[LUTE] Articles Needed
All, I'm away from my books at the moment and I wonder if anyone might be able to provide scans of the following; Ian Harwood. A Lecture in Music, The Lute 45 (2005), 1-70 Also, I'd really like a scan of the scholarly introductory material for the new edition of the Matthew Holmes Lutebook. If anyone were able to help me out with these, I'd really appreciate it. Best, Graham Freeman -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Articles Needed
All, There's no need for this silliness, and I have no idea why Sean seems to be turning this into a matter of ethics, despite not having read my message thoroughly. Don't make up stories. I'm away from MY books, to spell it out for you, means that I did purchase this book. I paid for it and can't use it at the moment. I'm not asking anyone to make a special effort to scan it, just asking if someone has already scanned just the scholarly material for easy use. It's a large book and doesn't travel well. I've made such efforts for others on this board in the past. I'm neither an idiot nor a thief, so please save your rants about copyright infringement (in addition to the details of the scholarly work involved in the creation of the edition, about which I know more than enough and would be happy to educate you) to yourself. If you can't help out, that's fine. Just practice your legal skills somewhere else. Date: Tue, 26 Nov 2013 14:50:35 -0500 To: lute@cs.dartmouth.edu From: tiorbin...@gmail.com Subject: [LUTE] Re: Articles Needed Don't get me wrong, I'm as much in favor of people paying fair wage for labor of hand and mind. But I honestly think people are missing something here: Graham Freeman stated I'm away from my books At the very least, it might be a good thing to ask if he already owns copies of these in the books he is away from before pillorying him for crimes he may not even be trying to commit. It might also be appropriate for someone with the books and a scanner available to ask what he is specifically looking for and offer to send a limited number of scans which directly represent that. I know this group pretty well on this sort of thing: When I was asked to accompany a young lady at the state university (where I was basically a townie in their collegium musicum) and given a piano score in a different key for a lute part, I asked here if anyone could help me out. Not only did someone have it already edited and in a collection book he sold, but he sent me a PDF of the page so I could do the part. (Far more than I asked for, and very very appreciated!) So rather than presume copyright infringement and all the rest, maybe a little discussion of actual need, purpose and such would be in order? On Tue, Nov 26, 2013 at 12:51 PM, Sean Smith [1]lutesm...@mac.com wrote: Graham, As I see it, Stewart and others spent many hours - months, rather - assembling a lot of information into 70 pages of large format and small typeface in the additional critical volume. There are also the many many pages they painstakingly pored over in the original ms. to decipher the nearly destroyed bits to give a best reading on many pages. These are completely illegible on the microfilm. I'm sure there were many hours given in this work above and beyond the photography and printing costs. This is asking for an awful lot of gratuitous work under the very noses of the people who made this available (not to mention the lucky soul who gets to scan it for you now --again for free?). As it is, Lute Society has offered many mss. now at a very reasonable price. Yes, this one is a bit more (for a major, major source, mind you) but if this is what they can expect, I despair of their offering much more. Sean On Nov 26, 2013, at 5:27 AM, Graham Freeman wrote: All, I'm away from my books at the moment and I wonder if anyone might be able to provide scans of the following; Ian Harwood. A Lecture in Music, The Lute 45 (2005), 1-70 Also, I'd really like a scan of the scholarly introductory material for the new edition of the Matthew Holmes Lutebook. If anyone were able to help me out with these, I'd really appreciate it. Best, Graham Freeman -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:lutesm...@mac.com 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] 10-String Alto Guitar
All, Sorry to clog the list with something that isn't strictly lute related, but I thought someone might be interested in a 10-string alto guitar that I'm currently selling. I had it built as a way of bridging my lute and guitar playing, for which it works quite well. I have, however, moved on to other things and no longer have a need for it. It's a lovely instrument for lutenists who want to retain some contact with the guitar world, or guitarists who want to work with lute music but are not ready to make the transition. Details and pics can be found here. If anyone is interested, or knows someone who might be, please feel free to contact me. http://www.12fret.com/content/2013/03/15/rusnak-alto-10-string-classica l-guitar/ Best, Graham Freeman -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lute Books For Sale
All, Most of the books I listed here are now gone. I've attached a revised list of what remains. Thanks to everyone who replied. . Dowland, Robert. Varietie of Lute-Lessons. Performers' Facsimiles. o Facsimile edition. $25. . The Welde Lute Book. Lute Society Facsimiles o Facsimile edition. $30. Capriola, Vicenzo. Compositione. SPES Edition. o Facsimile edition. $30. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lute Books For Sale
