On 1/2/2019 12:33 PM, tribioli wrote:
"Actually Luis Milan tablature, that is Italian upside down."
Triboli- of course! But since Luis Milan is the ONLY "Spanish"
(Valencian?) composer known to use upside-down Italian (until the
emergence of modern guitar tab), why should HIS tab. system be
I can't even remember when 2 cents would get me anything at all, with a
lady and her lute.
DW
On 8/10/2018 7:38 AM, r.turov...@gmail.com wrote:
You have truly long reaching memories!
RT
Sent from my iPhone
On Aug 10, 2018, at 8:13 AM, Luca Manassero wrote:
As far as I remember, a lady
Back sometime in the early 1980's my wife (the soprano who must be obeyed!)
learned very, very trés authentique Medieval French pronunciation from a
specialist in the field at the University of Pennsylvania. At her next
performance Francophone snobs later corrected her hopelessly amateurish
Arto- I don't know where that version comes from. Throw it away and play the
original- it's much better. In the original, it's the 3rd course that's split,
not the 4th (wouldn't work very well, 8ve string). Splitting the 3rd course is
90% of the FUN part of this piece! It's set up to be very
Understanding now that this is a version for beginners, I apologize for
telling Arto to throw away anything pedagogical from Anthony Rooley's hand. But
Arto is ready to move beyond the beginner's version!
Dan
Dan
On Jun 15, 2012, at 1:29 PM, Denys Stephens wrote:
Dear Arto,
I think you
Very nice! Relaxed, elegant phrasing- good tone, keep up the good work, let's
hear more.
Tell us about the lute, nice shape, size sound.
Dan
On Jun 5, 2012, at 7:29 AM, MAGDALENA TOMSINSKA wrote:
http://www.youtube.com/watch?v=eqk0nuBEM-I
--
To get on or off this list see list
Might be time to get one of our contemporary ladies of the lute to pose for
you.
Sorry, I can't help!
Dan
On May 31, 2012, at 8:34 AM, David van Ooijen wrote:
On 31 May 2012 17:31, Stephen Fryer sjfr...@telus.net wrote:
On 30/05/2012 2:44 PM, David van Ooijen wrote:
Cannot seem to find
Rest strokes tended to lock up my wrist way back when I played Classical
Guitar. In fact, the Segovia technique I was schooled in locked up a lot of
psycho/physical components. It took the Renaissance lute w/ thumb-inside right
hand approach to unlock most of the physical components. I still
Interesting RH problems arise in the harp style of one-note-per string
playing so common in chordal tuned lutes playing 18th century music. (i.e.,
Weiss, Bach, d-minor lute.)
I have had to do a lot of RH retraining to cope. Background has been
Renaissance lute and much earlier, classical
Get a micrometer and measure it. You can't string lutes in the dark, and that's
where you are without a micrometer. If it's a .38 mm nylgut and your lute
requires a .40 or even a .42, you can get those sizes in nylgut. But you have
to know where you are in order to go somewhere else. The new
If Mimmo could sell loaded gut/nylgut bass strings (Bass fishing?) to the
fishing industry the availability could go up and the price would come down. 50
meters for 6 Euros anywhere on the planet is fine with me.
Dan
On May 9, 2012, at 11:53 AM, Luca Manassero wrote:
Hi,
I am using
To E... is human- but bass with chanterelles is divine!
On May 9, 2012, at 1:04 PM, Braig, Eugene wrote:
As one who fishes, the only reply possible is E...?
Eugene
Subject: [LUTE] Re: Chanterelle choice?
If Mimmo could sell loaded gut/nylgut bass strings (Bass fishing?) to the
Your post explains why the 8 course lute was developed, or as I like to call
it, the Double 7 . I have never found a string material of any sort that
would stand up to a scordatura range exceeding a whole tone. Even going for a
compromise tension (say an ideal E/E-flat) would still be
The 7 course configurtation can be superior- in somewhat the same way for the
same reasons that an 11 course Baroque lute is far more elegant,
architecturally sounder, easier to handle, and tonally balanced than the 13
course bass rider thing- but which is the model I own, because I play
No, it was written by cousin Louis (Johann Ludwig Bach), who wrote it for comb
and toilet paper- but no one could play it as written; after all it was
composed on the Toiletwerke by a keyboard player.
