Відео

Merci André, oui, nos petits guitaristes ont fait un tabac !

Ça a été super avec toi !

Merci !

No, unfortunately. I made this just for a beginning 'kabylle' student during the Covid lockdown.

Merci Alex !

Merci. La pièce va être publiée rapidement !

Merci André. N'hésite pas de partager !

Gracias Juan Miguel. ¡No dudes en compartir!

Yes indeed, but Walter Vogt died in 1990 and his successor Hervé Chouard doesn't seem to be actif anymore. Vogt told me thtat just a system would be perfectly adaptable on a lute. Nowadays your best bet is Tolgahan Çogolu.

You should consult music theorists who were Dowland's contemporaries on this. They did not view the untempered 81:64 as a usable major third in harmonic contexts, hence the development of what has come to be called meantone temperament. There's also plenty of historical record for lutenists using frets adjusted at an angle, or with tastini, to achieve more euphonious major thirds in important keys. There's also Dowland's own lute fretting, which is idiosyncratic but evidences wrestling with the same issues. This is notwithstanding Vincenzo Galileo's advocacy of near-12-equal fretting, but even that falls short of finding Pythagorean major thirds acceptable.

John Dowland's son published his father's ideal setting for the lute frets in his Variety of Lessons. Here you may conclude that indeed the major third between the F and A open strings is a pythagorean third, but the fourth fret provides a virtual equivalent of the 5/4 harmonic and is used often as the high voice within a G major or D major chord.

@@Borndutch Yes, people haue vſed a 5/4 as a maioꝛ third, but doing ſo is not iuſt intonation, the iuſt maioꝛ third is 81/64. People's opinions haue varied acroſſe the ages on this matter. And while ſome may learn to like a 5/4 as the maioꝛ third, it is not actually a maioꝛ third. Weſtern muſicke is a chian of fifths and doublings of thoſe notes deriued by fifths. When the fifths are pure, ſo will the thirds be iuſt (as imperfect conſonances, the 5/4 is moꝛe like a perfect conſonance except it is in another generating plane apart from octaues and fifths); the bꝛain cannot track melodically 3 dimenſions and the compounds of 3 harmonic dimentions at once; octaves, the 2's and fifths, the 3's, that is all the bꝛain can track melodically befoꝛe confuſion beginneth. People haue alſo vſed the Pythagoꝛean diminiſhed fourth as a 5/4 appꝛoximation that IS in a chain of pure fifths, but this too is wꝛong and out of tune, the Fb aboue C is vndertonal in quality and belongeth to the 17 tone vicinty of C minoꝛ (not maioꝛ) whereas the maioꝛ third is ouertonal and is a part of the tonic triad in C maioꝛ, and the bꝛain, euen of the vntrained ear knoweth this albeit intuitiuely. If thou makeſt that top voice note an 81/64, making ſure all the notes are ſpelled and tuned accoꝛding to their ſpelling in a chain of pure fifths, and all the notoes in the ſcale are Pythagoꝛean (and ſpelled coꝛrectly accoꝛding to common pꝛactice wꝛitten in the ſcoꝛe) and play the ſong at noꝛmal ſpeed, thou ſhalt ſee the tuning ſoundeth iuſt and perfect.

@@RememberGodHolyBible Hmm...even in Arabic music which is described as Pythagorean as early as the 5th century, especially for the tuning of the open strings of the oud in perfect fourths, there's no such thing as a 81/64 major third generated by four fifths. Nowadays the highest major third (Rast) is in Turkey and is still slightly lower than the 5/4 third. From Turkey on, the more you travel south, the lower the third becomes, until it reaches value over a quarter tone down in Egypt. You can clearly hear this in the singing of Oum Kalthoum. I think the conclusion from Dowland's own fret settings is pretty obvious : the human ear wants the third to be in harmony and not as a harsh result of 4 pure fifths.