All, In case anyone is interested, I'm getting rid of the following volumes. I'm looking to send them to good homes, so send me a message off-list if anyone is interested. Buyer pays shipping. Reasonable offers also considered. Please reply to freeman.gra...@gmail.com. All in good condition and unmarked. Lute Books for Sale All prices in Canadian dollars . The Folger `Dowland' Manuscript. Lute Society Facsimiles. o Facsimile edition. $25. . The Sampson Lute Book. Boethius Press. Edited by Robert Spencer. o Facsimile edition from the library of John Ward. $40. . The Trumbull Lute Book. Boethius Press. Edited by Robert Spencer. o Facsimile edition. $40. . Dowland, Robert. Varietie of Lute-Lessons. Performers' Facsimiles. o Facsimile edition. $25. . The Matthew Holmes Manuscripts Dd.2.11: Lute Society Facsimiles 7. Lute Society. o Facsimile edition. $100. . The Welde Lute Book. Lute Society Facsimiles. 2 copies. o Facsimile edition. $30. . The Wickhambrook Lute Manuscript. Lute Society Facsimiles. o Facsimile edition. $30. . The M.L. Lute Book. Boethius Press. Edited by Robert Spencer. o Rare Facsimile edition. $50. . The Board Lute Book. Boethius Press. Edited by Robert Spencer. o Facsimile edition. $40. . The Mynshall Lute Book. Boethius Press. Edited by Robert Spencer. o Facsimile edition. $30. . Dalza, Jean Ambrosio. Intablatura de Lauto. Libro Quarto. Editions Minkoff. o Facsimile edition. $30. . Capriola, Vicenzo. Compositione. SPES Edition. o Facsimile edition. $30. . John Johnson. Collected Lute Music. 2 vols. Tree Edition. Transcribed and Edited by Jan W.J. Burgers. o Modern edition. $40 for both volumes. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [mplpost] Musicians can now fly in friendlier skies
All, On this note, I thought perhaps I'd show off my little travel lute for just such a purpose. It's a flat-backed 6-course. It's a fully functional Renaissance lute (60cm string length, 1.2 cms string spacing at the bridge) with a surprisingly big sound. The only difference is the flat back. It even has a Kingham case to go with it. It's about the size and width of a tennis racket and easily goes over my shoulder or even in a backpack. It can fit in any overhead compartment on a plane or under the seat. It's a perfect travel lute for anyone who wants to take a lute anywhere they need to go but don't want to take a chance with their main instrument. It's a remarkable little instrument and I spend more time playing it than I do any other lute I own. I've attached a link to some pics here. If anyone wants to know any details (price, where I got it, etc.), feel free to contact me. [1]http://www.flickr.com/photos/76513787@N06/6864675079/in/photostream [2]http://www.flickr.com/photos/76513787@N06/6864674729/in/photostream/ Best, Graham Freeman On Thu, Feb 9, 2012 at 5:35 PM, Nancy Carlin [3]na...@nancycarlinassociates.com wrote: See below for good news about flying with your lutes. Delivered-To: [4]lila-nancycarlinassociates:com-na...@nancycarlinassociates.com X-Envelope-To: [5]na...@nancycarlinassociates.com X-Virus-Check-By: [6]mailwash13.pair.com X-Spam-Check-By: [7]mailwash13.pair.com X-Spam-Status: No, hits=0.0 required=4.0 tests=DKIM_SIGNED autolearn=disabled version=3.002005 X-Spam-Flag: NO X-Spam-Level: X-Spam-Filtered: 0a530e8e58cc107def36ac6139926d69 Mailing-List: contact [8]maplepost-h...@icomm.ca; run by ezmlm X-No-Archive: yes List-Post: [1] mailto:[9]maplep...@icomm.ca List-Help: [2] mailto:[10]maplepost-h...@icomm.ca List-Unsubscribe: [3] mailto:[11]maplepost-unsubscr...@icomm.ca List-Subscribe: [4] mailto:[12]maplepost-subscr...@icomm.ca Reply-To: [13]maplep...@icomm.ca Delivered-To: mailing list [14]maplep...@icomm.ca DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=[15]gmail.com; s=gamma; h=mime-version:sender:date:x-google-sender-auth:message-id:subject :from:to:content-type; bh=zROn8jLADHYD/E9x+pJxTGXP+KJATwZAfHP68WcsPkI=; b=COAAQnMi2pPzUkORqBAlRefDiaoADw26BSWUi8AQsM+cnsDiq5Bc0kcUZ0vF5CD/rh hqIc0Rb/1sG4jcnJ5dt+H8GbpRhySg81M/VGiozDgYA46XBUHjPHQthkF7uwQjjQPl0U hIGQjpXx4QZ/3VsNWCGx7ox/xJ0e1MW//B/Yg= Sender: [16]prashantmj...@gmail.com Date: Thu, 9 Feb 2012 14:06:58 -0700 X-Google-Sender-Auth: sRt0QUeoblqB3Vs8e-kJ48A2aFA -- Forwarded message -- From: American Federation of Musicians of the United States and Canada [17]broadc...@afm.org [image: AFM - American Federation of Musicians of the United States and Canada] *FOR IMMEDIATE RELEASE* *February 7, 2012* *Contact: Honore Stockley * *[18](315) 422-4488 ext. 104* *[19]hon...@bentley-hall.com* *The AFM applauds the passage of the FAA Bill that sets a consistent national policy allowing musical instruments on airplanes* After five years and 23 short-term extensions, Congress has passed legislation reauthorizing the Federal Aviation Administration (FAA) for the next four years. Included in the bill are provisions that create a uniform national policy regarding musical instruments on airplanes. Any instrument that can be safely stored in the overhead compartment or underneath the seat may be brought on board as carry-on luggage. Additionally, the bill sets standard weight and size requirements for checked instruments, and permits musicians to purchase a seat for oversized instruments, such as cellos, that are too delicate to be checked. Existing law allowed each airline to set their own policy regarding musical instruments, and size requirements varied widely for both carry-on and checked baggage. The American Federation of Musicians (AFM) has been lobbying Congress to enact such a policy for nearly a decade. This is great news for professional musicians throughout the U.S. and Canada who carry the tools of our trade our instruments aboard commercial aircraft, said AFM President Ray Hair. Ending the confusion over musical instruments as carry-on baggage has been a top legislative priority for nearly
[LUTE] String Spacing
All, I'm wondering about people's different experiences with spacing between courses. I'm currently playing a 6-course lute with a spacing of 1.2 cms between courses, and I can't believe how much better my thumb-under technique feels after having developed it on a lute with a spacing of 1 cm. I also just recently played a 7-course with a spacing of 1.6 cms, which also felt great. I find there's a tremendous amount of room to move around with my right hand and I feel more relaxed and able to let the thumb-under technique really open up. I'm wondering about other peoples' thoughts about string spacing on renaissance lutes. Does anyone else go as wide as 1.5 cms or more on their renaissance instruments? Best, Graham Freeman -- -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] MS Egerton 2046
All, First, thank you to those who offered their kind assistance concerning my dall'Aquila inquiry, On another matter, does anyone have a facsimile edition of MS Egerton 2046 (Jane Pickering Lutebook) edited by Robert Spencer which they might be interested in selling? It's apparently long out of print and I'd really like to get my hands on a copy. If anyone has a copy they'd like to sell, please do let me know. I've had good luck tracking down used facsimiles of other manuscripts, but not this one so far. Best, Graham Freeman -- Dr. Graham Freeman Postdoctoral Fellow Faculty of Music University of Toronto [1]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] dall'Aquila