(Now we trespass into Prof. Schickele land.)
Dan
On May 1, 2012, at 9:02 AM, Roman
Thank you, Arto!
Schubert- always so transcendentally heart gripping. The cosmic Yin to
Beethoven's Yang. Brendel does a fine job, too. His live recording of the 960
is also sublime; even though the piano sound comes off a little hard, perhaps
just the recording situation, though.
This one
For me, the only reason is economic; to get two strings for the price of one
(esp. high priced gut), If the nut is properly round and smooth, the grooves as
well, no reason to create even more trouble on an already troublesome aspect of
lute maintenance. There may be more detailed discussion of
Certainly a lute player might have come up with a scordatura that would
be quite fabulous,
A quite fabulous scordatura has come to my attention in the English Lute
Society's March magazine. Melbourne MS LHD 243 is for 11 course Baroque lute in
D major tuning. So I cranked my 1st 4th
The article was aimed at the guitar crowd, still clinging to illusions of lute.
It's tough letting go.
But he put it all together very nicely, I thought.
On Apr 25, 2012, at 11:18 AM, Braig, Eugene wrote:
While I enjoyed this read, I didn't see anything particularly new here. For
example,
My teacher told me that you don't choose a lute, it chooses you. Maybe
that is true.
That is true, you know it when you feel it, but it may take years of playing
experience on many instruments to finally recognize that right and perfect
match up when it happens. My once-in-a-lifetime lute
are rarely fitted to the lute,
even though the lute is from the age of custom made
On Apr 10, 2012, at 7:55 AM, Daniel Winheld wrote:
My teacher told me that you don't choose a lute, it chooses you. Maybe
that is true.
That is true, you know it when you feel it, but it may take years
And in addition to all the previous good tips, I assume that you also tie the
frets about a semitone distance closer to the nut before sliding it down the
neck to further tighten it. Hardest, of course, at the first fret where the
pegbox limits the space for the fret that needs the most help. I
Your hands will tell you.
So, how would I know if the lute I currently have has good enough spacing?
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
(And, yes. I say mics, so why not
micing?).
Micing is normally means using mice. Naturally, the word is normally
used by micers.
But four mice are really ten times better than two, and you don't need
more than six, and you can make a very, very good recording with two if
you are
This recording is from one of my music students, avant-garde guitarist Dean
Santomieri-
Here are two spontaneous improvisations from one of my rehearsals with
violinist Thea Farhadian.
http://soundcloud.com/tfarhad/sets/santomieri-farhadian-duo/
Maybe some of you will dig it. Of more relevance
Ratcheting down to basic cheep home miking for idiots- (or cavemen):
No doubt this ground has been covered before, but I need a refresher tutorial.
Opinions of the Samson C01U USB Studio Condenser for a quick, easy home
recording to the iMac? I already own one, but suggestions for affordable
On Mar 28, 2012, at 9:53 AM, Nancy Carlin wrote:
I was at the lute seminar (produced by Donna Curry) that Susanne and
Diana attended. They played a lovely duet concert. I remember seeing
them having a good time talking with each other, but
Susanne was a great talker.
I also
One more whack at the OT dead horse, this morsel is too rich to consume by
myself:
CARTESIAN, adg. Relating to Descartes, a famous philosopher, author of the
celebrated dictum, Cogito ergo sum- whereby he was pleased to suppose he
demonstrated the reality of human existence. The dictum might
Good useful clarification/re- definement , Howard. I work at a large
CD/record/DVD establishment, and every now and then I will slip on a mass by
Josquin, Byrd, whoever- (any of the usual suspects) and most of my fellow
employees- except the other two who help me out in the classical division-
I wonder how the nazis felt about notes inegale.
