While we are on the subject of golpeadores I have seen several made
from clear celluloid and the soundboard isn't hidden at all. In fact
from a few steps away it is impossible to detect the golpeadore. It
seems to me that the varnish/lacquer covers the golpeadore, too. Does
. . . *:| straight face
Bill
__
From: David Van Edwards da...@vanedwards.co.uk
To: William Samson willsam...@yahoo.co.uk
Cc: luthiste@gmail com luthi...@gmail.com; lute-builder@cs
dartmouth. edu lute-builder@cs.dartmouth.edu
Sent
about 5.5 frets! And the famous Buechenberg in Paris with the
additional little bass side rose has 7.8 fret spaces on a a string
length of 715mm. Pp. 24-5 in the catalogue of the museum.
Best wishes,
David
At 11:15 + 11/3/15, William Samson wrote:
Could be why theorboes were
Great! That bass-line is indeed very Balcarres-ish; an awful lot of
bass notes . . .
Bill
From: Arto Wikla wi...@cs.dartmouth.edu
To: BAROQUE-LUTE baroque-lute@cs.dartmouth.edu
Sent: Friday, 11 April 2014, 17:15
Subject: [BAROQUE-LUTE] Re: NIIN KAUAN
Nice version Roman!
Not that I know anything about it, but the name 'chittarone' seems to
give the game away. The very idea has me salivating! Mighty
rasgueados on the theorbo, anyone?
Bill :)
PS Sod the 'evidence' and let's have fun for a change!
A matchstick sounds like 'appropriate technology' - and it has a long
and honourable history, since the days when tinderboxes fell into
disuse.
My usual plan of attack on a loose gut fret is first of all to dampen
it a little. Gut, unlike nylon, tightens when damp - though it may
2014, 18:50
Subject: [LUTE] Dampening frets?
On Feb 10, 2014, at 7:27 AM, William Samson [1]willsam...@yahoo.co.uk
wrote:
My usual plan of attack on a loose gut fret is first of all to
dampen
it a little. Gut, unlike nylon, tightens when damp - though it may
take a day
Here's the full IMDB entry - Unfortunately nothing much about the music
or musicians there:
[1]http://www.imdb.com/title/tt0611663/fullcredits?ref_=ttfc_ql_1
It's strange how musicians are seldom if ever credited in these things.
Music also seems to be the poor cousin when it comes
For what it's worth, here's what Wikipedia has to say:
The etymology of the name tiorba has not yet been explained
sufficiently. It is hypothesized that its origin might have been in the
Slavic or Turkish torba, meaning bag or turban. According to
[1]Athanasius Kircher, tiorba was a
Not to mention Dowland's Earl of Derby's Galliard, which is clearly an
homage to When the Saints go Marching in.
Bill ;)
[1]Sent from Yahoo Mail on Android
__
From: howard posner howardpos...@ca.rr.com;
To:
Great programme with one editing blunder - My Lord Chamberlin's
Galliard was billed, but Melancholy Galliard was broadcast and it made
no sense in the context of the interview. I bet Liz wasn't terribly
pleased about that.
I was wondering about these slanted frets. My naive
Dear Collective Wisdom,
There appear to be two main styles of fingerboard on 6c lutes. In one
case the soundboard continues a little way up the neck and the
fingerboard meets it in a straight line join, usually with no stings.
In the other case the fingerboard extends a little way
Well observed, David! He is a historical figure, though it is hard for
those of us who heard him playing in person to get our heads around it.
It reminds us of our own mortality.
Bill
[1]Sent from Yahoo Mail on Android
Does anyone know if the Chilesotti pieces has been published in lute
tablature?
Bill
[1]Sent from Yahoo Mail on Android
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References
1. http://overview.mail.yahoo.com/mobile/?.src=Android
To get on or off this list see list information at
A recent programme blurb for a Nigel North concert says that he was
first inspired by Hank B. Marvin of The Shadows (Cliff Richard's
backing group).
