SP2308CD Recorder Time CD . .$12.95 Hands On Recorder by Gerald and Sonya Burakoff A completely sequenced beginning soprano method book for the 3rd and 4th grade instructional level, with musical and technical suggestions for the student and teacher. -
Fretted Instrument Octave Designation Diagram & Charts
ks•Ca oo bo B t t B From the: o o b o a k s C • • C s a k b o o o CB t B B t o o o Series b k a s • C THE MUSICIAN’S WORKBOOK VI Fretted Instrument Octave Designation Diagram & Charts Compiled by Tobe A.Richards FRETTED INSTRUMENT TUNING CHART The comprehesive tuning chart below features each string reading from left to right as if the in- strument was standing up vertically in front of you. Generally, the strings on the left will be lower pitched than those on the right, but there are variations including the mountain dulcimer, where the higher melody strings precede their lower pitched counterparts. The note names are listed in scientific pitch notation as used by The Acoustical Society of Amer- ica. If you need know their Helmholtz equivalents we have a free downloadable/printable ver- sion with both systems and their piano keyboard positioning in Volume VI of our Music Workbook series. You’ll find this in the ‘Freebies’ section of FFM. When discussing the configuration of an instrument’s stringing arrangement, you’ll find they are often referred to by the number of strings or by the number of courses. A course is simply a series of strings tuned to the same note (albeit often an octave apart) to be fretted by one finger at the same time. To give an example of this, the mandolin has 8 strings or 4 courses of strings. Steel strings in particular give a ringing or jangly sound when they are arranged in double, triple or quad- ruple courses. -
David Bellugi
Published by the American Recorder Society, Vol. LVIII, No. 3 • www.americanrecorder.org fall 2017 fall Editor’s ______Note ______ ______ ______ ______ Volume LVIII, Number 3 Fall 2017 Features his issue feels like one that has a lot of Hans Poser (1917-70) heart. As you might expect, there are reportsT reflecting enthusiasm for recorder and the "New Music" . 24 activities that took place in recent months: By Joseph A. Loux, Jr. playin for Make Music New a solstice York (page 8) and early music festivals in Departments Indian apolis, IN, and Boston, MA (pages 7 and 9). The Boston performances Advertiser Index . 32 included some from players who are young Compact Disc Reviews . 17 at heart as well as others by youthful players (university and considerably younger) who Moctezuma meets Lepidoptera give us optimism about the recorder's future. An interview with Mary Halverson Education . 21 Waldo about her eager young students in Turning the tables, Mary Halverson Waldo 9 the "Homeless No More" program (page is interviewed about teaching students in a 21) does the heart good—both in consider- facility for families who are Homeless No More ing the generosity required to run such a program and in its benefits for the students. Music Reviews. 27 There is so much evidence of heart in the memories written about the late David Another Poser composer; holiday selections Bellugi (page 4). Those of us who knew and folk tunes for students and others him couldn't help but be affected by the caring, enthusiastic and talented person President’s Message . -
LOS INSTRUMENTOS DE CUERDA PULSADA. Su Origen Y Evolución Construye Sobretodo Manuel García Rivas
Otros títulos de esta colección: 2.– Guía para una visita a la ciudad de Borja, de Manuel Gracia Rivas. 3.– Guía del parque de Borja, de Colección TEMAS POPULARES N.º 22 LOS INSTRUMENTOS DE M.ª Antonia Sánchez y J. Royo. 4.– Las fachadas del casco antiguo de Borja. Normas para su conservación, CUERDA PULSADA de Carlos Bressel Echeverría y Manuel Gracia Rivas. 5.– Así fue su Primer Centenario en Su origen y evolución 1889, de Manuel Gracia Rivas. TOMÁS BADÍA / JULIO COCA 6.– Las calles de Borja. Estudio ur- Julio y Tomás en el taller con dos guitarras recién “horneadas”, junto al famoso “luthier” banístico e historia de sus nombres, de almodovense Jesús González (dcha.). Manuel Gracia Rivas. 7.– Cancionero popular religioso de Borja, de Ramón Borobia Paños. Tomás Badía Ibáñez 8.– El dance de Albeta, de Carlos Castán García. es natural de Bisimbre 9.– Radio Moncayo de Borja (1960- (Zaragoza), y desde 1965): Historia de una realidad, de 1990 tiene su taller de Javier Lerín de Pablo. 10.– Jardín cerrado. Flora escondida construcción artesanal de en la Colegiata de Santa María de Borja, instrumentos musicales en de Javier Delgado. Mallén. Guitarrista primero y 11.– El convento de la Concepción de Borja, en el trescientos cincuenta guitarrero después, se formó aniversario de su fundación. como “luthier” en Zaragoza 12.– Don Pedro González de Cas- y Valencia. En la actualidad tejón y Salazar. Marqués de González de Castejón, Ministro de Marina de Car- construye instrumentos los III, de Marqués de Velamazán. de cuerda pulsada como 13.– Calles y caminos de Mallén, de guitarras, laúdes, guitarricos, Guillermo Carranza Alcalde, Tomás Es- peleta Sancho e Isabel Rueda Lozano.