...The same way they felt about most matters French
Also check this out...
http://www.allmusic.com/album/the-music-survives-degenerate-music-music-suppressed-by-the-third-reich-w54283/review
On Mar 13, 2012, at 1:37 AM, Gary Digman wrote:
Yes- I got the news from one of my lute students yesterday. I heard a sample
sound bite on the radio on the way home from work today, somewhat strange
sounding- reedy, webby, a touch ethereal otherworldly in a nice way. How
the hell did they harvest and process it? About 12 years ago some
to the acrimony is the
original text of the famous Josquin chanson- El grillo non cantare.
On Feb 6, 2012, at 5:56 AM, brentlynk wrote:
Thanks Dan!
But if one happens to be an English cricket, his longbow might be that small,
LOL! :-)
- Original Message
From: Daniel Winheld dwinh
My Baroque lute (Robert Lundberg, 1977) is a bare touch less than 4 mm at both
9th and 10th frets (1st string lines up exactly with the line on my ruler- to
top of fret). Feels fine, would not want it lower certainly no higher.
The fistmele of an English Longbow (distance from the bottom of
Perhaps taping 3 hack saw blades together might give you enough width- (the
dowel is securely fixed, business end, up in a vise) -but depends on the
thickness of your pegs. Then one could run a piece of leather, rattan, or maybe
a thin metal strip around the outside of the cut end to keep the
Long gone; both from the lute world this vale of tears- don't remember who or
when I got this info from, but sounded true at the time I received it. His
estate still owes me a $100 deposit for a Renaissance lute I contracted for
in about 1968 that he never saw fit to build. Still have the
When did they change from gut saws?
On Jan 10, 2012, at 1:49 PM, EUGENE BRAIG IV wrote:
Alright, traveling more and more remotely to the original discussion, but
Crumb is wacky. I think it's interesting that Ancient Voices... makes such
frequent appearances in music appreciation and
tomorrow, I hope
Dan
On Jan 10, 2012, at 9:40 PM, Daniel Winheld wrote:
When did they change from gut saws?
On Jan 10, 2012, at 1:49 PM, EUGENE BRAIG IV wrote:
Alright, traveling more and more remotely to the original discussion, but
Crumb is wacky. I think it's interesting
More grist for the mill, a discussion of classical guitar; gut vs. steel
strings in the early 20th-
It is commonly believed that Barrios used steel strings instead of the
traditional gut, the dominant choice of guitarists of the day. A Barrios
biographer, Uruguayan, Miguel Herrera Klinger,
Google Spectra fishing line very strong, highly stretch resistant. Another
high strength, low stretch fiber is DYNEEMA (high modulus polyethylene
fiber) Spectra might actually be this stuff, different brand names and
formulations for different applications. Fishing line seems to be the most
You can't really appreciate how ugly the Arnault de Zwolle lute design is until
you have one. As DT rightly observes, When you look at a copy of Arnaut's
lute, it always looks a bit odd. It always seems as though something is not
quite right. Some of the iconography shows lutes where the
If you are Conrad Paumann or Blind Willie McTell there is one answer-
For players of theorbo or archlute, it has sometimes been the other answer.
On Dec 14, 2011, at 2:11 PM, Stephen Fryer wrote:
On 14/12/2011 1:51 PM, Daniel Winheld wrote:
You can't really appreciate how ugly the Arnault de
On Dec 10, 2011, at 8:58 PM, David Tayler wrote:
...and I'm just a soggy lute player pecking at the
computer, no butterflies dreaming of tab, just beer bottles that are
mysteriously self transposing to empty.
And that's the part that is pure poetry. My compliments; well done.
--
To get
On Dec 5, 2011, at 2:44 PM, David Tayler wrote:
What you see when you look at tab is a very interesting question.
After looking at upside down tab for a while, your mind turns it
around, just as our eye inverts images through its lens.
