What a joy to see this interview with Werner Bradford! I’m a beginner on classical guitar and have his tutorial book. I’m learning so much! It dovetails so well with lute! Thank you!
So glad you enjoyed it Kathleen, Brad is great to work with! ✨ He's recently put out a great introduction into reading lute tablature for the classical guitar. It's worth checking out! 👉www.thisisclassicalguitar.com/french-tablature-on-guitar/ Thank you for supporting luteweb! 💕
One of my favorite lute pieces. I play it on an A lute too. I worked from a lute society edition which has a different ending - yours is better so I changed it on my score. I actually worked on this with a teacher who basically told me the same things about elasticity and strong/weak . I play it in a similar way, even the "graces" seem to fall in the same spots. I love Werner's site - I think he plays with great taste as well. It's cool to hear your discussion.
This is a subject that deserves much more detail but basically, current guitar pedagogy aims to train the right hand with equality of fingers and fingering to produce smoothness but that has not taken into account the natural difference between 'stronger' fingers (p and m) and 'weaker' fingers (i and a). Lute technique uses this strong/weak flow naturally. To duplicate this, I use the natural tendency in fingering i.e. leading a passage with the musically natural stronger finger rather than worrying about a fingering based on general right hand pedagogy. This works very well to give a musical flow to a phrase. My you tube channel has many examples of my work with lute repertoire on guitar. Cheers, this an excellent and important conversation!
The strong/weak contrast in early music was, I think, fundamental not only in plucked instruments but in the winds. The latter lacked much, or any, keywork. This resulted in the placement of holes in the instrument's body to lie within the compass of the hand and this, in turn, necessitated the use of forked fingerings. Forked fingerings produce notes of unequal dynamic levels and varied tone qualities both of which lend an air of spontaneity to the music
What a joy to see this interview with Werner Bradford! I’m a beginner on classical guitar and have his tutorial book. I’m learning so much! It dovetails so well with lute! Thank you!
So glad you enjoyed it Kathleen, Brad is great to work with! ✨ He's recently put out a great introduction into reading lute tablature for the classical guitar. It's worth checking out! 👉www.thisisclassicalguitar.com/french-tablature-on-guitar/ Thank you for supporting luteweb! 💕
One of my favorite lute pieces. I play it on an A lute too. I worked from a lute society edition which has a different ending - yours is better so I changed it on my score. I actually worked on this with a teacher who basically told me the same things about elasticity and strong/weak . I play it in a similar way, even the "graces" seem to fall in the same spots. I love Werner's site - I think he plays with great taste as well. It's cool to hear your discussion.
Thanks so much for watching Michael and for your continued support for luteweb! 💕 It means so much! ✨
~ you are both full of Charm and Interest - good interview
Thanks for watching! It was really good fun! 💕
This is a subject that deserves much more detail but basically, current guitar pedagogy aims to train the right hand with equality of fingers and fingering to produce smoothness but that has not taken into account the natural difference between 'stronger' fingers (p and m) and 'weaker' fingers (i and a). Lute technique uses this strong/weak flow naturally. To duplicate this, I use the natural tendency in fingering i.e. leading a passage with the musically natural stronger finger rather than worrying about a fingering based on general right hand pedagogy. This works very well to give a musical flow to a phrase. My you tube channel has many examples of my work with lute repertoire on guitar. Cheers, this an excellent and important conversation!
Thanks for watching and for sharing this! 💕
That’s the cool scale line thanks Elizabeth ❤❤❤
I know! 😎 Thanks for watching! 💕
@@luteweb Of course you are the one baroque musician!
Thanks for watching! 💕@@tanakashigemitsu3029
Great discussion Liz!
Thanks so much Guy! 💕
Brought here by way of Elena de la Quinta on Twitter. Hi! 👋🎵🎶🎼
👏So glad you came! 💕 Say hi to Elena for me! Thanks for watching! ✨
The strong/weak contrast in early music was, I think, fundamental not only in plucked instruments but in the winds. The latter lacked much, or any, keywork. This resulted in the placement of holes in the instrument's body to lie within the compass of the hand and this, in turn, necessitated the use of forked fingerings. Forked fingerings produce notes of unequal dynamic levels and varied tone qualities both of which lend an air of spontaneity to the music