@@Borndutch I am no expert in Arabic muſicke, but I know in weſtern muſicke, the maioꝛ third is reached by four fifths vp and down two octaues. Many cultures can do many things, it doth not mean they are right oꝛ ideal. If a ſyſtem is deſcribed as Pythagoꝛean and the maioꝛd third is ſlightly lower than a 5/4, they are vſing the Fb aoue C foꝛ example as the maioꝛ third. This as I ſaid aboue is an erroꝛ, euen if it was done hiſtoꝛically. A "key" is 7 notes deriued from 6 perfect fifths, and they are adiacent fifths. If one vſeth the ſcale C Ebb Fb F G Bbb Cb C as thy diatonic ſcale, the Ebb, Fb, Bbb, and Cb, are not adiacent to the C F and G, and ſo it is not a key, but a ſcale, and an exotic one. In terms of melodic and harmonic purity, vſing the notes of Ebb, F,b, Bbb, and Cb, are from the key of Dbb maioꝛ, not the key of C maioꝛ.Another thing to remember is that Arabic muſicke doth not really inuolue too much harmony, but it is moꝛe melody and ſcale baſed, and as a reſult there is leſſe need to conſider other notes in the ſcale ſounding together, becauſe, in Arabic muſicke they are not. The iſſue is not Pythagoꝛean oꝛ not, but iuſt intonation oꝛ not, ſomething could be Pythagoꝛean and not iuſt, like in the aboue combined ſcale of C maioꝛ and Dbb maioꝛ.That is not a iuſt diatonic ſcale. If one actually creates a piece of muſicke and teſts theſe tunings with the ſame muſicke in the ſame timbꝛe, it is clear that the 81/64 is the maioꝛ third, and the diminiſhed fourth oꝛ the 5/4 is woefully flat. This is becauſe the ear heareth the relationſhip in the ſcale of the cloſely related chain of vnbꝛoken fifths F thꝛough B foꝛ example foꝛ C maioꝛ. I think the muſicke on my channel ſpeaketh foꝛ it ſelfe, not my lateſt video, as that was moꝛe of an experiment, which is the ſame tuning, but arranged differently. But if thou liſteneſt to "Bleſſed is the Man" oꝛ "The Laſt Woꝛds of Dauid" among others on my channel, thou canſt hear, that the melodic intonation and the harmonic intonaiton is perfect ſimutaneouſly, and it is in Pythagoꝛean iuſt intonation, oꝛ what I call True Intonation. Thoſe other tunings from Egypt to Turkey, they may be pꝛeferred by people, they may inuoke certain emotions and ſuch, but they are colourings of what is iuſt, rather than being iuſt. One moꝛe thing, the 81/64 doth go with the 1/1 and 3/2. If thou art hearing harſhneſſe it is becauſe of bad timbꝛe, oꝛ thy ear being conditioned to liſten foꝛ beating and to reiect any ſemblance of it. Beating doth not mean out of tune, and non beating doth not mean in tune.That is very impoꝛtant to realize. Not all beating is bad. Beating happeneth in a frequency, and that frequency can be irrational like in 12 tet, oꝛ it can be harmonic as is the caſe with the 81/64. When liſtening both melodically and harmonically equally at once in both dimenſions, only True Intonation is perfectly in tune. If one ſtarteth to liſten moꝛe to the harmonic and leſſe to the melodic, then one can ſtart to think the 5/4 is the iuſt maioꝛ third. Oh, and if a note is below the 5/4, like the Fb above C, it alſo will haue audible beating, but beating which is moꝛe diſſonant becauſe Fb is related to C in C maioꝛ by a BROKEN chain of fifths , 8 fifths down from C, as oppoſed to the much cloſer E, four fifths vp from C and connected by an vnbꝛoken chain of fifths.

Merci !

Wow, that warms my heart. Yes, this arrangement by Los Indios Tabejaras is a real thing of beauty and indeed a joy forever! It took me quite a lot of time and effort to get it all as it should be.

Merci Jean-Jacques ! Aujourd'hui je suis surtout sur le forum Dorico, mais là je suis juste un utilisateur comme les autres, sans connaissances spécifiques. Au fait, ce programme ne se laisse pas corrompre aussi facilement que Sibelius. ;)

Merci Chantal. Carl vond het ook mooi!

@@BorndutchCarl a tres bon goût et j ai hâte de le retrouver il est un professeur génial et humaniste

Merci André ! J'espère poster bientôt d'autres parties de ce programme !

@@Borndutch 👍

Thank you!

Merci. Ce tutoriel a été fait en plein confinement pour les élèves du conservatoire de Montreuil où j'enseigne toujours. Rien n'a changé pour moi depuis, sauf qu'en situation de concert je suis obligé d'empiler deux chaises, l'une sur l'autre 😀

Merci !

Thank you!

T'as bien raison, n'est-ce que sur le chemin parallèle ! Pas tous mes élèves ont été jusqu'à là 😉

Thank you, thanks for listening !

Merci beaucoup Michel !

Thank you !

Ja, klopt wel een beetje, maar ook contrasten Britten werkt geleidelijk naar de verstilling, Daan Manneke juist andersom. De Nocturnal heeft pretentie, Op weg naar Romanesca is een verjaardagskaart!

Thank you ! I made this video for one of my students.

Meilleurs voeux Chantal ! Oui, il y a plus de 50 ans je la jouais pour la première fois. Et pendant toute sa vie on rejoue et améliore!

Thanks! It has some drama towards the end

Thank you! Yes, this study is quiet poetic and has some drama as well.

En effet, la partition de l'opus 60, tout le monde l'a, mais peu de guitaristes jouent tout. Le n°24 est une page digne de Chopin !

Dank voor het beluisteren ! Ja, iedere gitarist heeft dit in zijn kast, maar slechts weinigen spelen dit daadwerkelijk. Fijne jaarwisseling en voorspoedig en gezond 2024 !

Merci André. Toujours sympa de te retrouver parmi les premiers intéressées !

Thank you !

Feel free to down load from here: www.dropbox.com/scl/fi/563d5a3pgmk1hnnijn4h2/Aneis-do-meu-cabelos.pdf?rlkey=lth4vx9hck7z31gi8k54fzhxq&dl=0

thanks a lot!!!@@Borndutch