When we see patterns that we have seen before, we
Some lutenists were so accustomed to routinely transposing down a tone they
became unable to read either tablatures or notes at the original pitch. The
condition was called Acquired Ditonal Disorder, or ADD. One unfortunate soul
was nicknamed Simonius Tonaparte.
On Dec 4, 2011, at 11:08 AM,
On a 7 course instrument w/ 7th course a fourth lower than 6, it's the easiest
transposition of all for me. With a foundation in classical guitar (good thing
or a bad thing, depends...) It's like playing on a guitar except that for G
lute we are now on a D instrument. The guitar thing helps to
Dan, you are a veritable fount of early music performance knowledge. Were
your scholarly credentials and serious demeanor less known, one might almost
suspect you of pulling our leg!
On Dec 4, 2011, at 3:36 PM, Daniel Winheld wrote:
Hmm... I wonder.. better look down and check your
Great subject for list discussion. My wrists are fine (for now) but I have
suffered from epicondylitis in my right arm for years, and bit on the left as
well. Caused by very stiff, rigid classical guitar training in my youth, very
tough to undue. Habits of tension built into the arm-mind
The Flexbar did not work for me- but a lot of intelligent thought and
experience seems to have gone into this device. If anyone on the list would
like to give it a try, I would be more than happy to give away my Flexbars- one
light, one medium, one heavy- any or all of them to anyone
At last the Shamisen player in our midst has gotten the sand out of his eyes
and and shed light on this matter.
And who knew that Japanese mice eat wooden buckets? Will there then be a
termite shortage?
Dan- two plastic buckets, one cat, no shamisen
On Nov 27, 2011, at 12:04 PM, David van
Hello Bill-
Here is an assessment of the new Nylgut I gave to a friend of mine off-list. I
thing it is appropriate to your queries. For my friend, the comparison was to
real gut, which he prefers.
Oh yes- the strings. (new Nylgut) I am giving them a trial on a few
instruments right now. They
It's not a haiku yet. Keep working.
Dan
(Oh yes, fine performance- very good, deeply felt playing. The lute sounded
great, would've sounded even better in gut. The cat's meow, don't cha know...)
What a sad event. My sympathies to Jordi and family.
On Nov 23, 2011, at 11:44 AM, Edward Mast wrote:
Sad indeed - an exciting performer.
On Nov 23, 2011, at 1:48 PM, Bruno Fournier wrote:
Atlthough off topic, sad day for early music today, Monserat Figueras passed
away.
Bruno
...
Best regards
Stephan
Am 21.11.2011, 03:30 Uhr, schrieb sterling price spiffys84...@yahoo.com:
From: Daniel Winheld dwinh...@comcast.net
To: howard posner howardpos...@ca.rr.com
Cc: Lutelist LUTELIST lute@cs.dartmouth.edu
Sent: Sunday, November 20, 2011 7:10 PM
Subject: [LUTE] Re
I seem to remember that lutes with a double chanterelle were usually
strung in unisons.
Mimmo Peruffo disputes that assumption: from his website page The lute in its
historical reality-
9. Double treble and unison courses: the fact that the vihuela was generally
(but not always) strung
PS Oh yes - and octave stringing works out cheaper too :o)
From: Daniel Winheld [2]dwinh...@comcast.net
To: William Samson [3]willsam...@yahoo.co.uk
Cc: [4]lute@cs.dartmouth.edu [5]lute@cs.dartmouth.edu
Sent: Sunday, 20 November 2011, 17:05
Subject: [LUTE] Re: Double 1st string on 6 course
the fundamental and not the octave.
When I need the sound of a 6th course octave, I can often refinger the note on
the 7th course.
