Petrucci online music library- IMSLP (Full Version)

Foro Flamenco: http://www.foroflamenco.com/
- Discussions: http://www.foroflamenco.com/default.asp?catApp=0
- - General: http://www.foroflamenco.com/in_forum.asp?forumid=13
- - - Petrucci online music library- IMSLP: http://www.foroflamenco.com/fb.asp?m=220470



Message


estebanana -> Petrucci online music library- IMSLP (Jan. 13 2013 5:34:58)

I'm posting this in General, it is about music, but not flamenco specifically. I can see many Foro members play other kinds of music hoping this will be useful.

The IMSLP stands for: International Music Score Library Project. http://imslp.org/

This is an online music library of classical music that is in the Public Domain. You can search several ways, alphabetical by composer, or by genre etc. It is easy to use and fairly compete. Some composers works are not included, Shostakovich for example because the publishers still hold copyright on his works.



http://imslp.org/




estebanana -> RE: Petrucci online music library- IMSLP (Jan. 13 2013 5:44:06)

I searched on the main page "vihuela" in the search box. A few minutes and I'm downloading a PDF and looking at a scanned 16th century vihuela tabulature book. Here is screen shot from the PDF:





Images are resized automatically to a maximum width of 800px




rombsix -> RE: Petrucci online music library- IMSLP (Jan. 13 2013 5:53:04)

John Petrucci from Dream Theater? [8D][:D]




estebanana -> RE: Petrucci online music library- IMSLP (Jan. 13 2013 6:01:07)

It was named for Ottaviano Petrucci and Italian music publisher of the 16th century.

http://en.wikipedia.org/wiki/Ottaviano_Petrucci




jshelton5040 -> RE: Petrucci online music library- IMSLP (Jan. 13 2013 14:16:12)

quote:

ORIGINAL: estebanana

I'm posting this in General, it is about music, but not flamenco specifically. I can see many Foro members play other kinds of music hoping this will be useful.

The IMSLP stands for: International Music Score Library Project. http://imslp.org/


I've been using it for several years. Although there's no charge for downloads if you're going to use it you should donate some cash to keep this great resource going.




Ricardo -> RE: Petrucci online music library- IMSLP (Jan. 13 2013 21:00:07)

quote:

ORIGINAL: rombsix

John Petrucci from Dream Theater? [8D][:D]



Exactly what I though. "estebanana, you never said you loved shred!!!" OH well.




Piwin -> RE: Petrucci online music library- IMSLP (Nov. 27 2016 7:21:47)

Just wanted to bump this thread up one. I've been using this resource for several years already and it's worth your while.




Ricardo -> RE: Petrucci online music library- IMSLP (Nov. 27 2016 16:47:25)

Just realized the Vihuela tabs have 6 strings....I thought vihuela was a 5 string twanger?




Richard Jernigan -> RE: Petrucci online music library- IMSLP (Nov. 27 2016 18:51:06)

IMSLP is a great resource. I've been using it for years.

quote:

ORIGINAL: Ricardo

Just realized the Vihuela tabs have 6 strings....I thought vihuela was a 5 string twanger?


Nope. Vihuela had six courses. Often the highest pitch course was a single string, the rest were doubled, like a twelve-string guitar. Bream plays a vihuela with all six courses doubled in his video here (starts at 8:44):



All the instruments played in this video were made for Bream by Jose Luis Romanillos. Bream sold the vihuela a few years ago. I've lost track of who has it now.

RNJ




estebanana -> RE: Petrucci online music library- IMSLP (Nov. 28 2016 2:40:12)

quote:

Just realized the Vihuela tabs have 6 strings....I thought vihuela was a 5 string twanger?


The Vihuela is the same as the six course lute. It can be in G or F or A or even a higher descant. The tuning is fourths like a guitar, but in the key G usually. The third string is lowered a half step. GCFa'd'g'

The stringing is variable, depending on who was writing about it, but the man source for the stringing comes from Juan Bermudez who was a musical writer and theorist of the 16th century. He wrote in 1550 that the stringing was in unison for the bass strings and unison for the trebles, and that often the double course on the high g' was optional. It often was left as a single string. There are also stringings which say that bass courses could be in octaves. But most players and musicologists think unison stringing was prevalent.


Romanillos and David Rubio both made lutes and vihuela for Bream, but Bream played them with his nails. The lutes and vihuela were played without nails and Breams sound is very modern. Not that that is bad. Romanillos and Rubio built the instruments Bream played for nail playing, they are overbuilt in comparison to original instruments. Later not long after Bream broke out with these instruments the wave of accurately made modern lutes hit the scene.

