If anyone in the southern half of Ohio is interested in hearing lute duets of
Renaissance Italy, Elizabethan England, 17th C. France and Germany, plus a
suite by Baron, a solo suite by Weiss and contemporary compositions by Ronn
McFarlane, we have three more concerts to do today and tomorrow on
Can anybody give an explanation why the the top two courses are single on the
baroque lute? Certainly converting renaissance lutes into baroque
configurations by adding an additional top course (and additional diapason courses)
seems logical enough, but I'm wondering why keeping the top two
- Original Message -
From: Martin Shepherd [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 01 May 2004 13:49
Subject: Re: top two courses single on baroque lute
Dear Kenneth,
I can't answer the last part of your question, but just to clarify what you say about
the conversion of
I think the reason the top two courses are single is actually the same
as why the renaissance lute has (mostly) a top single course. The
problem, as I've understood it, although I can't quite find chapter and
verse, is finding thin top courses which begin and remain in tune with
each other
on the oud, the paired courses are attached to the pegs in such a way
that the tension is distributed evenly across the peg box. if there
are multiple, paired bass courses this would create an imbalance due to
increased tension and cause the peg box to twist. if you were to
juggle the
There was some mention of this on the Lute List recently, and I thought
some might be interested in this convention. Besides it's free. Maybe Jon
will take it in and give us a report, since it _is_ called the Sacred
Harp.g I think shape note singing is still even more popular in the
South.
ajn
oddly enough, this was posted recently on one of the oud lists.
When adding a sixth string or a sixth course (that would be the thick
strings 11 and 12 from the bottom), it is recommended to thread them
thru the first pair of the lower pegs, pegs 1 2 close to the top nut
or the nose. And
Dear Kenneth and All:
It seems to me that the melodic function of the Renaissance lute's
chanterelle is shared by the top two strings of a baroque lute, partly due
to the smaller interval between the strings. The increasing emphasis on
treble and bass (as opposed to evenly distributed
For those of you who were not there, here some pictures.
www.luteonline.de
--=20
Barer Str. 70, D-80799 M=FCnchen
Tel.: +49 (0)89 / 272 24 07
WebSite: http://www.luteonline.de
--
Astucci.
RT
__
Roman M. Turovsky
http://turovsky.org
http://polyhymnion.org
I'm trying to contact a case maker in Italy - RCH. I've emailed them several
times (in English) and they have never responded. So, I had a friend
translate my message into Italian and now I'm ready to send
Martin wrote:
As to why 13c lutes had single seconds (and whether they always did) I leave
it to others to speculate.
One obvious speculation is that a 13-course bass-rider lute was a modified
11-course. The easiest conversion was to add the bass rider and leave
everything else alone.
HP
Ken Be wrote:
Certainly converting renaissance lutes into baroque
configurations by adding an additional top course (and additional diapason
courses)
seems logical enough, but I'm wondering why keeping the top two courses single
remained a feature on all baroque lutes thereafter.
Maybe the
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