I think that it is important to make a distinction between the
Public theaters like
the Globe, the Rose etc which were largely outdoor theaters on
the south
side of the river; and the Private theaters, which were
indoors in London itself.
They represent distinctly different traditions of
I think Mathias comes closest to describing the 'luthé' style.
The term
brisé is useful I think, but none of the terms come close to
revealing
the essence of 17th century lute style. It would be nice to
be able
to post right here * a measure or two of tablature that
exemplifies
the style, but
For me without question, the Barbe Ms. is a wonderfully rich
source of
music, and for one finding his own way, an indispensible
teacher.
Damian
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The Barbe Ms. is a facsimile edition by Minkoff, of ms.
Bibliotheque nationale, Paris ca, 1690 Rés/ Vmb.ms7
The ms. progresses by key through many of the major works of
all of the different luthiste/composers. Barres and
fingerings are notated in red ink as in the original. The
fingerings
I'd like to get my hands on a copy of the Ms. Brussels I 276. It
doesn't appear to be
available as a published work. Anyone know how I could access it?
BTW I attended Vancouver 2009 and for me it was very rewarding. I
learned that there was much that I had to learn about
I'm wondering if anyone has a list of the manuscript sources for the
music of Francois Dufault. The information on the web is very
sketchy. I'd like to know more about this composer.
Thanks
Damian
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An excellent summary of contemporary practice.
DD
Certainly good points.
However, a renaissance musician used a transposing system,
therefore
they did not transpose in the modern sense because they were
already
transposing.
Although there is not a handy modern analogy, unless you
play the
Would that me in winter or in summer?
Buxtehude's pitch was 483
dt
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I don't have my references handy for this, but I believe that
the term 'cat-gut' grew out of
a commercial marque in Germany. 'Kaet' was a trade name,
apparently a successful one,
and the term 'cat gut' derives from this in the same way as
'kleenex' has.
Damian
Dear Alexander and all
length of a 64cm string depressed at half its length
by 0.5mm is only about 0.0008mm! (Pythagorus theorem: square root of
[320x320+0.5x0.5]) ie an increase of a mere 0.000125% ..
can any human ear detect this?
MH
--- On Wed, 18/3/09, damian dlugolecki dam...@teleport.com
significant increase in the distance required to depress a string
and concomitant difficulties of execution.
MH
--- On Wed, 18/3/09, damian dlugolecki dam...@teleport.com wrote:
From: damian dlugolecki dam...@teleport.com
Subject: [LUTE] Re: Hi guys, nylon frets...
To: Martyn
)
-Original Message-
From: Martyn Hodgson [mailto:hodgsonmar...@yahoo.co.uk]
Sent: Wednesday, March 18, 2009 8:24 AM
To: lute@cs.dartmouth.edu; damian dlugolecki
Subject: [LUTE] Re: Hi guys, nylon frets...
Not really true that thicker frets have 'no drawback' -
the use of
thinner
you to have smaller lower frets, say
down to 0.90mm and thereby set the lute 'fine'?
MH
--- On Tue, 17/3/09, damian dlugolecki [1]dam...@teleport.com wrote:
From: damian dlugolecki [2]dam...@teleport.com
Subject: [LUTE] Re: Hi guys, nylon frets...
To: Daniel Winheld dwinh
Using the thinnest frets that you can get away with is a
basic premise for fretting, but there are many lutes where the
neck has set (but hopefully not twisted)
where heavy frets are called for. My baroque lute represents
just such an instance where everything is fine except that
much thicker
Did he make an effort to find the original tapes? That would
of course be the ideal.
I think a very worthwhile project. He was a wonderful player,
and it's worth noting
that these recordings were made with gut strings at least for
the on board strings.
Damian
Please visit my web site at
on the type of lutes Gerwig used? I seem
to remember hearing that he used some kind of 10 course in ren
tuning even for the baroque music.
Sterling
- Original Message
From: damian dlugolecki dam...@teleport.com
To: Peter Jones pjones...@toucansurf.com;
lute@cs.dartmouth.edu
Sent: Sunday
The string must still be secured in the bridge in the
conventional way.
I find that even with very high torsion strings that 1.75mm is
the maximum
that one can bend and manipulate. And that happens to be what
I end
up with as my 11th course. So here is a piece of practical
information
based
hypothesis remaining to be
discovered, but I
do thhink for the moment that the loaded hypothesis is the
best,
although I do not suggest for one moment that other research
paths
should be abadonned.