All, A question for the general wisdom: does anyone have any information about the scheduled publication of the Complete Lute Works of dall'Aqulia by O'Dette and Pratola. The website mentions that Pratola has passed away and that the publication is immanent, but it hasn't been updated in some time. Has anyone heard anything else or have any idea when we should expect to see what promises to be an excellent publication? Sincerely, Graham Freeman -- Dr. Graham Freeman Postdoctoral Fellow Faculty of Music University of Toronto [1]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Theorbo shipping within the U.S
An interesting point is that the damage to my (now someone else's) theorbo came not during shipping but during the customs inspection. The case was an ultra-hardshell case by Jiri Bednar, but the damage to the peg was most likely the result of customs officials taking it roughly in and out of the case while it was stuck in customs. No Kingham or IKA case can protect against that sort of idiocy. Though it might not be relevant here, those shipping instruments to the US from another country should remember that they will be subject to the terms of the Lacey Act governing the importing of wood products. There's lots of additional paperwork to fill out in order to be compliant with the act, so make sure you know the history of the instrument and the sort of wood out of which it's made. This gave me huge problems. Graham Freeman On Mon, Mar 21, 2011 at 4:29 PM, howard posner [1]howardpos...@ca.rr.com wrote: Wondering if anyone's shipped a big instrument lately, and has any recommendations. To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr. Graham Freeman Ph. D Musicology University of Toronto [3]freeman.gra...@gmail.com -- References 1. mailto:howardpos...@ca.rr.com 2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 3. mailto:freeman.gra...@gmail.com
[LUTE] Re: Theorbo shipping within the U.S
My experience was similar to Nancy's, but with UPS. They had no idea about the status of the instrument, it got stuck in customs, and the buyer got stuck with a huge tax bill for a bunch of things of which we were never made aware. It also arrived with a small amount of damage to a peg. I don't know about the US Postal Service (I'm in Canada), but I've always found Canada Post excellent for shipping such things. Efficient, cheap, and they know where thing are. UPS also vastly overcharged me for packaging, which was done with something less than skilled hands. FedEx might be the way to go, but I'd also see if the Postal Service offers a comparable service for a reasonable price. Best, Graham Freeman On Mon, Mar 21, 2011 at 5:08 PM, Nancy Carlin [1]na...@nancycarlinassociates.com wrote: I have sold a couple of instruments on Wayne's list in the past year and bought another, which was shipped to me from the UK. The onen from the UK came DHL last December and there was a week when I am pretty sure DHL did not have a clue where it was. I called several times a day and can guarantee you that their employees are trained to say reassuring things. I finally got the instrument when a wonderful lady in the San Francisco warehouse heard my story, found the instrument and put it in her car on her way home from work to hand deliver it to me in the local Starbuck's warehouse. About 2 months later I got a letter from DHL asking me to pay some duty and recently I have had a letter from the California tax people wanting tax because I bought something from outside the country. I don't mind paying, but it seem that they are very disorganized not to ask for the money before I got the instrument. The 2 instruments I sold were shipped Fed Ex ground and things worked great. The only challenge was getting a box big enough to put the instruments into with a lot of bubble wrap and packaging around it. I called a local luthier and he recommended the biggest box that UHaul sells and it worked great. Nancy At 01:29 PM 3/21/2011, howard posner wrote: Wondering if anyone's shipped a big instrument lately, and has any recommendations. To get on or off this list see list information at [1][2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Nancy Carlin Associates P.O. Box 6499 Concord, CA 94524 USA phone [3]925/686-5800 fax [4]925/680-2582 web sites - [2][5]www.nancycarlinassociates.com [3][6]www.groundsanddivisions.info Representing: FROM WALES - Crasdant Carreg Lafar, FROM ENGLAND - Jez Lowe Jez Lowe The Bad Pennies, and now representing EARLY MUSIC - The Venere Lute Quartet, The Good Pennyworths Morrongiello Young Administrator THE LUTE SOCIETY OF AMERICA web site - [4][7]http://LuteSocietyofAmerica.org -- References 1. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 2. [9]http://www.nancycarlinassociates.com/ 3. [10]http://www.groundsanddivisions.info/ 4. [11]http://lutesocietyofamerica.org/ -- Dr. Graham Freeman Ph. D Musicology University of Toronto [12]freeman.gra...@gmail.com -- References 1. mailto:na...@nancycarlinassociates.com 2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 3. tel:925%2F686-5800 4. tel:925%2F680-2582 5. http://www.nancycarlinassociates.com/ 6. http://www.groundsanddivisions.info/ 7. http://LuteSocietyofAmerica.org/ 8. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 9. http://www.nancycarlinassociates.com/ 10. http://www.groundsanddivisions.info/ 11. http://lutesocietyofamerica.org/ 12. mailto:freeman.gra...@gmail.com
[LUTE] Ballett
All, Does anyone know anything (rumours, perhaps) about whether or not we might ever expect to see a facsimile of the Ballett Lute Book? I know that many of the pieces are used in anthologies, but a facsimile edition would also be nice. Does anyone know of one in existence or perhaps coming down the pipeline? Best, Graham -- Dr. Graham Freeman Ph. D Musicology University of Toronto [1]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lute Case
All, Does anyone have any experience with the lute cases made by Pierre Rousseau? I'm thinking of getting one and I'd like to hear from someone who already has one. Best, Graham Freeman -- Dr. Graham Freeman Ph. D Musicology University of Toronto [1]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thanks, and a Cautionary Tale - HELP!!!
