language, or simpler,
which might also be more impressive, that one might practice slowly, and
progress quickly.
Tobiah
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On 03/04/2016 03:41 PM, Braig, Eugene wrote:
I plan to turn on my television and never feel obliged to cover my boxer shorts
again.
P... You're going to wear boxers? :)
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I'm able to do this with Finale to some extent, but it feels
as though I'm expending too much effort in the process. Are there
any other favorite computer tools for doing this, or do people just
sort of convert on the fly with their eye?
Thanks,
Tobiah
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On 01/27/2015 01:49 PM, Arto Wikla wrote:
Hi all
Just an innocent(?) question: If you need amplification, why to use
the lute? Electric guitars are made for that purpose, loud music.
;-)
Oh right, and we can just use a Rhodes electric piano instead of those
bulky awkward concert grands!
To
an omni or dynamic mic doing the job, but a
good condenser is the best I've found for classical guitar
where natural sound is the goal.
If feedback is the problem you could try mixing the mic with a
contact pickup for some of the best of both worlds.
Tobiah
I have an option to buy those
My guess is that advances in the state of
string making over the 16th cen. made it possible to do away with
octaves on 4-6. It is just a guess of course.
---
Hehe. I get it.
Tobiah
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http
I have this guy:
http://www.crateamps.com/products/pindex.php?prodID=25
It has one of those brick-sized lead-acid batteries
so it has plenty of amps to burn. There is a 'clean'
input with a 4-channel eq section. I tried two
other battery powered solutions before this one and
sent them back.
On 08/04/2014 06:12 PM, howard posner wrote:
On Aug 4, 2014, at 1:54 PM, Tobiah t...@tobiah.org wrote:
I'm interested in how they played, but I like what Jimmy Hendrix
did with Francis Scott Key
You mean John Stafford Smith, unless you’re admiring the way Hendrix
recited poetry.
I knew I
of
technologies and knowledge that we now have.
Perhaps I will now be flooded by videos of people who do just
that. I'll welcome it. I'm just a fringe lurker on the world
of the lute player, so be gentle in correcting my assertions please.
Tobiah
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had a pedal. I'm more interested in what I will do now that I
have one.
Tobiah
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[3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
-- Nancy Carlin Administrator THE LUTE SOCIETY OF AMERICA
[4]http://LuteSocietyofAmerica.org PO Box 6499
synthetics are
the ones that go the most frequently. I may change over just that
one peg to a traditional, real peg if I can get someone to redo the
holes to accommodate a normal peg.
Dan
On 8/4/2014 11:06 AM, Tobiah wrote:
On 08/04/2014 10:56 AM, Dan Winheld wrote
That was fun Sean thanks. You have a great
ability to express yourself keeping the reader
int mind.
Tobiah
On 8/4/2014 5:11 PM, Sean Smith wrote:
Hi Tobias,
Despite holding it upside down, Hendrix did adhere to a lot of
standard techniques of electric guitar playing. His rendition
as far as to say that you are witnessing the
impression made by an appendage that has been long used
as a crutch.
Tobiah
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style playing was developed by players with
inadequate right hand techniques. Not to mention bluegrass banjo
players…
Fair enough. I retract my comment!
Tobiah
On Jul 28, 2014, at 12:57 PM, Tobiah t...@tobiah.org wrote:
On 07/27/2014 01:51 PM, Herbert Ward wrote:
I've worn a spot
On 07/28/2014 10:33 AM, Tobiah wrote:
On 07/28/2014 10:23 AM, David Rastall wrote:
We-ell, not exactly. The pinkie-on-the-soundboard thing is
legitimate renaissance lute technique. It's described in treatises
dating all the way back to the 16th century. I once had an
opportunity to play
In case your email client got the URL wrong:
http://tinyurl.com/lpb9j2b
I bought a $300 lute on ebay. I haven't brought
it out in many years, but as I remember, it was
generally playable. The overall construction was
rough, and I the back and top were made of
thicker wood I expected. The
On 03/24/2014 11:57 AM, Dmitry Medvedev wrote:
Hello,
I own a vihuela made by Luciano Faria in 2006. Unfortunately, its back
and sides are made from Brazilian Rosewood, and the previous owner had
lost the accompanying documentation, and I was not aware of CITES
regulations at
On 03/24/2014 12:29 PM, Dmitry Medvedev wrote:
Well, I can use it as much as I like, as long as I don't take it across
the border. As far as I understood, CITES is concerned only with
international import/export...