Being a little older, it was Elvis who first got me thinking I should
have a guitar.
Bill
From: Christopher Wilke
Segovia's early years seem to be unclear. Does anybody know where he
learned to play? Did he study with a master?
Most of us need to stand on the shoulders of giants, one way or
another. Nowadays we are fortunate to be able to attend summer schools
where we can have a lesson with
HAHA Everybody at that time appreciated the blessings of nylon.
Nowadays part of the lute fraternity seems hell bent on going back to
gut.
I'll stick with my nylon. Life's too short.
Bill
From: Chris Barker csbarker...@att.net
To: 'Bruno Correia' bruno.l...@gmail.com;
As my lute guru, Diana Poulton reminded me - Don't base your playing on
what today's lutenists do. Go to the sources and make up your own mind.
In fact the only times I saw her angry was when people made sweeping
assertions that weren't underpinned by the sources.
Bill
Those of us who are members of the (British) Lute Society will have
read Tony Bailes' delightful tribute to Bream. It's great to know that
one of our finest HIP lutenists still enjoys listening to his
collection of Bream's recordings.
Bill
[1]Sent from Yahoo Mail on Android
Haha!!!
Never mind, Comet Lovejoy is still worth a look. Small but perfectly
formed. Any suggestions for a suitable piece to celebrate it? It could
have the title La Comete est morte. Vive la Comete!
Bill
[1]Sent from Yahoo Mail on Android
To: Bernd Haegemann b...@symbol4.de; William Samson
willsam...@yahoo.co.uk
Cc: Baroque Lute List baroque-lute@cs.dartmouth.edu
Sent: Thursday, 7 November 2013, 9:30
Subject: Re: [BAROQUE-LUTE] Re: Cologne lute MS?
Thank you, Bernd. Yes, but the shelf-number is Ms. 5.P.171 (olim, Ms
[1]Sent from Yahoo Mail on Android
__
From: William Samson willsam...@yahoo.co.uk;
To: James Jackson weirdgeor...@googlemail.com;
Subject: Re: [BAROQUE-LUTE] Re: The golden rose
Sent: Fri, Nov 1, 2013 3:39:23 PM
Dear collective wisdom,
You're probably aware of the 'Lautenbuch Livre pour le lut Koeln, 18.
Jahrhundert' published by Schott ED5425, edited by Giesbert perhaps in
the 1930s
There's some nice stuff in there and I was trying to learn more about
the original MS. Apparently
Funny thing - Although body frets were not unknown back in the day,
there's very little evidence of them actually being in general use.
Few surviving instruments show signs of ever having had them and they
are equally rare in the iconography. I wonder if the players back then
Sent from Yahoo! Mail on Android
__
From: William Samson willsam...@yahoo.co.uk;
To: Tom tgw...@gmail.com;
Subject: Re: [LUTE] help on tuning
Sent: Thu, Oct 10, 2013 6:53:37 AM
It sounds like your octaves
: Martyn Hodgson hodgsonmar...@yahoo.co.uk;
To: William Samson willsam...@yahoo.co.uk; Lute List
lute@cs.dartmouth.edu; Daniel Shoskes kidneykut...@gmail.com;
Subject: [LUTE] Re: Thigh support for theorbo
Sent: Thu, Oct 3, 2013 7:57:22 AM
Dear Bill,
Most early representations
Interesting question. Do we know how it was done back in the day?
Bill
Sent from Yahoo! Mail on Android
__
From: Daniel Shoskes kidneykut...@gmail.com;
To: Lute List lute@cs.dartmouth.edu;
Subject: [LUTE]
As far as I can tell ebony was not used a lot for tuning pegs
throughout the history of the lute - museum catalogues often describe
peg material as 'stained fruitwood'.
The iconography of pre-1580ish lutes shows that they usually had a
blonde finish, and that includes the pegs.
Ness arthurjn...@verizon.net
To: Dan Winheld dwinh...@lmi.net; William Samson
willsam...@yahoo.co.uk
Cc: Lute List lute@cs.dartmouth.edu
Sent: Monday, 23 September 2013, 13:27
Subject: Re: [LUTE] Re: Early ornamentation
This might provide assistance, although for recorder
Dear Fount of All Knowledge,
I am working on some early C16 lute music (Capirola, Judenkunig . . .)
and wonder what ornaments, if any, might be used when playing it.
Can anybody point me at a source that might help?
Thanks,
Bill
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To get on or off this list see list
Thank you Dan. That's a great help.
Bill
From: Dan Winheld dwinh...@lmi.net
To: William Samson willsam...@yahoo.co.uk
Cc: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Saturday, 21 September 2013, 16:05
Subject: [LUTE] Re: Early ornamentation
Capirola himself
I was fortunate to pre order my copy of this wonderful, insightful
biography.
I read it in two sittings.
I won't give anything away - but there was so much more to her life
than I could possibly have guessed. Her relationship with Dolmetsch for
example. Then there were so
I would like to know too :)
I think the answer is a partial barree with the first finger, avoiding
fouling the first string. For me this needs a generous space between
first and second courses.
Any other suggestions?
Bill
Sent from Yahoo! Mail on Android
__
From: Dan Winheld dwinh...@lmi.net;
To: William Samson willsam...@yahoo.co.uk;
Cc: Lute List lute@cs.dartmouth.edu; Edward C. Yong
edward.y...@gmail.com;
Subject: [LUTE] Re: chord fingering
Sent: Mon, Sep 9, 2013 3:56:03 PM
Excellent practice for jumping in and out
That's a beautiful lute.
In contrast I have a 59cm 7c Venere replica (also shaded yew) with very
close string spacing at the nut - as the original lute has. When I was
younger this suited me nicely, but as I age my fingers have thickened
and it needs very great care to play chords
I suspect that most of us play on instruments that are 'fake' in one
way or another - be it the strings, or the use of single strings when
evidence suggest that double stringing was more common at the time.
Then again the techniques we use are often at odds with the evidence.
This
Oddly enough, classical musicians seem to be better at this than early
music people - who often appear in ill-assorted outfits, hippies that
time forgot, or just plain scruffy.
Look at orchestral conductors for example - Is there any highly
regarded conductor who doesn't have
Interesting new study showing that visual cues are more important that
the sound of a performance in how people judge it:
[1]http://dash.harvard.edu/handle/1/10288440
To hell with practicing - Better to start working on your image
and soulful gurning in front of a mirror!
Bill
Yes - The Passauro rose isn't a traditional one. It has something of
an organic, 'new age' feel to it. The details remind me very much of
the architecture of Gaudi, in Barcelona.
Bill
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In a recent interview Bream said that his main career objective was to
get serious composers to write for the guitar and admitted that he made
a nuisance of himself in the nicest possible way until they did. He
was clearly trying out his technique on Stravinsky, but with a lute
In case anybody has never seen a Passauro lute, here's one that he
built in 1967. I've seen it and the craftsmanship is impeccable, but
the appearance is quite odd to a modern lutenist's eye.
[1]http://image-projects.lib.ed.ac.uk/bitstream/10683/16909/1/0032282c-
0001.jpg
Bill
Francisco for the public. Constant lines half a dozen deep every Fri
and Sat night. Fun? Educational? Rewarding? Oh, lordy.
Now, how do we do that for lutes?
Sean
On Aug 11, 2013, at 11:27 AM, William Samson wrote:
Gadzooks and odsbodikins (as we lute-playing chappies are wont
Hi Chris,
With all due respect to Messrs North, O'Dette, Barto and
Smith ('NOBS' for short- sounds rude but better than 'SNOB' I think) ,
there are a LOT of younger lutenists who are every bit as good as they
were at that age. What the younger ones lack is the immense experience
', providing
bread and butter work for competent continuo players.
