On Thu, 14 Aug 2014 19:00:24 +0200, Benjamin Narvey wrote
Of course! I meant courses, not strings. Single stringing is
mainly a modern phenomenon...
Where did you get this idea from? Is this statement based on
_historic_ evidence or on surviving instruments?
Cheers, Ralf Mattes
To get on
On Thu, 14 Aug 2014 18:39:55 +0200, BENJAMIN NARVEY wrote
Dear Luters,
I notice that almost everyone keeps the seventh course of their Italian
theorboes as a stopped string on the first pegbox, mind all the sources
I know point to having only 6 on the stopped strings, and 8
On Thu, 14 Aug 2014 22:26:19 +0200, Benjamin Narvey wrote
Both. Whike French theorboes tended to be single strung,
This sounds as if we can make sound statements about the the types of
instruments used in France. How large is our sample compared to the
population? (Read: how many surviving
On Fri, 25 Apr 2014 23:20:33 +0200, David Morales wrote
You can translate the full site to your prefered language by
using the flags located in the top-left corner, maybe that could help.
This unfortunately doesn't work in my browser here, even if I allow
scripts from cuerdaspulsadas.es
On Fri, 25 Apr 2014 10:31:33 +0200, David Morales wrote
A few months ago, John Griffiths shared with us a project that was
brewing in Trujillo (Caceres, Spain) ... The idea was so simple
that it seems crazy to us: students technology institute
Francisco Orellana were engaged in the
On Sun, 13 Apr 2014 22:16:16 +0200, Stephan Olbertz wrote
Dear Christopher,
I was a bit hasty, I'm afraid, and didn't look closely enough to
Anthony's sample, assuming it was all simple octaving basses. I
purchased a pdf and found several instances where indeed the lute
bass has a different,
On Sun, 2 Mar 2014 15:06:29 +0100, Jean-Marie Poirier wrote
Maybe Visée first met Louis XIV who stayed in Vizé for a couple of
days in the then famous Maison Houbart in 1672 and 1675, during
the Franco-Dutch War... He was with the musketeer d'Artagnan who got
killed in 1673 during the siege of
On Wed, 26 Feb 2014 14:14:47 -0500, Bruno Fournier wrote
dear collective wisdom,
I am thinking of stringing my Colin Everette small archlute as a
tiorbino. As some of you might know, Colin built many renaissance
lutes on the tiorbino model, with 13 or 14 courses but was stringing
it as
On Wed, 26 Feb 2014 20:10:03 -, Monica Hall wrote
Monica - are you still reading up? It's really hard to answer without
knowing which of my posts you have read so far.
First, as I've said before: a guitar accompaniment is not a vaild source
for continuo realizations! Guitar players where
Czesc Grzegorzu,
dziekujemy za odpowiedz!
If you could send me the instruction pages (I have the Tree
edition, without the added directions, I think) I would translate
them to English and post them here. Dobranoc Bernd Am
26.02.2014 21:03, schrieb Grzegorz Joachimiak:
On Tue, 25 Feb 2014 09:52:18 + (GMT), Martyn Hodgson wrote
Thank's for this.
I can't actually see that inverted 7 6 sequences dictate a non
re-entrant tuning - the low tessitura one sometimes has is just part
and parcel of the instrument. And I agree with the anonymous author of
the
On Tue, 25 Feb 2014 05:28:26 -0800 (PST), Christopher Wilke wrote
I agree that seicento pluckers often played harmony below the
bass.
How would you know.
This is another way of saying that they recognized and used
chord inversion
Now what? This definition is _disagrees_ with the example
On Tue, 25 Feb 2014 07:41:43 -0800 (PST), Christopher Wilke wrote
Ralf,
On Tue, 2/25/14, R. Mattes r...@mh-freiburg.de wrote:
There is no such thing as harmony below bass. Please, get
all out of your Berkeley Jazz shoes, now.
No, everyone keep your shoes on, please! In fact, 17th century
mail).
Please, no HTML.
Cheers, RalfD
Wayne
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On Mon, 24 Feb 2014 08:29:00 + (GMT), Martyn Hodgson wrote
I don't have this work either - I think...