--0015174c33ce477c1c0494d29da1 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Jörg, I was shipping a Canadian instrument from Canada to the US, so some of the forms I needed were NAFTA forms, which are quite different and unique to North American. FDA 2877 appears to be concerned with electronic equipment and the emission of radiation, which is not yet a problem I've encountered with lutes, at least none of mine. The offending legislation is the Lacey Act in the US, which is important legislation but is also a monstrous pain in the backside. I've attached the form that I think might be the one you need, but much of the paperwork was done by my buyer and UPS. I know that this is one of the forms that was used, and I think that it is the important one, but I don't know if there are any others that will be needed. The form is attached. My suggestion would be to discuss this with a luthier who has experience shipping instruments to the US. Many of my problems were sorted out by asking my luthier for assistance, and he provided the same information and instructions he had used dozens of times. Fill out the form and then ask a local luthier how they do it. Also, by all means, avoid UPS. The postal services offer exactly the same services, only better. Perhaps someone else has some suggestions in this matter and can add something? Best, Graham On Thu, Nov 11, 2010 at 9:13 AM, Hilbert Jörg hilbert.jo...@t-online.dewrote: Dear Graham, dear all, thank you very much for the caution. You may probably be the one to help now ... ore somebody else? I am just about to send a lute from Germany to San Francisco, and therefore I needs lots of documents, such as you mentioned. There is one from the German office to confirm, that the exported woods are not problematic. BUT I need a similar one to declare the same for the import. I was told, that it might be the form FDA 2877, but this seams to be something different. As my English is not too bright, I just do not understand this all, and I this is, why I am looking for help now. So this is my question: Does anybody know, which document (FDA?) I need to declare my import to the USA, or where to find it? Thanks in advance to everybody, who can give me some advice. Jörg Am 01.11.2010 um 14:38 schrieb Graham Freeman: Dear Collective Wisdom, A few weeks ago, I sent out a message soliciting advice concerning selling my theorbo on the lute list. Many of you replied promptly with some excellent advice, and I'm very grateful. Thank you to everyone who replied. I have sold my beautiful theorbo to a good home where it will be fed well and kept warm. Also, I might impart to you the cautionary tale of its transport. It was sent by UPS from Toronto to New York, and the shipping was prepaid by the buyer. After getting to Buffalo quite quickly, it was then held at US Customs for more than a week. Every day it was sent back and forth between the UPS office and the Customs office trying to get approval to get it through Customs. The problem seemed to be the Lacey Act, a measure originally meant to interrupt the trafficking in animals but expanded in 2008 to include plants and plant products, such as wood. The fact that the instrument was made of wood (combined with some poor Customs official opening it up and having no idea what it might be) made it very suspicious to the great thinkers they hire at Customs. I had to contact the luthier to verify where all the wood had been sourced, the buyer had to obtain power of attorney over the instrument and sign a document verifying the origin of the wood, etc. I was very fortunate that the buyer was extremely well-versed in this sort of thing, but it took an enormous amount of effort just to get it to its destination. After the many dozens of times it must have been taken out and inspected by people who didn't know what they were doing, I was perhaps fortunate that the only damage it sustained was some minor damage to a tuning peg. The most inconvenient and worrying part, of course, was that the instrument was being held in storage, probably with no consideration for the fragility of the instrument at all, for more than a week. The moral of the story, I suppose, is that if you are trying to sell or ship your instrument to the US from another country, make sure you have researched the laws concerning imports into the US, especially of wood products, and have some documentation from your luthier concerning the woods that were used and where they were sourced, and gets LOTS of insurance for the trip. It might not even hurt to get the advice of a lawyer or importer in the US who has experience with these things. I was fortunate in that respect, but not everyone will be. Once again, thank you to everyone for your advice, and I
[LUTE] Thanks, and a Cautionary Tale
Dear Collective Wisdom, A few weeks ago, I sent out a message soliciting advice concerning selling my theorbo on the lute list. Many of you replied promptly with some excellent advice, and I'm very grateful. Thank you to everyone who replied. I have sold my beautiful theorbo to a good home where it will be fed well and kept warm. Also, I might impart to you the cautionary tale of its transport. It was sent by UPS from Toronto to New York, and the shipping was prepaid by the buyer. After getting to Buffalo quite quickly, it was then held at US Customs for more than a week. Every day it was sent back and forth between the UPS office and the Customs office trying to get approval to get it through Customs. The problem seemed to be the Lacey Act, a measure originally meant to interrupt the trafficking in animals but expanded in 2008 to include plants and plant products, such as wood. The fact that the instrument was made of wood (combined with some poor Customs official opening it up and having no idea what it might be) made it very suspicious to the great thinkers they hire at Customs. I had to contact the luthier to verify where all the wood had been sourced, the buyer had to obtain power of attorney over the instrument and sign a document verifying the origin of the wood, etc. I was very fortunate that the buyer was extremely well-versed in this sort of thing, but it took an enormous amount of effort just to get it to its destination. After the many dozens of times it must have been taken out and inspected by people who didn't know what they were doing, I was perhaps fortunate that the only damage it sustained was some minor damage to a tuning peg. The most inconvenient and worrying part, of course, was that the instrument was being held in storage, probably with no consideration for the fragility of the instrument at all, for more than a week. The moral of the story, I suppose, is that if you are trying to sell or ship your instrument to the US from another country, make sure you have researched the laws concerning imports into the US, especially of wood products, and have some documentation from your luthier concerning the woods that were used and where they were sourced, and gets LOTS of insurance for the trip. It might not even hurt to get the advice of a lawyer or importer in the US who has experience with these things. I was fortunate in that respect, but not everyone will be. Once again, thank you to everyone for your advice, and I hope my little tale saves someone else the stress and trouble it caused me. Best, Graham Freeman -- Dr. Graham Freeman Ph. D Musicology University of Toronto [1]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Used Lute Page
