Sarabanda

@akrmzow chyba prawdy się nie dowiemy, bo prawdziwy bohater nie lubi nosić peleryny ;)

Dla zainteresowanych tekst z książeczki do płyty Pièces pour théorbes français José Miguel Moreno na temat angeliki:

But there are still many other plucked-string instruments that, like Lazarus, await a voice to bring them back to life. One of the most enigmatic of these instruments is the angélique or angel harp.
Very little is known about this instrument. Moreover, the limited information available seems to be slightly confusing. There are two reasons for this; on the one hand, its external similarity with another contemporary instrument, the French solo theorbo and, on the other, the short life of the angélique and its meager repertoire.
The angélique may undoubtedly be classified within the family of the theorbos. The main external characteristic of this family is the fact that the instruments have two sets of tuning pegs. One set of strings is tied to the pegs that go over the neck and, therefore, are susceptible to be stopped by the left hand. The other set is tied to the upper part away from the neck and can only be open-plucked. But what distinguishes the angélique from its relatives is its tuning. In lutes as well as in theorbos the basic principle for tuning the strings that go over the neck is the mixture of intervals of perfect fourth and third. The fourth predominates in the renaissance lute and the theorbo, while in the thirteen-course baroque lute the third is more common. The angélique, which usually had sixteen or seventeen single strings -ten over the neck and six or seven outside, was tuned in an unusual way, by diatonic seconds. In 1695, James Talbot, the scholar to whom modern organology owes so much, describes the tuning of the angélique. According to Talbot, the highest string will produce an E on the first line in the key of G; the second string, a D, the third, a C, and so forth, diatonically, until we reach the low string that will produce a D below the first additional low line in the key of F in instruments with sixteen strings and a C in seventeen-stringed instruments.
This tuning of a plucked-string instrument is unusual and astonishing. So much so, that we could almost speak of a cross between a diatonic harp and a lute. The listener can hear for himself that, because of this way of tuning, the touch of the angélique has an articulation that is somewhat slurred, similar to that of a harp. This is the reason why the angélique occupies such an unusual place within the group of plucked-string instruments with a neck. It does, however, have in common with them the action of the left hand and, with respect to the small French solo theorbo, the exact same tessitura: the lowest strings on both instruments reach a C two additional lines below the key of F, and the highest strings reach an E on the first line of the key of G.Pokaż całość

@akrmzow: Bardzo dziękuję za miłe słowa. Jak chcesz nadrobić zaległości, to zacznij od pierwszych wpisów #bojowkalutnibarokowej, bo wpisy lecą mniej więcej chronologicznie, #rokzlutniabarokowa to ostatnie postanowienie noworoczne na 2018 rok jakie jest w grze i jest obliczony na 52 odcinki.

Tag #gruparatowaniapoziomu trąci trochę pychą, a ja jestem zbyt skromny i jest nam nie po drodze. Wystarczy, że taguję #muzyka więcPokaż całość

@Wina_Segmentacji: Dzięki - polecam pozostałe z tagu (⌐ ͡■ ͜ʖ ͡■)

@laoong: tak, to aranżacja Williama G.Whittakera, mogłam w sumie napisać xD Dziękuję, posłuchałam.

Dla zainteresowanych załączam pięknie wykaligrafowaną stronę z tabulaturą Paduany.

@alkan: ale mają za to czasu do czasu jakieś fajne solówki w utworach nie koncertowych, vide Uczeń Czarnoksiężnika ;)

Tak chyba jest ze wszystkim co nie jest fortepianem/skrzypcami/wiolonczelą, ewentualnie klarnetem jeśli o drewniakach mowa... ;/

Jako bonus nagranie jego Couranta przez Annę Kowalską z LUTEDUO

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