Mahayana
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distorted amendments [Altered tunings] untouched corrections dual endings various reasons supplementary significance a range of rationale added resonance absolute array ease of fingering extended range dissimilar buzz straightforwardness of manipulate different drones double stops beauty and tonal colour when the fiddler plays in a solo context exquisiteness and timbre-d tints recurrent rearrangements on -stage ancient conventions on its last legs out customary tuning fiddle compositions notated reads habitually without delay acquaintances on papered notes surrounded by violin range in the midst of a mixture of fingering postures Scordatura notation fingering associations undamaged misrepresented tuning reader achieves retuned fiddle without exhibiting in the swing of things notations Scordatura notation 18th century Baroque musicians started notating Scottish fiddle arrangements notation defining fingerings any altered tuning read as if a customary violin distorted amendments [Altered tunings] untouched corrections appropriate lowness appropriate highness :: are sounded :: violin bent differently proper pitches [are] imp resonance manuscript scordatura violinist tune d'amore where fingers not notes to expect curvature scripted composer revolving through the 18th century very practical any violinist a viola d'amore and a scordatura part understands it precisly inedible dreadfully sensible scordatura enabled composer suiting keys & writing oratorio opera or sacred work in question 30 different tunings first half 18th century 75% scordatura tunings violist d'amore of scordatura school principally a violinist viola d'amore first and foremost an accessory extending range color instrumental possibilities distorted amendments [Altered tunings] untouched corrections [[{Partita for viola d'amore, viola da gamba and basso continuo}]]
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020315
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