Dear Collective Wisdom, For those of you with some experience selling lutes on Wayne's lute page, I wonder if you might be able to provide some wisdom based on our experience. How long have people typically had to wait before selling a lute? I know this is a broad question, and that the answer depends upon many variables, but any experience would be helpful. Further, how do most of you typically arrange payment? Do you collect payment and then send the instrument? Do you divide payment in to 2 installments for both pre and post delivery? Paypal? Money order? I put an ad for my beloved theorbo on the page and I just want to make sure that I do everything possible to find it a good home and keep everyone happy. As always, I'm grateful for the advice from the community. Best, Graham Freeman -- Dr. Graham Freeman Ph. D Musicology University of Toronto [1]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Fret Gut
All, Has anyone ever used anything other than fret gut to replace a fret? Perhaps in a pinch? I've broken two frets and would really like to get the instrument back up and running before the replacement gut I ordered arrives. Perhaps someone has experimented with other materials that might suffice until my gut arrives? I really only need it to work for a little while, sort of like the spare tire that just needs to get me to the service station. Appreciative as always, Graham Freeman -- Dr. Graham Freeman Ph. D Musicology University of Toronto [1]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Sringing a lute
All, With the conversation below in mind, can anyone suggest a good book or other source that can assist with some of the DIY-elements of playing the lute? I'm probably getting my luthier to do things that I ought to be able to do myself. Where should we go to teach ourselves how to do this without destroying our instrument during the learning? Graham Freeman On Sat, Jul 3, 2010 at 2:30 PM, Sean Smith [1]lutesm...@mac.com wrote: Dear Wim, At the bottom of [1]this page you'll find a handful of string calculators. They aren't difficult to use. As you continue down the garden path that is the lute world you'll find yourself changing frets, measuring lengths and diameters, tying knots, playing with matches, knives and clippers and generally slipping into a DIY culture. It's just the way it is. You can pick up digital calipers in the US for ~$10(!) from [2][2]www.HarborFreight.com and every luter should have one near his string box. Both strings and their surrounding conversation are, in turns, fascinating, boring, colorful, off-putting, helpful, misleading (in the sense of useful for some; less for others), historic, almost historic, historic looking, maybe historic sounding, modern, whatever, and lots of flavors in between depending on period, instrument, experiance, purpose, budget and whim (pun intended :^). Spend a couple of hours in the archives --you'll see. I'm sure plenty of opinions and contentions arose in the old days too so, in that sense, we are being fairly historic and maybe as, characteristically, nerdly. Eventually you'll realize it's not a bug but a feature. Have fun and good luck, Sean On Jul 3, 2010, at 8:52 AM, Wim Loos wrote: Dear all, My renaissance 8-course lute, string lenghts 615 mm,pitch a=415 Hz need new strings. It is tuned g'g' d'd' aa ff cc Gg Ff Dd I will try Nylgut, can anybody advise me wich plain/wounded strings I shoud buy. Present I use nylon strings. Thanks in Advance, Wim Loos __ Voeg eenvoudig je Hyves vrienden toe aan je [1]Hotmail en Messenger. -- References 1. [3][3]http://www.microsoft.com/netherlands/windowslive/Views/product detail .aspx?product=MessengerHyvesWT.mc_id=msn3 To get on or off this list see list information at [4][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [5]http://www.cittern.theaterofmusic.com/links/index.html 2. [6]http://www.HarborFreight.com/ 3. [7]http://www.microsoft.com/netherlands/windowslive/Views/productdetail .aspx?product=MessengerHyvesWT.mc_id=msn3 4. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr. Graham Freeman Ph. D Musicology University of Toronto [9]freeman.gra...@gmail.com -- References 1. mailto:lutesm...@mac.com 2. http://www.HarborFreight.com/ 3. http://www.microsoft.com/netherlands/windowslive/Views/productdetail 4. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 5. http://www.cittern.theaterofmusic.com/links/index.html 6. http://www.HarborFreight.com/ 7. http://www.microsoft.com/netherlands/windowslive/Views/productdetail.aspx?product=MessengerHyvesWT.mc_id=msn3 8. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 9. mailto:freeman.gra...@gmail.com
[LUTE] da Milano
All, I'm trying very hard to find a copy of the edition of da Milano by Arthur Ness. Does anyone know of or have a copy of this for sale? I'd be grateful for any replies. Best, Graham Freeman -- Dr. Graham Freeman Ph. D Musicology University of Toronto [1]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Bach on Theorbo
Wise Luters, Does anyone know of a good edition of the Bach Cello Suites for theorbo? They've been recorded a number of times. Ideally, I'd make my own, but I'd like to see a good transcription of them first. With thanks, Graham Freeman -- Dr. Graham Freeman Ph. D Musicology University of Toronto [1]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: should i learn thumb-under technique?
All, I'm finding this discussion very informative and helpful. I'm also an experienced guitarist and come to theorbo and lute from a classical guitar background. I still play quite a lot of steel-string guitar, as there is just too much great music (Pierre Bensusan, Martin Simpson) for that instrument to ignore. Steel-string technique in incredibly varied among the many different players, and I've learned a lot from watching the right-hand of someone like Bensusan, who has a very relaxed and flexible right-hand technique that allows him to adapt to different musical situations. I think that we might learn a lot from watching the technique of someone who doesn't feel the need to be pedantic about it and lets his hands adapt to different situations. Perhaps steel-string guitarists have even more to teach us about the right-hand than do classical guitarists. That being said, I find the different lute techniques fascinating. Paul O'Dette seems to be able to use his thumb-under technique for everything, including Bach and the theorbo, whereas Nigel North seems to use a variation of thumb-over technique for everything he does, including Dowland. Perhaps my ignorance is showing here, but Nigel North's technique seems to be closer to right-hand classical guitar technique than many others I have seen. Of