But you can also look back to Pujol who had a Spanish maker build a vihuela for him long before Bream. Pujols was also over built. Some other British makers were kicking the vihuela idea around before Romanillos too, Peter Sennsier did at least 15 years before Rubio and Romanillos.

If you scope out Hoppy's right hand, this is how most people think the vihuela was played without nails.





Piwin -> RE: Petrucci online music library- IMSLP (Nov. 28 2016 6:14:48)

Hm. For some reason I also thought the vihuela had 5-strings. Does the mariachi vihuela have 5? I know it's not at all the same instrument but maybe I was just mixing up the names?




Paul Magnussen -> RE: Petrucci online music library- IMSLP (Nov. 28 2016 16:21:17)

quote:

For some reason I also thought the vihuela had 5-strings
.

Perhaps you’re confusing it with the baroque guitar, which looked similar?




Paul Magnussen -> RE: Petrucci online music library- IMSLP (Nov. 28 2016 16:25:08)

quote:

The lutes and vihuela were played without nails and Breams sound is very modern.


Indeed. But though I also have dozens of albums by modern lutenists, I always come back to Bream: no one understood the music, or breathed so much life into it, as he did.




Richard Jernigan -> RE: Petrucci online music library- IMSLP (Nov. 28 2016 18:45:46)

Yes to what Estebanana says about vihuela and lute construction, and yes to their being played without nails back in the day. But yes also to Paul Magnussen's comments about Bream's feeling for Renaissance pieces.

The Swiss Eugen Dombois was one of the pioneers of the "authentic" style. He put out some nice LPs in the mid-20th century.

https://de.wikipedia.org/wiki/Eugen_M._Dombois

Two of my favorite "authentic" lurenists are Paul O'Dette and Nigel North. Both have put out sets of the "complete" works of John Dowland--to the extent that Dowland's complete works are known.

In the 16th and 17th centuries aristocratic houses in England had lute books. You invited Dowland to dinner, he played for his supper and wrote a piece or two in the lute book. His handwriting keeps turning up as people look over this material.

quote:

ORIGINAL: Piwin

Hm. For some reason I also thought the vihuela had 5-strings. Does the mariachi vihuela have 5? I know it's not at all the same instrument but maybe I was just mixing up the names?


Yes, the Mexican vihuela has five courses, usually single strings. The back is not flat like the Spanish vihuela of the 16th century, but is arched, like so:





I may not be up on the latest style of playing, but in the mid-20th century the Mexican vihuela was primarily a rhythm instrument, seldom played melodically.

RNJ

Images are resized automatically to a maximum width of 800px




Ricardo -> RE: Petrucci online music library- IMSLP (Nov. 28 2016 19:00:12)

quote:

ORIGINAL: Paul Magnussen

quote:

For some reason I also thought the vihuela had 5-strings
.

Perhaps you’re confusing it with the baroque guitar, which looked similar?


DOH!!!! That's it, always mix the two up in my head thinking the 5 course evolved into 6 later.




estebanana -> RE: Petrucci online music library- IMSLP (Nov. 29 2016 1:35:27)

I can't dream up any reason to dislike Bream, his tone color alone gets it for me.

I also like very much several of the modern lute players. In particular on vihuela Juan Carlos Ribera -an artist and teacher at the Sevilla Conservatory. He really gets the vihuela.

I don't have a problem with being open to many kinds of ways of playing that eras music. I find early music purists kind of a pain in the neck actually. And they all find themselves at some point a pain in each others' necks/ Early music purism involves a lot of neck pain.




Piwin -> RE: Petrucci online music library- IMSLP (Nov. 29 2016 4:31:32)

Thanks Richard.

I went rummaging around a bit, just to see where the Wikipedia entry on the 16th-century vihuela got its sources, as it reads:
"Vihuela de mano: 6 or 5 courses played with the fingers".
All I could find at this point is that there seems to be a few people who contend that the Belchior Dias guitar of 1581 is not a guitar but a vihuela (though of those few, most seem to base it on the idea that said guitar might have had a sixth course, so even that doesn't go in the direction of a 5-course vihuela). A contention that most seem to find ridiculous.
Probably just a case of bad information on Wikipedia.




Red_Label -> RE: Petrucci online music library- IMSLP (Jan. 10 2017 13:50:13)

quote:

ORIGINAL: estebanana

I can't dream up any reason to dislike Bream, his tone color alone gets it for me.

I also like very much several of the modern lute players. In particular on vihuela Juan Carlos Ribera -an artist and teacher at the Sevilla Conservatory. He really gets the vihuela.

I don't have a problem with being open to many kinds of ways of playing that eras music. I find early music purists kind of a pain in the neck actually. And they all find themselves at some point a pain in each others' necks/ Early music purism involves a lot of neck pain.