Miles
On 2013-08-12, at 10:45 AM, William Samson wrote:
Nowadays, of course, there are very many more great quality lutenists
than there were forty years ago, but there's not nearly enough work
to
go round to keep
Gadzooks and odsbodikins (as we lute-playing chappies are wont to
say)! Do you think there's a case for an astro-lute breakaway group?
I was curator of a public observatory in Dundee, Scotland for five
years, before I retired.
[1]http://en.wikipedia.org/wiki/Mills_Observatory
Something we haven't heard much about in this discussion is the role
that amateur lutenists might play in raising awareness.
I have been an amateur lutenist for about 40 years (on and off) and
for several years (1980s) a friend and I performed, in period clothes
and by
concerned.
Bill
From: Geoff Gaherty ge...@gaherty.ca
To: William Samson willsam...@yahoo.co.uk
Sent: Friday, 9 August 2013, 22:53
Subject: Re: [LUTE] Re: general public Lute awareness
On 09/08/13 4:55 PM, William Samson wrote:
As amateurs we only accepted travelling expenses and any
Hi David,
Can you recall what frequency range(s) is(are) responsible for bringing
out the 'plicky' sound? I sometimes have trouble with my Zoom H2 in
that respect and it would be good to get a steer as to where to attack
it with the EQ in my software (Audacity). At the moment I
I wonder how many early music 'acts' have an agent or a manager? For a
percentage of income, these people can take a lot of the burden of
marketing and negotiation from the shoulders of the musicians
themselves. Of course agents or managers need to be convinced that
there is a
I suppose that audiences for early music are drawn partly from
aficionados (mostly fellow early musicians) and people who are just
curious. I have come across 'classical musicians' who come along to
patronise and sneer - not many, but enough to drizzle on the
performers' parade.
So what you're saying, Nancy, in the kindest possible way of course, is
that lutenists, generally speaking, are a charmless bunch of
technophobes. Ah well, if the cap fits . . . . :(
Bill
From: Nancy Carlin na...@nancycarlinassociates.com
To: lute@cs.dartmouth.edu
it was pointed out to me, the other day, that although it is not
unusual for a pianist (with no experience of guitar) to assess the
performance of a guitarist in the UK grade exams, a guitarist (with
no experience of piano) would NEVER be accepted as a suitable assessor
for the
population as there are players of any
of these other instruments. I wonder why so few of them become part
of a system where they work their way through the grades?
Bill
From: Stephen Kenyon s...@jacaranda-music.com
To: William Samson willsam...@yahoo.co.uk
Cc: Christopher Wilke
__
From: David Van Edwards [2][3]da...@vanedwards.co.uk
To: William Samson [3][4]willsam...@yahoo.co.uk
Cc: [4][5]lute@cs.dartmouth.edu [5][6]lute@cs.dartmouth.edu
Sent: Sunday, 28 July 2013, 21:15
Subject: [LUTE] Re: Portrait of William Lawes holding a lute
Here's a shorter URL - Might save frustration!
[1]http://tinyurl.com/oq3wjxw
Bill
From: William Samson willsam...@yahoo.co.uk
To: Lex van Sante lvansa...@gmail.com; lute@cs.dartmouth.edu
lute@cs.dartmouth.edu
Sent: Monday, 29 July 2013, 13:45
Subject: [LUTE] Re
Hi,
In today's Telegraph (I hope those of you from outside the UK will be
able to access this link!) there's an article about Lawes and his music
and it's accompanied by a portrait of him that I've never seen before
now.
. It
makes me wonder if alterations of lutes to bring them up to date were
sometimes done locally, by people who weren't top-notch luthiers, and
so we get this wonderful variety in the iconography.
Kind regards,
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: William Samson
I wonder how many copies they expect to sell? Libraries only, I
suspect.
Bill
From: Arthur Ness arthurjn...@verizon.net
To: sterling price spiffys84...@yahoo.com; baroque lute list
baroque-lute@cs.dartmouth.edu
Sent: Saturday, 27 July 2013, 12:56
Subject: [BAROQUE-LUTE]
Thank you Nancy! I'm going to enjoy tackling these pieces.
Bill
From: Nancy Carlin na...@nancycarlinassociates.com
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Thursday, 25 July 2013, 22:18
Subject: [LUTE] more music on my web site
I have finally gotten some more
I used to work in a museum before I retired. The best plan would be to
contact (well in advance of your visit) the curator in charge of the
instrument collection and ask if an arrangement can be made for you to
view them when you visit den Haag. Curators are usually happy to help
Hi Sterling,
Since nobody else seems to be doing so, I'll chip in here. I assume
you are using gut for the frets - it's less troublesome than nylon in
this respect.
I wonder how sharp the edges of your fingerboard are. If they have a
sharp edge, there's no 'radius' for the
Footballer David Beckham is also known as 'golden balls'. I won't
speculate on whether is literally true or not. Mind you, judging by
his highish voice, there may be an element of 'loss' involved here
too . . .
Bill
From: Christopher Wilke chriswi...@yahoo.com
To: R. Mattes
Hi Steve,
Fear not! Help is at hand! The British Lute Society has a good number
of publications of music for renaissance lute, from absolute beginner
standard all the way up. Here's a link to their catalogue :
[1]http://www.lutesociety.org/pages/catalogue
You don't need to
I've had similar problems with my 67cm lute tuned to f' (440). The
string lasted a few days then snapped - this happened a couple
of times. I'm now using nylon for my first course.
Bill
From: R. Mattes r...@mh-freiburg.de
To: lute@cs.dartmouth.edu
Sent: Thursday, 13 June
Try and stop me! I'll be there and am drooling in anticipation
already.
Bill Samson
From: Hector hectorl...@mac.com
To: lute list lute@cs.dartmouth.edu
Sent: Thursday, 11 April 2013, 23:23
Subject: [LUTE] Dowland 450th Anniversary Conference
Dear All,
Just to let you
Beautiful playing - utterly authentic and convincing as far as I can
see.
Does anybody know anything about his lute, and what kind of gut strings
he's using?
Bill
From: Valery Sauvage sauvag...@orange.fr
To: Lute@cs.dartmouth.edu
Sent: Friday, 12 April 2013, 8:57
That's fascinating, Ed. I naively thought there would be problems
of playing in tune when thick, pure gut basses were stopped, as it does
when one tries to use thick nylon for the fifth course, for example.
The instrument sounds great, so why all the fuss about loading,
catlines
Dear Collective Wisdom,
I'm working on a soundboard and my usual procedure is to glue the
bridge on first, flip it over onto a flat board with a recess cut to
take the bridge then glue on the bars.
Is this the usual way to do it, or are there other options that might
be
Hi,
An idle question here - I saw on TV how to make casein glue - using
skimmed milk, bicarb and vinegar. Apparently it's been around since
ancient Egyptian
times. http://www.ehow.co.uk/how_8474158_make-casein-glue.html
Do you know of any uses it might have had in instrument
Thanks for all the interesting replies!
I came across another interesting use of glue the other day - I bought
a very cheap uke (which actually worked pretty well) and decided to
take it apart. It was held together with hot-melt glue of the type
used in glue guns. It came apart
Hi Stuart,
The Lute Society has a list of makers on its website, many of whom are
'happy to do remedial work on badly set-up lutes', which sounds like
what's needed.
Reading through this list was a good memory jog for me, both in terms
of established luthiers and newer ones:
This sounds very interesting. However I can't find details of the cost
of attending the conference. When will this be decided?
Thanks,
Bill Samson
From: Hector hectorl...@mac.com
To: lute@cs.dartmouth.edu
Sent: Sunday, 10 March 2013, 21:09
Subject: [LUTE] Celebrating
David Van Edwards wrote:
You *could* play everything on a 10 course lute but it
would give a rather false idea of the 6 course music. He might
easily
have had two or three lutes.
Spoken like a true luthier! [And quite right too :) ]
I'll just add that I currently
So that's 'bowing'. So how does 'scraping' come into it, as in 'bowing
and scraping'. Both words also apply to what people do to members
of the violin family.
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: Mathias Roesel mathias.roe...@t-online.de
Cc:
Coming to the party late. I have just one word for this performance
and that word is . . . . . . . . . BRAVO!!
Bill
From: Christopher Wilke chriswi...@yahoo.com
To: lutelist lute@cs.dartmouth.edu
Sent: Wednesday, 13 February 2013, 19:03
Subject: [LUTE] Baroque Guitar Video
Dear Martyn,
What you say makes perfect sense. I will continue to follow the
example set by the old ones.
Kind regards,
Bill
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Lute builder Dmth lute-buil...@cs.dartmouth.edu
Sent: Thursday, 7 February 2013, 14:46
Yikes! How do professional lute makers manage to sleep at night, with
their products ready to go 'pop' at any moment?
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: William Samson willsam...@yahoo.co.uk
Cc: Martyn Hodgson hodgsonmar...@yahoo.co.uk; Lute builder Dmth
Dear Collective Wisdom.
I have never understood why luthiers have never got around to gluing
little blocks to the inside of the edge ribs in way of the ends of the
bars.
Throughout history one of the commonest faults in a lute has been the
ungluing of a bar end causing the
I wonder what the layout of the upper head of this lute might be?
[1]http://www.cs.dartmouth.edu/~wbc/icon/party-1.gif
Artist Jacopo Vignale, early 17th Century.
Bill
--
References
1. http://www.cs.dartmouth.edu/~wbc/icon/party-1.gif
To get on or off this list see list
to bring it 'up to date' with an extended neck and a load of diapasons.
Anyway - I very much doubt if we've hit upon a new, hitherto unknown
lute type.
Best regards,
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: William Samson willsam...@yahoo.co.uk
Cc: Lute List
I forgot to mention that I also googled other paintings by Vignole and
can't find any others showing a lute, so I can't cross check that way.
Bill
From: William Samson willsam...@yahoo.co.uk
To: David Van Edwards da...@vanedwards.co.uk
Cc: Lute List lute@cs.dartmouth.edu
Sent
don't look particularly other-worldly.
Great fun, this speculation!
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: William Samson willsam...@yahoo.co.uk
Cc: Lute List lute@cs.dartmouth.edu
Sent: Monday, 4 February 2013, 17:54
Subject: [LUTE] Re: Lute painting
Dear
: Lute painting
I'll try again:
[1]http://www.lutevoice.com/luteiconography/Page%204.html
Got to the painting by J.G. Platzer; an apparently non-offset theorbo
neck extension.
-Original Message-
From: William Samson [2]willsam...@yahoo.co.uk
To: David Van Edwards [3]da
]http://media10.dropshots.com/photos/224074/20130201/145654.jpg
Bill
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: William Samson willsam...@yahoo.co.uk
Cc: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Saturday, 2 February 2013, 8:52
Subject: [LUTE] Re: chitarra italiana
Names, as we all know, are funny things that shift with time, leading
to all kinds of confusion for modern musicians and scholars.
One that struck me recently on a visit to a museum was a card
proclaiming that a swan-necked 13c lute was a 'theorbo'. At first I
winced, then thought
What an excellent resource, Rob. You've certainly done a power of work
over the years to have accumulated this much, and on top of that
there's all the non-lute recordings you've done too. More power to
your elbow (and fingertips . . .).
Bill
From: Rob MacKillop
And another - -
[1]http://sphotos-g.ak.fbcdn.net/hphotos-ak-prn1/s480x480/397398_540295
165989887_664104334_n.jpg
Six pegs - Big mandore with 4 single and one double course?
Bill
From: Roman Turovsky r.turov...@verizon.net
To: WALSH STUART s.wa...@ntlworld.com
Cc:
(Semi) serious question. What music was composed for this instrument
outside Scotland? - Is it any good? (- the music from outside Scotland,
that is).
Second question - What did they call this instrument back in the day?
Specifically, was it ever called The English Guitar?
Might it not have been the case that there were a variety of sizes?
Could there have been such a thing as a 'great-octave-bass' chitarra?
[Kidding]
Still, in the 18th century there was at least one very big 5c guitar
made by Stradivari. Does anybody have statistics on string
By the way, for what it's worth, I've attempted to measure the string
length of the 4c instrument the boy is playing in the first image,
assuming a pupil separation of about 7cm. It comes out at something
like 55 - 60 cm. Not accurate, but a ballpark figure.
Bill
--
To get
...@ntlworld.com
To: William Samson willsam...@yahoo.co.uk
Cc: Lute List lute@cs.dartmouth.edu
Sent: Tuesday, 29 January 2013, 12:51
Subject: [LUTE] Re: 4c guitar in Italy (= Italian gittern?)etc
On 29/01/2013 09:45, William Samson wrote:
By the way, for what it's worth, I've attempted
What a gorgeous sound!
Now are you SURE it's a 'guittar'? Not a Gittariglia? Or a
Kitherone? Or a Banjino Scotsese? Or a Mandolele Giorgio Formbyana?
Or a Strattolino Hankus B. Marviniensis?. . .
Looking forward to hearing it in the flesh on Saturday at the Scottish
Lute
I came across this picture of a lute with 4 courses. Could this be one
of the lute-shaped guitars?
[1]http://sdrv.ms/10Q9ifI
Hope you can see this link to my Skydrive.
Bill
--
References
1. http://sdrv.ms/10Q9ifI
To get on or off this list see list information at
.
Bill
PS It seems to me that it shares the looks (on a smaller scale) of one
of the surviving gallichons.
From: Andreas Schlegel lute.cor...@sunrise.ch
To: William Samson willsam...@yahoo.co.uk
Sent: Saturday, 26 January 2013, 20:18
Subject: Re: [LUTE] Re: 4 course guitar in Italy
I concur, Dr Winheld. I would love to keep them all in gut but
reaching for the instrument I use least or most and finding another
broken or barely limping along string compels me to fall into the
plastic alternative. The last major gut purchase nearly started divorce
proceedings.
Dear Collective Wisdom,
I believe that 6c lutes are often strung with octaves on the 6th, 5th
and 4th courses.
Would you use that stringing for all parts of the lute repertoire that
needs only six courses, or would other arrangements be appropriate for
parts of the repertoire?
Hi Paul,
I have a 10c lute of 66cm scale. The highest I can take it with a
nylon chanterelle (the strongest material) is f# at A440 - and that's
really pushing it. I normally keep it at f. Even at f, with a nylgut
chanterelle, it tends to break quite frequently, which is why I
That's delightful, Stuart! Certainly cheered me up - this miserable
weather is sapping my will to live.
Have a great festive season!
Bill
From: WALSH STUART s.wa...@ntlworld.com
To: Lutelist lute@cs.dartmouth.edu
Sent: Sunday, 23 December 2012, 17:42
Subject: [LUTE] Xmas
: Dan Winheld dwinh...@lmi.net
To: William Samson willsam...@yahoo.co.uk
Cc: Lute List lute@cs.dartmouth.edu
Sent: Saturday, 1 December 2012, 5:15
Subject: [LUTE] Re: Gut strings - The elephant in the room
'I'm not too familiar with Gamut's terminology. I know that Mace
Looking at all the discussion we've been having about gut strings - to
load, or not to load, to wind or not to wind, to twist or not to twist
. . . - one thing that hasn't come up for a while is how different
modern gut seems to be from the old stuff.
When you look at old pictures
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