@Monica: are you by any chance refering to
https://www.facebook.com/media/set/?set=a.441553512620558.1073741827.253474818095096type=1
(Bartolotti continuo and solo similarities - from
On Mon, 24 Feb 2014 18:23:03 +0100, R. Mattes wrote
I hate to follow up my own posts.
(f bflat) [1]. To be followed by a chain of 2nd chords ... Yes, we
all know that a 7-6 chain can be inverted (double counterpoint) into
a 2-3 chain but we also know this doesn't work with a third voice
On Sun, 23 Feb 2014 16:00:22 -, Monica Hall wrote
Does anyone have a copy of Bartolotti's continuo treatise - Table
pour apprendre a toucher le theorbe sur la basse continuo (1669). I
haven't been able to trace one online.
I don't think that treaties is online - not everything is ;-) But
On Fri, 21 Feb 2014 10:43:23 +0800, Shaun Ng wrote
I use 6+8. To me it makes more sense to have F and G as diapasons
because they are used more often.
Sorry, but I don't get this. What has the statistical distribution
of F (vs. F#) and G (vs. G#) to do with the question of whether
F (and maybe
On Sun, 16 Feb 2014 12:15:23 +0100, adS wrote
Dear lute-netters,
has anybody out there read this article?
Only after you posted this link - thanks for doing so.
http://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1112context=ppr
I wonder what others think about it.
Hmm - in what
On Fri, 31 Jan 2014 15:42:16 -0500, Roman Turovsky wrote
No one knows.
The only thing known is that the combination of consonants TRB
is absent in all European languages, except for the Slavic ones.
Where did you get this from? Just because I was drinking one while
your mail came in: Teber
...@yahoo.com;
Martyn
Hodgson [3][8]hodgsonmar...@yahoo.co.uk; R. Mattes
[4][9]r...@mh-freiburg.de; Ed
Durbrow [5][10]edurb...@gmail.com; LuteNet list
[6][11]lute@cs.dartmouth.edu
Sent: Friday, January 24, 2014 6:19 AM
Subject: [LUTE] archlute/theorbo
On Tue, 28 Jan 2014 11:56:46 +0100, Markus Lutz wrote
This quote is part of a letter, and I think most letters show a very
personal point of view.
Yes, this is important to point out.
Also Weiss clearly states that he gives his opinion.
He doesn't want to be descriptive or prescriptive at
On Tue, 28 Jan 2014 11:35:20 + (GMT), Martyn Hodgson wrote
Have a look at:
This is either a non-answer (how utterly Zen) or pretty close to an
(ad hominem) insult.
a) the early sources (Bob Spencer's famous paper still represents a good
summary
On Tue, 28 Jan 2014 17:10:18 + (GMT), Martyn Hodgson wrote
I'm sorry you find Bob Spencer's paper so very poor.
No need to be sorry, esp. since I don't find Spencer's paper very poor
(where did I write
that?). I only tied to say that it a) shows it's age b) seems to be an
overview-type of
On Tue, 28 Jan 2014 09:36:47 -0800, Dan Winheld wrote
Chris-
Modern gut,since its characteristics are quiet different from
historical gut, does not provide an empirically reliable metric to
determine pitch or tuning based upon string length.
This bit I find very interesting. Except for the
On Mon, 27 Jan 2014 16:42:57 -0500 (EST), theoj89294 wrote
I am not a musicologist, so please forgive my ignorance.
Don't worry!
But I am
confused, sometimes manuscripts are identified by notations such as,
e.g. RM 4137 olim Mf 2004 and sometimes as, e.g. A-Wn MusHS
17706 - which makes a
On Thu, 23 Jan 2014 09:30:45 -0500, Gary R. Boye wrote
Dear Jean-Michel,
According to the citations I have collected
(http://applications.library.appstate.edu/music/lute/continuo.html),
many of the Italian editions of Corelli's Op. 1 call for the tiorba:
I think Jean-Michel was refering
On Thu, 23 Jan 2014 21:30:16 -, Stewart McCoy wrote
...
Catherine de' Medici was a Medici, so her son, the Duc d'Alencon,
was the son of a Medici.
Family lines run on the _male_ side. And people back then where way more
picky about that ... ;-)
[...]
As with Now,
oh now, it's not
On Wed, 22 Jan 2014 07:56:16 -0500, Gary R. Boye wrote
There are over 30 examples (with many reprints) where plucked
strings are specifically mentioned as a possibility in Corelli's
works . . .
Hmm, that pretty much boils down to Op. 1 and Op. 3 ... doesn't it?
And those are tro sonatas
(without breaking the string).
Cheers, Ralf Mattes
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On Tue, 26 Nov 2013 15:29:41 -0500, Graham Freeman wrote
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.
Well, I can't speak for Sean, but I myself also must have
misread
On Sun, 24 Nov 2013 20:03:33 -0600 (CST), Herbert Ward wrote
I contemplate writing an ear-training computer
program. It would select random pitches from
a scale and pair them with random note values
to create a melody, which the trainee would
listen to and try to reproduce (by voice or
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the pitch of the strings.
Maybe someone more of an expert on Bermudo can elucidate.
Monica
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On Wed, 25 Sep 2013 17:43:10 -0400, Geoff Gaherty wrote
On 25/09/13 3:34 PM, Dan Winheld wrote:
Polar opposite to Jazz electric guitarists, who seemed to me to avoid
open strings as much as possible.
The same is true of gamba players, who avoid open strings because of
their different tone.
On Wed, 25 Sep 2013 23:50:01 +0200, David van Ooijen wrote
On 25 September 2013 23:43, Geoff Gaherty [1]ge...@gaherty.ca wrote:
On 25/09/13 3:34 PM, Dan Winheld wrote:
Polar opposite to Jazz electric guitarists, who seemed to me to
avoid
open strings as much as possible.
On Wed, 25 Sep 2013 19:54:38 -0400, Geoff Gaherty wrote
On 25/09/13 7:20 PM, R. Mattes wrote:
Yes, I always try to avid open bass strings ... esp. on theorbo.
Sorry, couldn't resist;-)
That's the difference between a bowed string and a plucked string.
Well, that was partly my question
On Sat, 31 Aug 2013 17:01:23 -0500, Joshua E. Horn wrote
Did not think of that,
The extension is being changed to *.jtab,
Which would collide with JTab (http://jtab.tardate.com/) ;-)
Cheers, Ralf Mattes
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On Wed, 7 Aug 2013 10:50:34 +0100 (BST), William Samson wrote
I wonder how many early music 'acts' have an agent or a manager?
Probably very few.
For a percentage of income, these people can take a lot of the
burden of marketing and negotiation from the shoulders of the musicians
On Wed, 7 Aug 2013 11:23:07 +, Ron Andrico wrote
Briefly, playing for free
(or worse, paying to play) doesn't really do any lasting good. It
only makes the potential audience think that your music should be
free. We only play for free for children and for worthy causes
aimed at
On Wed, 07 Aug 2013 10:42:08 -0400, r.turov...@gmail.com wrote
H.
Does this mean that I made a strategic mistake 20 years ago by never
charging a penny for my wares?
Sorry, I don't understand your mail. What _are_ your wares?
Are you saying that you make money with your wares now
On Tue, 06 Aug 2013 11:56:49 -0700, Nancy Carlin wrote
As some of you know I spent 35 years as an agent for musicians,
between my 2 stints with the LSA - a lot of this time was working
on building careers and salability for folk and Celtic musicians. I
see a few things missing that other
On Tue, 06 Aug 2013 13:22:47 -0700, Nancy Carlin wrote
Actually it's a combination of things. Some of them are balancing so
many balls in the air that they don't have time to step back and
figure out a 3 year plan for their careers. It was pretty well
known that there are no (few?) lute
On Sun, 23 Jun 2013 09:17:31 +0200, Anthony Hind wrote
I suppose, Leonard, if any effect, it would be more like loading, so
possibly more damping than brightening. Although, it would probably
be too thin to make an audible difference. Just my intuition.
Regards Anthony
While the mass of the
Mattes
P.S.: off course this always happens the day before an important
rehearsal ...
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On Fri, 30 Nov 2012 12:24:39 +1100, Shaun Ng wrote
Well, wouldn't this mean that every time we see a painting of an
instrument with strings, we would have to consider one more
stringing option, instead of just gut or wound?
Yes, as long as we ignore all no-iconographic sources of
century. In his article on the lute he mentions beside others
Besard, Baron, Weiss etc.