1) Bream has always been my favorite classical player, over Segovia and Williams.

2) Over-the-top purists of ALL styles/genres drive me nuts and many are very off-putting. That is one of the reasons that I took such a long break from this site. I've played or dabbled in nearly all guitar styles over the years, and I've seen this militant purism in every single one. While I completely understand their zeal to preserve their favorite art form, many are so passionate that they allow no room for other ideas. Music is an art form. I used to be all about technical mastery and excellence. But as a grow older, I am more impressed by CREATIVITY... and in many cases this artistic creativity is received rather poorly by purists. So I find that some times, the views of purists are at-odds with the expansion and growth of the art form.

When I was young, I used to possess quite the ability of pencil drawing and acrylic painting. My works looked like photographs. I could reproduce the original scenes to the tee. I didn't understand "modern art" and thought of it only as a bunch of paint splashed on a canvas. Fast-forward 30 years... now I see the true ART in pictures that aren't just photographic reproductions of a scene. Now, for art to move me, it must paint a picture in a soulful way and not just a technical way.

Enough of my rant. I just wanted to state my case regarding a hardcore purists' desire to preserve their art, sometimes being so strong as to push new practitioners or fans away from it. Seinfeld's "Soup Nazi" springs to mind in some cases.




Leñador -> RE: Petrucci online music library- IMSLP (Jan. 10 2017 14:51:29)

It's all relative, to some I'd be a purist, to others I'd be a radical. I appreciate what hardcore purists do for the whole the same way I appreciate people who push the boundaries, it needs both. Ying and yang, asi we're balanced.




Piwin -> RE: Petrucci online music library- IMSLP (Jan. 10 2017 15:55:22)

quote:

and I've seen this militant purism in every single one


And it goes far beyond the realm of music or even art. I'd argue that you find that same type of "purism" in almost every walk of life. It says more about the beholder than about the art itself. The irony of it is that in most cases, the pure form that they cling to so much is itself a contemporary evolution of the traditional form they think they're defending. As far as flamenco is concerned, I see a distinct difference between those who prefer "older" flamenco sheerly for aesthetic reasons, and those who prefer that kind of flamenco only because it happens to be older. For the latter, it becomes rather disquieting when the "pure" art, folklore, lifestyle or whatever they're defending is in fact foreign to them. I've met people praising local Vietnamese farmers for their traditional form of agriculture when most of them just want enough money to buy a plower, I've met people praising the troglodyte gypsy habitat in Guadix or Sacromonte, when, at least for the latter, it seems that most of them preferred to stay elsewhere, in more modern housing, when they were relocated from that neighborhood after it was severely flooded, and I've heard people defend that particular folklore which is flamenco while quite a few younger gypsies who just want to mix it up with rap or other "modern" forms of music. Of course, all of these things can in fact be defended, but many do so for all the wrong reasons. It's paticularly bothersome when applied to a popular artform, as it seems to be nothing more than an attempt to introduce elitism in what was never meant to be elitist.




Paul Magnussen -> RE: Petrucci online music library- IMSLP (Jan. 10 2017 16:24:41)

quote:

now I see the true ART in pictures that aren't just photographic reproductions of a scene.


Perhaps you can explain it to the rest of us then [:D]




Red_Label -> RE: Petrucci online music library- IMSLP (Jan. 10 2017 18:47:11)

quote:

ORIGINAL: Paul Magnussen

quote:

now I see the true ART in pictures that aren't just photographic reproductions of a scene.


Perhaps you can explain it to the rest of us then [:D]


In its most basic generalization, it's pure creativity versus pure technicality. Obviously, the true greats in most art forms are an optimal combination of both... especially in demanding genres like flamenco, classical, and jazz.

Another example that hits home with me is photography. I used to fancy myself a photographer. I bought nice gear, and a library of reference materials to learn how to use it to its potential. I educated myself to understand light and how to capture an image. But what I couldn't teach myself was how to see scenes in an interesting and compelling way. The vast majority of my output was uninspired and clinically sterile. I eventually referred to myself as a "snapshot-taker" or "picture-taker". My output was just pictures that chronicled a moment in time. They weren't moving in the least (at least the vast majority of them). I learned that being creative and seeing things in an interesting way (and capturing them), was VASTLY different from knowing how to take good pictures. The former seems like true ART, while the later seems just like a function.

My oldest daughter is becoming an accomplished musician, but she also loves doing graphic arts. Her paintings when I was her age (18)would have made me go "what is that???". But they really move me now. Sure, part of that is because I'm her parent. But the bigger part is because I look at them and go "how did you come up with that?" and "how did you see that?". And frankly, it moves and fascinates me (and makes me wish that I was that creative).




Page: [1]

Valid CSS!




Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET