Even when Segovia DID have a pulse, he had this really annoying habit of just pausing on random notes just because the guitar sounded pretty good on that note. I called it the "Segovia fermata". It did not cause me to move to the lute directly-I moved to the Bream guitar first.
A. John Mardinly, Ph.D., P.E. Principal Materials Nanoanalysis Engineer EMail: john.mardi...@asu.edu Cell: 408-921-3253 (does not work in TEM labs) Titan Lab: 480-727-5651 NION UltraSTEM Lab: 480-727-5652 JEOL ARM 200 Lab: 480-727-5653 2010F Lab: 480-727-5654 Office: 480-965-7946 John Cowley Center for HREM, LE-CSSS B134B Bateman Physical Sciences Building Arizona State University PO Box 871704 Tempe, AZ 85287-1704 -----Original Message----- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Dan Winheld Sent: Tuesday, January 20, 2015 12:53 PM To: Ron Andrico Cc: lute@cs.dartmouth.edu Subject: [LUTE] Re: 16th century tuning and stringing On 1/20/2015 10:22 AM, Ron Andrico wrote: > Sorry if this seems like a plug. I'm just trying to demonstrate that > pulse is very important - a fact that seems to have escaped those who > came to the lute via Segovia. Segovia continued to perform for years after he had no pulse. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