Yes, so utterly unuseable as a source for when things fist show up ;-)
Cheers, Ralf Mattes
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-resolving.de/urn:nbn:de:bvb:12-bsb00077414-1
16. http://nbn-resolving.de/urn:nbn:de:bvb:12-bsb00072008-2
17. http://nbn-resolving.de/urn:nbn:de:bvb:12-bsb00031267-3
18. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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nor a syntesizer, the sounds a generated according to a
mathematical model of the instrument.
HTH Ralf Mattes
Best regards, Wim Loos
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On Mon, 3 Sep 2012 09:22:11 -0400, William Brohinsky wrote
I have one. I have had it for a few years. For piano tuning, it is
not a choice.
For just about everything else, it is wonderful.
Please correct me if I'm wrong - but isn't this tuner out of stock
since _years_?
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more than two years now it's perfectly legal (over here in
ol' Germany at least) to make copies of the book (IANAL, only citing a
publication by BitCom, a rather pro-copyright organisation).
Cheers, RalfD
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for
Lautentabulatur
Rainer
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On Tue, 21 Feb 2012 13:52:26 +0100, R. Mattes wrote
Donata's article I linked to does mention it (footnote 15. page 389/page
19 of the article) - Paris. Too bad, but kind of typical for their
editorial process. And their repoduction technique (photocopy on
steroids) often makes things
On Wed, 22 Feb 2012 09:53:01 -0500, Leah Baranov wrote
Any 99cent store or hardware/kitchen place sells inexpensive
rolls of rubberized shelf liners in a variety of colors including black.
Leah
I'd be rather cautious with those - someif not most of the soft and
sticky plastic materials
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.
Cheers, RalfD
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On Mon, 20 Feb 2012 11:31:24 +0100, R. Mattes wrote
On Sun, 19 Feb 2012 23:42:37 +0100, David van Ooijen wrote
Does someone have the AR-edition at hand
to check the preface to see what David Dolata has to say?
It's in our library, but I might be too bussy to check this week.
Ah
facsimile prints use different originals but I might
be wrong here ...).
Cheers, Ralf Mattes
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situation. Any thoughts? All best Jaroslaw To
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On Tue, 10 Jan 2012 12:21:18 -0800 (PST), Christopher Wilke wrote
Howard,
--- On Tue, 1/10/12, howard posner howardpos...@ca.rr.com wrote:
Have you read Rimsky-Korsakov's Principles of
Orchestration? It comes from precisely this
period. (You can find English versions online)
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important promoters for early music (esp. medieval music) in
Europe. And of course there's still the Documenta series of the
Schola Cantorum Basiliensis with more than 70 productions.
Cheers, Ralf Mattes
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Freiburg r...@inm.mh-freiburg.de
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moved to the third string.
Cheers, Ralf Mattes
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at
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On Sat, 26 Nov 2011 23:07:13 -, Stewart McCoy wrote
Dear Stuart,
I think Ich beger nit mer would be Ich begiere nicht mehr in modern
German, meaning I long no more.
Just for the records: there's no such word as begieren - modern german
verb is begehren (#8599; mhd. 'gêren').
Cheers,
of parchment waggling like a tuning
fork maybe? Again, that could be influenced by humidity. Then
again there are the inlays
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when are gut strings made out of
beef gut? I always assumed that Aquilla's gut strings are made from
sheep gut.
Cheers, Ralf Mattes
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On Wed, 17 Aug 2011 10:26:53 +, Ron Andrico wrote
Hello Ralf:
Besard's 1617 print is the result of engraving - the medium of
wood or copper or whatever matters less than the distinction of
typeset with moveable type versus engraved plates.
No, sorry. Please let's be a little
://www.doc.gold.ac.uk/~mas01tc/web/
Best wishes,
Denys
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Alain
Sent: 15 August 2011 19:00
To: R. Mattes
Cc: Eugene Kurenko; David Smith; Monica Hall; SCOTT ZEIDEL; Lutelist
Subject: [LUTE
. mailto:lute@cs.dartmouth.edu
9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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On Fri, 12 Aug 2011 12:41:04 +0200, Andreas Schlegel wrote
Did De Visee write that part about the tenth fret? That would be
strange since that would shurely be a 'd la sol' (note: no re here!).
Otherwise high might refer to the guitar's lowest note, d (open
forth course), but that
-50 years of your dating (and that of the earliest
De Visee guitar publication).