Dan
On Nov 20, 2011, at 4:59 PM, howard posner wrote:
Daniel Winheld wrote, rather virtuosically:
Howard, you of all people should know that ignorance of the law
Yes, Dowland and Robinson as well advocated double firsts. Even Thomas Mace, at
a time when the typical 11 course lute had a single 2nd as well as a single
first. But Arto was asking about the 6 course lute. Can't recall written
sources addressing this off the top of my head, but pretty sure
Arto-
Bill got it- that's the one.
http://www.hermitageshop.org/store/images/large/0003150A4_3_LRG.jpg
Double firsts seem not to be popular these days, presumably because they are a
little difficult to play on (I speak from experience) and possibly also because
they imply a lower pitch
I have used .42 beef gut for the best trebles- for durability strength- from
Toro, obtained through Universale- I got them directly from the Viola da Gamba
builder Marco Ternovec of Belgium when he came to the Berkeley Early Music
Festival Exhibition several years ago. If these strings are
Another measure of far we have come, and still are- despite the recent
ridiculous alarming developments- from the capricious perilous
circumstances of yesteryear is to consider that Syvestro Ganassi in his
mid-16th century treatise Regola Rubertino (mostly for the viols, some lute
tab.)
And fret gut? It is ironic that I can find acceptable synthetic string
material, but so far not for frets. Nylon out of the question. Once I tried
KFG, figuring that density was part of the problem- transmission of sound
through to the neck (gut denser than nylon, KF KFG denser than gut;
Excellent. I give your performance 11 points. Unfortunately, I was a minute
late. Heard it at 11:12 AM PST.
Dan
On Nov 11, 2011, at 10:12 AM, Ed Durbrow wrote:
First 11 bars from page 11 of the Capirola manuscript played on an 11
string lute at 111 bpm for 1 minute 11 seconds on 11 11 11
achieved again by
Benjamin!
Regards
Anthony
__
De : Daniel Winheld dwinh...@comcast.net
A : erne...@aquila.mus.br erne...@aquila.mus.br
Ernesto-
Good point- I have been wanting to get feedback on the New
Olav Chris Henrikson Boston Catlines
34 Newbury Street Somerville,
MA 02144.
Tel/Fax: (617) 776-8688
catli...@aol.com
Chris can get you almost anything, can help figuring out
tensions/pitch/diameter conundrums as well. A fine professional musician as
well, he plays and records on Lutes and
Ernesto-
Good point- I have been wanting to get feedback on the New Nylgut; they have
been out for over a year now I have had mostly good results with them and
would like other's opinions. On my tenor vihuela they have really enhanced the
overall sound, albeit not quite as purely beautiful as
Wow is that cool or what? I love the magnify feature.
Many thanks to all who engineered this.
Dan
On Nov 8, 2011, at 5:17 AM, heiman.dan...@juno.com wrote:
As of today, there is a digital facsimile of the Capirola lutebook on line in
a marvelous presentation, full color!
Wolfgang, that is wonderful playing; so clear, so intelligently moving- such
glowing, perfect tone (gut strings? Tech details for lautengeeks please!) Such
a relaxedly measured pace, but never losing forward motion. More, please.
Thanks.
Dan
On Nov 6, 2011, at 11:05 PM, wolfgang wiehe wrote:
Herb-
Thanks for the reference. Something I had always wondered about- especially
last month when I went to the ER for a sliced thumb joint and they glued it up
for me for a mere $2400 (Insurance covered all but $50. Interesting math, isn't
it?) At least the article spelled out why one
From the heart! The one ingredient that cannot be faked; unmistakeable when
present. Without which, even the most technically perfect most musically
informed rendition lacks something- and when present, has saved many a
less-than-perfect performance, even when played on the wrong instrument
I vote for the sensible compromise- g stays g (easy!) and a low Bb. B flat
was used by other lute composers- see some of Nicolas Vallet's pieces- he has
the 10th course CC scoradature'd down to low Bb in at least three pieces in his
Secret des Muses. He also wrote for 9 course lute, so a low C
Very nice- I love to hear any French Baroque lute music when done so
beautifully convincingly; as I can never figure it out for myself- esp. the
unmeasured preludes. I always go right back to Weiss- maybe Reusner or Bittner
if I want to feel a little French.