course, there is no such thing as one classical guitar right hand technique. My guitar teachers in university steered me far away from the severely bend Segovia right hand and more towards a flexible right-hand that moved between a high-arch to allow for maximum finger extension to a low-arch that allowed for more dynamic and muting control, and everything in between. For them, the music made the demands of the technical approach, and one needed to be flexible enough to adapt. My questions, I suppose, would be: are we lutenists too pedantic about technique? Should we perhaps adopt and flexible right-hand that can adapt to the many different situations in which we find ourselves? I understand the necessity of studying treatises and iconography to learn more about the way in which the music was played, but surely the surviving evidence doesn't encapsulate the ways in which the thousands of lute players all over Europe played such a popular instrument over the course so many years. Historical evidence is one thing, but the historians among us will certainly recognize that Hayden White and Paul Ricoeur long ago raised the awareness of the fact that historical record can never provide a complete picture of the past, and that we need to adopt, perhaps, a more phenomenological approach based on our own experiences in an ongoing historical situation. Perhaps that means that a 21st century lute player who plays a greater amount of repertoire than any historical lutenist ever did, and perhaps also plays instruments of which lutenists had never heard (such as steel-string guitar) need to adopt the kind of techniques that suit there situations. I really do favour a plurality of approaches to technique, an approach that might earn me the wrath of this board. Nevertheless, it occurs to me that if, in 400 years, all that is left of the evidence concerning the ways in which the electric guitar was played by millions of people in the 20th and 21st centuries is a video of the fairly orthodox technique of a few, our descendants might never know of the miraculous musical results produced by guitarists with extremely unorthodox techniques such as Jeff Beck (no right-hand plectrum) or Pat Metheny (a three-fingered grip on the plectrum instead of the usual two). Just my thoughts. Sorry for testing your patience with my long-winded ramblings. Best, Graham Freeman On Thu, Mar 18, 2010 at 2:45 PM, [1]terli...@aol.com wrote: Interesting! I taught Waltons's 5th Bagatelle yesterday and recommended p-i or p-m for the repeated notes on the treble strings. You are right, A guitarist would probably not go from string 1 with p to the 6th string with i. Would a lutenist? ...why not throw the m in just before the string crossing? best, Mark Delpriora -Original Message- From: [2]chriswi...@yahoo.com To: [3]paul.nicholas.kief...@gmail.com; [4]l...@cs.dartmouth.edu; [5]terli...@aol.com Sent: Thu, Mar 18, 2010 1:22 pm Subject: Re: [LUTE] Re: should i learn thumb-under technique? Mark, Yes, but they don't make a habit of it in the same way. You'd never go from string 1 with p to the 6th string with i in CG. Nothing wrong with that, its just a different technique. I currently have a new lute student (an accomplished classical guitarist) who has no lute at the moment, but will be getting one shortly. Until then, we're just using his guitar. He wants to eventually
[LUTE] Re: Heavy Theorbo
All, Thank you very much for all of your assistance. I'm glad to hear that I'm not alone with my hefty instrument. As always, I'm grateful for the assistance of the community. Best, Graham Freeman On Thu, Mar 11, 2010 at 3:33 AM, Peter Martin [1]peter.l...@gmail.com wrote: I do that too, using a short strap connected to the button on the body by the bridge. And a footstool. It's an absolute liberation: no more weight on the shoulders. P On 11 March 2010 08:49, David van Ooijen [1][2]davidvanooi...@gmail.com wrote: On Thu, Mar 11, 2010 at 1:43 AM, Graham Freeman [2][3]freeman.gra...@gmail.com wrote: All, I wonder if anyone can offer some helpful suggestions. I have a very Drastic solution a friend of mine opted for: 1. remove the veneer/top layer/panles on back and/or front of the extension 2. drill holes 3. put panels back But try the strap first. I sit on a strap, no shoulder straps. David -- References 1. mailto:[4]davidvanooi...@gmail.com 2. mailto:[5]freeman.gra...@gmail.com To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr. Graham Freeman Ph. D Musicology University of Toronto [7]freeman.gra...@gmail.com -- References 1. mailto:peter.l...@gmail.com 2. mailto:davidvanooi...@gmail.com 3. mailto:freeman.gra...@gmail.com 4. mailto:davidvanooi...@gmail.com 5. mailto:freeman.gra...@gmail.com 6. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 7. mailto:freeman.gra...@gmail.com
[LUTE] Heavy Theorbo
All, I wonder if anyone can offer some helpful suggestions. I have a very nice theorbo of medium size with which I'm very happy. The only problem is that the neck extension is quite heavy, so much so that it interferes with the balance of the instrument. This isn't a big problem except that it can make it difficult to hold on to. Is this a common problem? Do different theorbos have different levels of balance? Are there any solutions, aside from the obvious one of selling it, which I am loathe to do? It has such a great sound and is such a nice instrument, but a bit more balance would be nice. As always, I'm grateful to the community for its advice. Best, Graham -- Dr. Graham Freeman Ph. D Musicology University of Toronto [1]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Dowland's Lachrimae
All, What a wonderful discussion my questions has provoked! I'm always impressed by the amount of knowledge and experience among the users of this group. Without wishing to hijack the discussion and the direction in which it's gone, some of my questions still remain. It would seem that I'm correct in my guess that O'Dette's version of Lachrimae is the A minor version from Dd.2.11. My next question is: does anyone recognize the divisions from Nigel North's recording of Lachrimae from the Naxos recordings? They are definitely not the G minor version from Dd.2.11 as found in Poulton, but I don't know all the different versions in existence. Does anyone know where they might come from? Is it possible that he provided his own? I would have thought that if anyone might take it upon themselves to use their own divisions (improvised or otherwise), it would be North. A final question, with which I am definitely pushing my luck: does anyone have a transcription of the A minor from Dd.2.11 in standard notation? The tablatures everyone provided are wonderful, and I'm very grateful. However, I also need to discuss some of this music with non-lutenists very soon, and I'm not certain I've got enough time to make a transcription into standard notation by that time. Should anyone, by chance, have any advice here, I'd be grateful, again. Any advice or suggestions would be very much appreciated. Best, Graham Freeman On Thu, Feb 25, 2010 at 6:03 AM, David van Ooijen [1]davidvanooi...