Dormendo un giorno (Italian madrigal, c. 1530s)

  1. Martin Jonas
    Martin Jonas
    This is a trio arrangement of an early 16th century madrigal for one treble and two tenor instruments, from the SCA music web site of Steven Hendricks at:

    PDF sheet music

    Steven attributes the tune to Jacques Arcadelt (1507-68), but other references online say it is by Philippe Verdelot (c. 1480 - c. 1530). Verdelot and Arcadelt were both among the principal composers of the early Italian madrigal.

    Played with my "Baroq-ulele" bowlback soprano ukulele, tuned in fifths (mandolin tuning GDAE) taking the treble part and my Ozark tenor guitar (also in GDAE) taking the two tenor parts. The result sounds surprisingly much like an early keyboard instrument, such as a virginal or similar, which is unintended but serendipidous.

  2. catmandu2
    Martin, I continue to be impressed with the tone which your instrument combinations produce!
  3. billkilpatrick
    excellent - difficult to double track but you've got it this time.

    don't know about you but after an initial "iwantit!" phase with the lute and cittern, i came round to the idea that modern instruments recreating - rather than re-enacting - an early sound might be the better solution.
  4. Martin Jonas
    Martin Jonas
    Thanks for the kind comments, also on the Dowland pieces!

    As I'm getting more used to the mechanics of double-tracking I think my recordings are getting better. Aligning the parts perfectly is the tricky bit and I find that easier with the early music material than with fiddle tunes. Also, the software is meant to compensate automatically for the latency in the mike and A/D conversion, but it's not always perfect and sometimes needs to be adjusted manually.

    While I like the sound of an expertly played lute or cittern, I have no particular ambition towards authenticity or period instruments/tunings. My current instrument line-up gives me a good range of tonal options, all tuned in fifths for easy transferability.


    PS: Just this second received my new toy, a custom Mid-Mo octave mandolin... yum yum. More later.
  5. catmandu2
    Lucky you Martin! That'll be fun

    Bill, for me--I'm completely smitten with the "old world" sound and particular resonances and tonal qualities of "period" instruments
  6. billkilpatrick
    cat - i know - they're lovely instruments but ... you need to be really, really, really-really rich to collect them.
  7. catmandu2
    Well yes. This is one reason why I'm immersed in oud!
  8. billkilpatrick
    really? - i was immersed in oud for a while as well but switched to mandolin. "" is a cool place to hang out. i like the sound and everything but decided it's a limited instrument - everything sounds the same, like bagpipes
  9. catmandu2
    It's a pretty idiomatic instrument--we're not going to play chord melody and a lot of modern music with extensive harmony with it. It's this idiomatic "old world" sound, and repertoire, that's compelling for me. The music of the East and Africa is more rhythm- and melody-based; the oud is a wonderfully expressive instrument in its idioms. I think I understand what you mean, in that--the sounds and styles in the idiom are characteristic. Yet, the maqam system is elaborate and complex--its variations are subtle

    Oud may not be an instrument we're going to hear instrumental treatments of Beatles songs, or standards (although I'm sure someone is doing that, as could be expected--Abdul-Malik did an album with Johnny Griffin in 1958; and Rabih Abou-Khalil's extensive catalog, etc.). My particular affinities are trending toward the traditional, presently, so oud is a tremendous instrument for me. As a solo instrument, its lyricism and capacity for expression and subtlety is captivating. Exploring the historical connections between Orient and Occident--with the vast convergences, there is a wealth of material and opportunity for research for oud in medieval period music

    Another idiomatic instrument is flamenco guitar--to which I was devoted for 20+ years. But with limited time and resources, I couldn't keep my chops up. Oud solves this dilemma for me, as it provides me the roots of flamenco--and the fun and "ease" of plectrum (easier, that is, to execute consistent tone, technique, etc)
  10. billkilpatrick
    with you on the flamenco connection - the andalusian/sephardic repertoire is the best. have you heard this guy - a doctor in marsielle with a very relaxed style of play and a tremendous voice:

  11. catmandu2
    Cool Bill, thanks for that (and sorry Martin--for cluttering up your thread with all this)

    I've recently found the work of Eduardo Paniagua - his "Danzas Medievales Espanolas" is loaded with beautiful pieces with varied textures from a large ensemble...I've learned a half-dozen or so of these
  12. billkilpatrick
    yes, great. here's a video of the beautiful begona olavide and her group "mudejar" - she and her sister used to perform (still might, i don't know) with paniagua - lute and oud together, sounding very luscious:

  13. catmandu2
    Here's one with vocalist Jamila Ghalmi

    The Danzas Medievales Espanolas album is entirely devoid of vocals--the large ensemble employs varieties of strings, percussion and flutes. Some really nice playing on it--as well as lovely tunes

  14. billkilpatrick
    oooo ... that "Danzas Medievales Espanolas" cd is ripe for acquisition ...
Results 1 to 14 of 14