If your right hand position is
a
few weeks before appearing online. I'll let you know when it does.
Thanks for the nice comments. I spend most of my time on the instrument
reading through Weiss suites, and the works of some guy called Sautscheck...
Rob
www.robmackillop.net
On 20 Oct 2011, at 00:01, Daniel
Does anyone out there have any old first generation Mimmo Peruffo loaded gut
bass strings they could sell? I dug out a few from my own ancient gut pile that
passes for my string repository and find them to be superb for the Baroque lute
bass fundamentals- but I have a few gaps to fill. Would be
At 63 cm. with those string sizes I'd say you are already a bit on the high
side, tension wise. I would never take 63 cm. up to 440 with those strings
without clearing the safety issue with the builder. You don't want the bridge
going on vacation while your builder is on vacation. I like Dan
, though. It's supposed to stretch less.
Ken
On 10/20/2011 1:25 PM, Daniel Winheld wrote:
At 63 cm. with those string sizes I'd say you are already a bit on the high
side, tension wise. I would never take 63 cm. up to 440 with those strings
without clearing the safety issue with the builder. You
Thanks for clearing that up. I assume they now know how to finger Dowland's
Lachrimae the way I do. Hope you're at least getting your own emails.
Dan
On Oct 20, 2011, at 1:59 PM, Edward Mast wrote:
Hello all,
It appears that a Canadian drug company has hijacked the addresses in my
Beautiful! OK- the IMPORTANT lautengeek question: What strings is she wearing?
Also, further praise for that great Blind Boy Fuller piece (Meat Shakin'
Woman) Same touch, same hand position technique, and open D tuning- pairs
perfectly with the de Visee. Even a similar mood/feeling- just the
To All:
We have a new blog post raising a few questions about modern music
on
the lute - not against the idea, by the way.
[1]http://mignarda.wordpress.com
Ron Donna
What an interesting moment for this to come up- I have been playing
mostly modern (classical) guitar music on the lute
Imagine how good these guys could be if they had heads.
It only can work without the heads. They have to be kept locked in
separate containers during the recording session or they fight over
the slightest little thing; the unfortunate fact is that they just
don't get along.
--
To get on
Finally got to hear this- lots of applause, floor stomping, whistles,
Encores! from the audience. That big, low sound- (F, A=415 ?)
-all gut, like big bites of dark chocolate. Yummy delicious. Much
like my Larson only deeper. Fine playing too; perfect pacing,
impeccable phrasing, full solid
Utterly charming- and no question who the teacher is- the guy who can
play this way only by getting down beside himself. I officially
tender them my International support. So does my wife, Rachel.
Three of my guitar kids are competing in the ensemble competition of
my Music School. Here's one
I haven't seen your mandolinist in action; I would suspect instrument
size, weight, and way of holding the instrument may be in play here.
My own instruments do not move; I have never owned an instrument
(lutes, guitars, viols) less than 62 cm. SL. (Small instruments in
general give me the
Hi Joe-
I'll take that 2¢ and put in my bank account.
Need all I can get these days- NO SMUDGES ON MY
LUTES! There are other branches in Lutedom
besides Orthodox. There is Conservative- finger
down, but flexible and moves up and down with the
hand. There is Reform, sometimes off the
Excellent discussion- as to modern classical guitar vs renaissance
lute; some exchanges work, some don't. I've been testing these waters
very intensely since getting a new 8 course from Dan Larson.
Unbelievably resonant instrument, depth of response beyond anything
I've ever owned or played
Actually, according to Weiss- according to Mattheson, according to
Baron- for a 13 course lute.
For an 11 course lute, only 55.7 years.
For any Renaissance lute, put it in 1/4 comma meantone with all gut
strings and relax.
Yes, according to Baron! I never have to tune again!