@gmail.com wrote: On Wed, Feb 24, 2010 at 8:27 PM, David Tayler [2]vidan...@sbcglobal.net wrote: However, if you realize the alto voice up, there is a big problem, this then completely removes the 7-6 suspension Point taken. Indeed, 7-6 was sorely missed (although that one is my ears, even when playing the Poulton version. Striking how what's in your head will influence so strongly what you hear). But how do you finger your version? I cannot hold all notes - or am I missing something again? Best solution would be to play the new g with the first finger and use that for the b-flat. Bass and soprano must be held, after all. Pity, though, not to be able to sustain the new g. Have to try this in some different versions. David -- *** David van Ooijen [3]davidvanooi...@gmail.com [4]www.davidvanooijen.nl *** To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr. Graham Freeman Ph. D Musicology University of Toronto [6]freeman.gra...@gmail.com -- References 1. mailto:davidvanooi...@gmail.com 2. mailto:vidan...@sbcglobal.net 3. mailto:davidvanooi...@gmail.com 4. http://www.davidvanooijen.nl/ 5. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 6. mailto:freeman.gra...@gmail.com
[LUTE] Re: Dowland's Lachrimae
All, I just answered my own question. North's version is from the Folger-Dowland Lute Book. So much for that question. I'm still searching for a notated version of the A minor from Dd.2.11, so I'd still be grateful for anyone's assistance. Best, Graham Freeman On Thu, Feb 25, 2010 at 8:56 AM, Graham Freeman [1]freeman.gra...@gmail.com wrote: All, What a wonderful discussion my questions has provoked! I'm always impressed by the amount of knowledge and experience among the users of this group. Without wishing to hijack the discussion and the direction in which it's gone, some of my questions still remain. It would seem that I'm correct in my guess that O'Dette's version of Lachrimae is the A minor version from Dd.2.11. My next question is: does anyone recognize the divisions from Nigel North's recording of Lachrimae from the Naxos recordings? They are definitely not the G minor version from Dd.2.11 as found in Poulton, but I don't know all the different versions in existence. Does anyone know where they might come from? Is it possible that he provided his own? I would have thought that if anyone might take it upon themselves to use their own divisions (improvised or otherwise), it would be North. A final question, with which I am definitely pushing my luck: does anyone have a transcription of the A minor from Dd.2.11 in standard notation? The tablatures everyone provided are wonderful, and I'm very grateful. However, I also need to discuss some of this music with non-lutenists very soon, and I'm not certain I've got enough time to make a transcription into standard notation by that time. Should anyone, by chance, have any advice here, I'd be grateful, again. Any advice or suggestions would be very much appreciated. Best, Graham Freeman On Thu, Feb 25, 2010 at 6:03 AM, David van Ooijen [1][2]davidvanooi...@gmail.com wrote: On Wed, Feb 24, 2010 at 8:27 PM, David Tayler [2][3]vidan...@sbcglobal.net wrote: However, if you realize the alto voice up, there is a big problem, this then completely removes the 7-6 suspension Point taken. Indeed, 7-6 was sorely missed (although that one is my ears, even when playing the Poulton version. Striking how what's in your head will influence so strongly what you hear). But how do you finger your version? I cannot hold all notes - or am I missing something again? Best solution would be to play the new g with the first finger and use that for the b-flat. Bass and soprano must be held, after all. Pity, though, not to be able to sustain the new g. Have to try this in some different versions. David -- *** David van Ooijen [3][4]davidvanooi...@gmail.com [4][5]www.davidvanooijen.nl *** To get on or off this list see list information at [5][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr. Graham Freeman Ph. D Musicology University of Toronto [6][7]freeman.gra...@gmail.com -- References 1. mailto:[8]davidvanooi...@gmail.com 2. mailto:[9]vidan...@sbcglobal.net 3. mailto:[10]davidvanooi...@gmail.com 4. [11]http://www.davidvanooijen.nl/ 5. [12]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 6. mailto:[13]freeman.gra...@gmail.com -- Dr. Graham Freeman Ph. D Musicology University of Toronto [14]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com 2. mailto:davidvanooi...@gmail.com 3. mailto:vidan...@sbcglobal.net 4. mailto:davidvanooi...@gmail.com 5. http://www.davidvanooijen.nl/ 6. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 7. mailto:freeman.gra...@gmail.com 8. mailto:davidvanooi...@gmail.com 9. mailto:vidan...@sbcglobal.net 10. mailto:davidvanooi...@gmail.com 11. http://www.davidvanooijen.nl/ 12. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 13. mailto:freeman.gra...@gmail.com 14. mailto:freeman.gra...@gmail.com
[LUTE] Dowland's Lachrimae
All, I'd be very grateful for some assistance. Does anyone know where I might be able to find a score for the A minor version of Lachrimae from Dd.2.11? Poulton, of course, has the G minor version, but I'm not certain where the A minor one might be. A naive question perhaps, but I'd be grateful for anyone who could help. Best, Graham Freeman -- Dr. Graham Freeman Ph. D Musicology University of Toronto [1]freeman.gra...@gmail.com -- References 1. mailto:freeman.gra...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Dowland's Lachrimae
Thank you. Matthew Spring writes of three versions in Dd.2.11: one for lute in G minor; one for lute in A minor; and one for bandora. The two versions apparently have very different divisions. Poulton lists the A minor version as Dd.2.11, ff.. 75v/76, from which she provides a brief excerpt. I might be mistaken, but I think that the version Paul O'Dette recorded for the Complete Works is the A minor version. He states in the notes that it is an A minor version, but doesn't state explicitly that this version comes from Dd.2.11. For that matter, I'd be very interested in knowing from which sources some of the many recordings have been taken. Nigel North isn't specific about which source he uses or if, perhaps, he supplies his own divisions. Does anybody record the G minor version from Dd.2.11 as it appears in Poulton/Lam? How many different sources for the piece have been recorded? As always, I'm grateful for the assistance from the collective wisdom. Best, Graham Freeman On Mon, Feb 22, 2010 at 1:17 PM, Edward Martin [1...@gamutstrings.com wrote: The version in a minor is from the book Lachrimae, written for 5 viol or violins, + the lute part. ed At 11:56 AM 2/22/2010, Graham Freeman wrote: All, I'd be very grateful for some assistance. Does anyone know where I might be able to find a score for the A minor version of Lachrimae from Dd.2.11? Poulton, of course, has the G minor version, but I'm not certain where the A minor one might be. A naive question perhaps, but I'd be grateful for anyone who could help. Best, Graham Freeman -- Dr. Graham Freeman Ph. D Musicology University of Toronto [1][2]freeman.gra...@gmail.com -- References 1. mailto:[3]freeman.gra...@gmail.com To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: [5...@gamutstrings.com voice: (218) 728-1202 [6]http://www.facebook.com/profile.php?id=1660298871ref=name [7]http://www.myspace.com/edslute -- Dr. Graham Freeman Ph. D Musicology University of Toronto [8]freeman.gra...@gmail.com -- References 1. mailto:e...@gamutstrings.com 2. mailto:freeman.gra...@gmail.com 3. mailto:freeman.gra...@gmail.com 4. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 5. mailto:e...@gamutstrings.com 6. http://www.facebook.com/profile.php?id=1660298871ref=name 7. http://www.myspace.com/edslute 8. mailto:freeman.gra...@gmail.com