Interesting. How do they determine that the wood is actually
one
On 03/24/2014 12:53 PM, William Brohinsky wrote:
What a world, where government officials will destroy a musical
instrument of beauty and quality sound because they think, somehow,
this will stop people from cutting down the same variety of tree in
another country...
Has anyone noticed how much
On 03/19/2014 05:45 AM, Anthony Hart wrote:
Following my previous posts I am in the final stages of preparing the
lute sonatas of Antonino Reggio. The delema is should I include the
tablature in the samr volume as the staff edition of would it be better
to publish two separate
On 12/16/2013 08:55 AM, Sean Smith wrote:
What? No love for Frederick Noad's, The Renaissance Guitar?
That book and others put me off of the Renaissance because I found that
most of the pieces, though simple enough looking, were full
of awkward fingerings that took more effort to master then
*
Tobiah
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. My cursory perusal of the available
YouTube videos show mostly an aging man. I'll make an
effort to expose myself to more of his recordings.
Toby
Chris Barker
-Original Message- From: lute-...@cs.dartmouth.edu
[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Tobiah Sent: Sunday
On 12/15/2013 10:31 AM, howard posner wrote:
On Dec 15, 2013, at 9:26 AM, Tobiah t...@tobiah.org wrote:
I find his tone anemic, his rhythm unmusically erratic,
I certainly agree about his rhythm (and unless you've heard his
recordings from around 1930 you don't know the half of it), but he
On 11/19/2013 11:44 AM, Arto Wikla wrote:
Dear all,
I understand wholeheartedly the need for a good tool for tabulature publishing,
but how beautiful are many of the original
tabulatures! And they all - also those that are not so beautiful - are very
personal! So why not write also nowadays
Sample rate
Why start with the sample rate?
In a recording, you need to start at the end and work backwards. If
you record at the CD sampling rate of 44.1Khz, that's not only not
ideal, it is not ideal for the internet.
So most recordings are recorded in the wrong container, and although
you
I suggest you google ABX, get the software, and
blindly compare sample rates above 44.1kHz. Then
do the same for various bitrate .mp3's and FLAC.
On 11/7/2013 4:04 PM, David Tayler wrote:
snip
44.1kHz is fine for most things. 96k is great too, if you're one of the one's
that think that
note in each measure, resulting
in a jarring effect that comes off as inaccurate
timing.
A worthwhile tongue in cheek endeavor. Do you
do any Zepplin?
Tobiah
On 11/01/2013 09:47 PM, Dan Winheld wrote:
Very cool, Arto!
Keep exploring, do more- it keeps us alive.
Dan
On 11/1/2013 4:05 PM, Arto
Meh, I listened again, and think I
have the wrong analysis as to why
the timing seemed a little off to
me in the beginning.
On 11/04/2013 09:03 AM, Tobiah wrote:
I couldn't find the OP to reply to.
I noticed that the timing is a little off in the
beginning. After the dissonant chords
that you don't.
Tobiah
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On 08/20/2013 12:57 PM, erne...@aquila.mus.br wrote:
It is easy to talk about what is not liked,
any piece of art has some small detail which can be despised.
Tell us what you do like, which art satisfies your soul,
and we will know a lot about your taste, ideas and background.
It's much more
.
Tobiah
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follow. If you took a fee, then the choice of
booking you or a professional would be on more even ground. By
providing your services for free, you look much more attractive
then the professional, and in that way more surely cost them the job.