Mattheson, I
Val- Thank you for sharing this with us; I have been very interested
in the new nylgut, but last time I tried to purchase them, they were
unavailable in the USA. First impression- I like the sound very much
on all courses except the chanterelle- that one string sounds too
bright, and out of
One other obvious point I should have remembered; the recording
process and what I hear on my computer may be distorting the true
sound- maybe I'm all wrong about that 1st course- perhaps it must be
heard in person. Too bad I can't pop over to your place anytime soon.
I will be trying the
Awesome indeed- Martin's got the best one-stop operation for
everything lute anywhere.
67 cm. for a Renaissance lute ought to be a fine size. I owned a
72cm. 8 course Division Bass lute in E (A fluctuating between 415
and 430) for years- the acid test for my left hand was the F chord (A
flat
Thank you, Anthony- just the kind of report that you do so well, and
your results will spur me on to get some of the new nylguts (Shall we
just call them NNG?) - chanterelles for my new workhorse
Renaissance lute and as far down as possible on some of the others-
4th course possibly 5th, if
/
but I don't know whether they will have the new string.
Best wishes from snow-sludgy Paris
Anthony
Daniel Winheld
Sun, 19 Dec 2010 09:12:34 -0800
Thank you, Anthony- just the kind of report that you do so well, and
your results will spur me on to get some of the new nylguts (Shall we
407 is such a good pitch for lute.
Don't be so darn cheap. Cough up another ¢2 and
you can have 409, which is even better.
Getting close to winter solstice- watch out for
seasonal affective disorder and wandering frets.
--
To get on or off this list see list information at
Sounds suspiciously similar to KFG. (So-called Karbon FIbre Gut?) I
have been using them in some applications for years, and in fact the
thinnest is .95 mm and I have used them on C-5 in the past, feels
equivalent to 1.04 to me, very close to Martins's. Perfectly
satisfactory as unisons,
I think stringing should be considered holistically.
On my 7C lute, I intitially had as basses, a D7 Gimped, a G6 Pistoy,
and as Meanes C5 unisson Lyons, and F4 High twist.
This stringing did work, all the strings were good in their own right,
but didn't quite come together
Beautiful! Bravo! I love Carolan's music- very well played too; wish
I had the time brains to arrange his music for lute, one of my old
favorites. (used to play versions on lyra viol, years ago). Nice
lute, too. One of my friends is getting a theorbo from Van Edwards.
Thanks, please record
Thank you Anthony for a most complete explanation of all the
important facts and factors concerning these most highly evolved
loaded gut strings. Now I feel confident that I could actually order
them and know what to go for, and expect. And not only which lute to
use them on but just as
To those of you following this neurotic obsessive probe down the
rabbit hole: I just put on the ancient 1.53 mm (physical diameter)
1st generation loaded gut on the low D position on my new Larson
lute. Perfect! -matches the tone color of the 1.38 pistoy unison
6th, and the 1.45 (approx)
And it is of C.P.E., (not J.S) that Mozart wrote
in a letter (to papa Leo, I believe) He is the
father, we are the children
Carl Friederich Abel was also famous for his
extended, late night improv binges on the viola
da gamba, assisted by numerous bottles of Claret
(Prefer cheap Chianti
How different is that from Larson's Gimp strings- a wire embedded
twisted into his Pistoy high twist bass gut strings? He offers copper
and silver, among others. For a while he used gold wire. Out of sight
now, of course. They were fabulous; I had two at one time- they did
service as 5 6 on
Alright, let's find out which speaker wire makes the best bass
strings. Monster Cable for low D and beyond, eh? Should match
perfectly with the right fishing line in the treble. What to use for
the lower middle register? (I still like Savarez KFG- Kentucky Fried
Gut on some inner courses of my
James Tyler was a great inspiration for my lute duet partner, Sandy
Hackney and me when we listened to the lute duets he performed with
Anthony Rooley way back in another day. And his guitar books were of
great interest as well. He is missed.
Dan
Someone announced on the french lute
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