Cheers, Ralf Mattes
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www.christopherwilke.com
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.
Cheers, Ralf Mattes
Chris
Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com
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good job of discriminating.
Yes, an awfully nice tuner - but unfortunately the ST-122 is Out of stock
until further notice for at least a year now. Too bad.
Cheers, RalfD
ray
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enjoyable! And I've done these two in a course in
Bremen in the beginning on 90's...
I'll use the Pasquini ones in a course next weekend :-)
HTH RalfD
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On Wed, 9 Mar 2011 15:06:09 +0100, Mathias Roesel wrote
*waves hand*
*waves hands too*
Actually, once used to it it's a pretty neat shorthand notation. I sometimes
use it it sketch fingerings/chord shapes for continuo playing ...
Cheers, Ralf Mattes
Mat
-Ursprüngliche Nachricht-
On Wed, 9 Mar 2011 15:10:11 +0100, Alfonso Marin wrote
Selling price: [WINDOWS-1252?]4400
Here you can watch some pictures:
http://www.lutevoice.com/Haycock/
And you may wonder why you can't see any pictures on this web page ...
Yet another page that needs activated Java Script to
to experiment such a set-up, to see what happens.
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On Tue, 21 Dec 2010 02:19:23 -0800 (PST), Anton Birula wrote
--- On Mon, 12/20/10, Anton Birula image...@yahoo.com wrote:
From: Anton Birula image...@yahoo.com
Subject: [LUTE] Re: BAROQUE LUTE FOR SALE
To: lute@cs.dartmouth.edu
Date: Monday, December 20, 2010, 1:37 PM
Baroque lute
On Fri, 22 Oct 2010 15:30:18 +0100, Peter Martin wrote
Thanks for this lead!
I've just downloaded Laute und Lautenmusik.
on page 17, taking an example from Neusidler, he suggests that an
quarter note C followed by eighth notes C and D should be interpreted
as a dotted quarter
owner.
See it yourself,
http://www.copyright.gov/help/faq/faq-definitions.html
Allan
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R. Mattes -- Systemeinheitsstreichler
Hochschule fuer
On Thu, 21 Oct 2010 08:22:17 -0400, Mayes, Joseph wrote
What occurs to me in all of this is just how far from the spirit of
the law, the letter of the law has gone.
Yes, but unfortunately we have to live with that.
The Humble rockers who
wrote the beautiful song are way out of it - We're
On Thu, 21 Oct 2010 14:31:17 +0200, Thomas Schall wrote
I guess this would count as performance and clearly is an
infringement of copyright law. IMHO copyright (in the US) has very
good intensions but it's a law that is hard to follow and is
contradictional to common sense and habits. I'm
On Thu, 21 Oct 2010 07:22:46 -0700 (PDT), mc41mc wrote
I refused to read this, as there were .gif images on the page.
As I'm sure you are aware, the .gif format is proprietary, and I
see no evidence that the proper licencing fees have been paid to Unisys.
Nonsense! The GIF format is
) afterwards. I take this as a rather strong evidence for
using only p,i and m on the chitarrone.
Cheers, Ralf Mattes
--
R. Mattes -- Systemeinheitsstreichler
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
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7. http://www.davidvanooijen.nl/
8. mailto:peter.l...@gmail.com
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R. Mattes -- Systemeinheitsstreichler
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
On Wed, 20 Oct 2010 12:14:46 +0100, Peter Martin wrote
Interesting. But I wonder whether this, and the transcription
into staff notation of chords A and B on the Accordatura page, are
a later pencilled addition by someone (probably a non-guitarist)
trying to interpret the tablature?
On Wed, 20 Oct 2010 06:02:17 -0700 (PDT), Christopher Wilke wrote
The confusion arises from the fact that HK is always using the same
examples in his prefaces. The 4-note arp. is always demonstrated p-
i-m-i, but illustrated on strings that result in low to high. So,
what if the arp. needs
On Wed, 20 Oct 2010 14:28:20 -0500, Mjos Larson wrote
I think Valdambrini's 1646 and 1647 guitar books might also add to
this topic. He gives performance information in his introduction and
uses signs that Kapsberger previously used.
Valdambrini's two arpeggio examples suggest to me
://www.amadeusmusic.ch/index.php
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--
R. Mattes -- Systemeinheitsstreichler
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
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