[LUTE] Re: Dowland's Lachrimae
All, Thank you to everyone who answered my question and provided some great sources for me to look at. I very much appreciate it. For Dr. Tayler: I've read your dissertation and liked it very much. I wonder whether you've ever considered publishing it. While style analysis did pass through a rough patch in the 90s, most people have rehabilitated their views to the point that I think it might find an excellent reception. You are quite correct that some of your more radical ideas seem to be finding a greater acceptance. So little work is done on Dowland or the lutenists these days (honestly, 90% of the dissertations I see are about pop music). Kirsten Gibson in the UK is doing some very interesting work on Dowland and Elizabethan culture, but we could certainly use more academic literature on the lute repertoire out there. Thanks again to everyone for your assistance. Best, Graham On Mon, Feb 22, 2010 at 5:41 PM, Ron Andrico [1]praelu...@hotmail.com wrote: Hello Graham: You'll find the version you seek posted on our website in pdf form. [2]http://editions.mignarda.com/downloads.html The divisions probably are by Dowland - I don't especially care whose version it is but I like the triplets at the end. Best wishes, Ron Andrico [3]www.mignarda.com Date: Mon, 22 Feb 2010 12:56:47 -0500 To: [4]l...@cs.dartmouth.edu From: [5]freeman.gra...@gmail.com Subject: [LUTE] Dowland's Lachrimae All, I'd be very grateful for some assistance. Does anyone know where I might be able to find a score for the A minor version of Lachrimae from Dd.2.11? Poulton, of course, has the G minor version, but I'm not certain where the A minor one might be. A naive question perhaps, but I'd be grateful for anyone who could help. Best, Graham Freeman -- Dr. Graham Freeman Ph. D Musicology University of Toronto [1][6]freeman.gra...@gmail.com -- References 1. mailto:[7]freeman.gra...@gmail.com To get on or off this list see list information at [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html __ Hotmail: Powerful Free email with security by Microsoft. [1]Get it now. -- References 1. [9]http://clk.atdmt.com/GBL/go/201469230/direct/01/ -- Dr. Graham Freeman Ph. D Musicology University of Toronto [10]freeman.gra...@gmail.com -- References 1. mailto:praelu...@hotmail.com 2. http://editions.mignarda.com/downloads.html 3. http://www.mignarda.com/ 4. mailto:lute@cs.dartmouth.edu 5. mailto:freeman.gra...@gmail.com 6. mailto:freeman.gra...@gmail.com 7. mailto:freeman.gra...@gmail.com 8. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 9. http://clk.atdmt.com/GBL/go/201469230/direct/01/ 10. mailto:freeman.gra...@gmail.com
[LUTE] Re: Hard shell lute cases for air travel
All, I'm going through the same thing. Too many people are telling me that Kingham cases are no match for what the gorilla baggage-handlers can throw at them. I'm thinking of approaching guitar makers instead. My guitar is housed in a case made by a Canadian company called Calton, and it's the best guitar case I've ever seen. The only drawback is that for an archlute or theorbo, it could get heavy enough either to be difficult to carry or be too overweight for the airlines. Given the size of a theorbo or archlute and the bulk required of a case to protect it, I'm not sure if there is a way of getting around the problem. I'll let everyone know what I find out. Best, Graham Freeman On Tue, Jun 16, 2009 at 11:54 AM, [1]angevin...@att.net wrote: Maybe I'm a belt and suspenders sort of person, due to my engineering background. But my lute(s) already HAVE Kingham cases. I'm looking for something way stronger and more sturdy. A year ago, when I last attempted to solve this problem, I even corresponded with them abit. They also make padded travel cases to go OVER the regular hard case. Can't remember if they have one for lute or not, but I don't see why it couldn't be done. But does anybody else out there really think that just a plywood case with a little foam on the inside is really enough to protect a fragile instrument in the hands of the airline baggage handlers Anybody out there who has actually successfully checked a Kingham case more than once and had it come out the other end OK? Suzanne -- Original message from [2]dem...@suffolk.lib.ny.us: -- On Mon, Jun 15, 2009, [3]angevin...@att.net said: So what I wonder is this. Does anybody know of a company Kingham seems to have a good share of the market with a sterling reputation from what I have seen over several decades. Makes cases for many makers, including David van Edwards. See the website for details, they encourage custom work. Mention themaker and model, they may have experience with it before; but also do the tracing thing as they detail. If you have a webpress printer handy (I not only do but used to work there) you can probably get a 'butt' for free; when the paper rolls get too small to use at the beginning of a job they are replaced by full rolls and trashed; take one away and you save them some landfill cost and have at least a few yards of blank newsprint - wide paper good for templates of all kinds, scribble paper for visiting children, sewing projects, full size drawings of lute parts...Rolls are used in a variety of widths, weights, and paper quality. Inquire at the back door, be patient, unless you are lucky and catch them at break you will be interupting work. [4]http://www.guitarplans.co.uk/FindACase/Kingham/KinghamIndex.htm yes, they are in england, and their work is not inexpensive. Your cases first trip will be empty. Frankly, I would opt for horsehair over foam if allowed; less formaldehyde fumes (foam takes months to cure). An aluminum exterior is tougher than fiberglass, fiberglass is lighter, but doesnt pass the gorilla test. -- Dana Emery To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:angevin...@att.net 2. mailto:dem...@suffolk.lib.ny.us 3. mailto:angevin...@att.net 4. http://www.guitarplans.co.uk/FindACase/Kingham/KinghamIndex.htm 5. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[LUTE] Daniel Desjardins?
All, Does anyone know how to get hold of Daniel Desjardins, a luthier from Montreal? I once played a lute that had a fantastic moulded case he made himself. If anyone has his contact info, I'd be grateful. Best, Graham Freeman -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