Tobiah
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I believe the criterion for judging good music from bad lies in the quote
(also Ellington??): If it sounds good, it is good.
This is either tautology or useful advice for anyone in the habit of judging
music by its smell.
It's not a tautology. After all, I said so!
To get on or off this
:
Worldwide Association Toward Eerie Research
;)
Tobiah
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of a passionate artist channeling
a long dead composer's haunts, while the artist knows
in his heart that it's an expression of the pain of all
of the failed attempts to execute the approaching passage.
Tobiah
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into ritardando, in as graceful a manor as possible
Haha, Sutton Court, for instance.
I guess I'm in my cups, in a manner of speaking.
Tobiah
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on glossy wood finishes.
Tobiah
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as
da Milano. Wouldn't that be like one of you referencing
this letter and remarking that it was written by From California?
I expect much from the ever flowing fount of knowledge and wisdom
that is this list!
Thanks,
Tobiah
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On 04/23/2013 03:39 AM, WALSH STUART wrote:
On 23/04/2013 04:36, Edward Chrysogonus Yong wrote:
Chaps,
just a random silly thought. There're plenty of classical guitar players who
play lute music in CG transcriptions, but does the
reverse exist? Obviously those who're CG players can play on
On 04/23/2013 11:37 AM, Dan Winheld wrote:
One thing we shouldn't lose sight of here. Like Bruce Lee pointing at the moon and
reciting the old Zen wisdom of Do not mistake
the finger pointing at the moon for the moon itself, we must likewise keep in
mind that we are talking of the re-creation
I happened across some YouTube videos of him.
He has a wikipedia article, so I'm sure you
all know about him. I favor his playing over
that that I've heard in some time.
Tobiah
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Anyway with all those mice around perhaps it is safer to use wireless
technology as these rodents have been known to cause trouble when hungry.
Instead of using mice one could do with nice. The difference is small but
significant.
Ok, back to the original topic, which I believe,
was nicing a
On 4/4/2012 1:48 PM, Leonard Williams wrote:
While watching/ listening to Benjamin Narvey's wonderful performance, my
attention was drawn to a YouTube performance of a Bach cello composition
played by Anna Kowalska at
http://www.youtube.com/watch?v=1Wi1IC6YQnMfeature=relmfu
I have heard that
How are the timelines of these instruments
related, and what pieces include both instruments?
Thanks,
Tobiah
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On 4/1/2012 1:20 AM, Lex van Sante wrote:
To me it sounds like a classical guitar with a capo on III
Lex
You caught me, the heretical witch that I am.
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On 3/31/2012 2:12 PM, stephen arndt wrote:
Hello, Tobiah,
That was very impressive. Your tone is exceptionally clear. What did you
record with?
Thanks!
I have a pair of RØDE NT1-A mics. They are hailed for
their low self-noise. I plug those into a Mackie 1402-VLZPro
mixer, and into my
Thank you for your detailed explanations. I recently bought a Rode
NT1-A and 1402-VLZPro as well, and am very pleased with the very clear
recordings I can make now.
How strange that our choices of equipment were so similar. Great
minds think alike? This is getting way off topic, but I'm not
I'd be grateful for a pointer to a site that has any amount
of lute music arranged for the grand staff.
Thanks,
Tobiah
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Just a suggestion for those not totally invested with a passion for absolute
originality.
Always a fascinating topic for me, ever since one of my
professors interjected into a debate about using the
sustain pedal while playing Bach:
and what would Bach have done if he had had a
Leonard Williams wrote:
Tobiah--
That notation is Capirola's (perhaps) unique notation for a split course.
Stop one string only of
the course, play the other string open.
Oh, thanks. I can make sense of the measure now.
Unfortunately, I am using a guitar to play the music,
and so
Just one thing though, what does the IV{ indicate?
Thanks,
Tobiah
Never mind. Obviously it means that both notes are
to be played on the fourth course.
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