Best wishes
Anthony
Le 27 févr. 09 à 03:08, damian dlugolecki a écrit :
Dear Anthony, You
Anthony
Le 27 févr. 09 à 19:56, damian dlugolecki a écrit :
Dear Anthony, What is your evidence for the supposed
practice of loading strings?
We have to discount paintings entirely. Unless you are
talking about a deliberate
contrast, like a violin with a silver g string, paintings
Dear Anthony, You seem to be intent on finding evidence to
support a historical
premise for 'loaded' strings. You rely heavily on a color
theory that supposes that
reddish strings indicate loaded strings. Since you are not
privy to the stringmakers
craft other than what you have gathered
[1]http://www.liveleak.com/view?i=f4a_1231249875
--
References
1. http://www.liveleak.com/view?i=f4a_1231249875
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and for a certain period, the expression
apparently took
on a metaphoric meaning (Bossuet) to allert public
oppinion.
Best wishes
Anthony
Le 28 déc. 08 à 02:51, damian dlugolecki a écrit :
You are quite right David. I just looked up 'tocsin'
in my OED
where the earliest usage in English
, the expression
apparently took
on a metaphoric meaning (Bossuet) to allert public
oppinion.
Best wishes
Anthony
Le 28 déc. 08 à 02:51, damian dlugolecki a écrit :
You are quite right David. I just looked up 'tocsin' in
my OED
where the earliest usage in English is in 1598. I just
assumed
G. Crona was kind enough to send a .jpg of the piece.
At the moment this is only a guess, but I believe the 'tocsin'
of Mouton and that of D. Gautier have something to do with
disease. The word 'toxin' only come into the English language
during the 19th century. My OED defines it originally
.
Davidr
dlu...@verizon.net
On Dec 27, 2008, at 7:48 PM, damian dlugolecki wrote:
At the moment this is only a guess, but I believe the
'tocsin' of
Mouton and that of D. Gautier have something to do with
disease.
The word 'toxin' only come into the English language during
the
19th century. My
Are there different versions of le Tocsin of Denis Gautier than the one
in the Barbe ms? I recently listened to Claire Antonini's recording
of the piece which is substantially different from the one that I know
from Barbe.
Happy Christmas and New Year!
Damian
--
To
Thanks Andreas,
And wouldn't you know it? My old photocopy ends at page 85.
DD
From: [1]Andreas Schlegel
To: [2]damian dlugolecki
Cc: [3]l...@cs.dartmouth.edu
Sent: Friday, December 26, 2008 1:05 PM
Subject: Re: [LUTE] le Tocsein de Gautier
Of course
Thank you very much for sharing your experience and know-how.
How interesting the analogy to the mirror and the idea of
recording
phrases.
I use a number of practice techniques that I have picked up
over the years.
Difficult pieces I practice backwards; isolating the cadences
and playing
, but it is for
lute (chordal)
plus a melody instrument (or voice) on top line. Will that
suit your needs?
Regards,
Leonard Williams
/[ ]
/ \
| * |
\_=_/
On 8/30/08 2:17 AM, damian dlugolecki
[EMAIL PROTECTED] wrote:
Are there settings of 'Belle qui tiens ma vie
I enjoyed your recording very much. Why no transcription for
baroque lute? Doesn't it fall well on the fingerboard?
Damian
My arrangement of the Bach prelude from the cello suite in D
minor is
available as a free download
http://www.voicesofmusic.org/DT%20Prelude%20MMB.mp3
Tab will be
Gerwig was a great musician and if you were influenced by his
sound, which was a beautiful gut sound,
then you are very fortunate because you are now an extension
of the lute tradition.
Damian
Yeah, cracks me up, too. And I decidedly say No. Early
recordings like
Gerwig, playing Bittner, et
and
notes inegales but that is not what makes music beautiful. It
is and alway will be, playing cleanly
and bringing out the musical line.
DD
damian dlugolecki [EMAIL PROTECTED] schrieb:
Gerwig was a great musician and if you were influenced by
his
sound, which was a beautiful gut sound
Good question. The conclusion is that there is no conclusion
based on scansion. French 'lyrisme' is not difficult to grasp
but you need to have a working knowledge of the language. I
feel that these pieces for lute were souvenirs of various
'fêtes' , parties, occasions etc.composed for
:34, damian dlugolecki a ecrit :
Thirty years ago, when I became curious about historical
strings, NRI
was already making what seemed like a roped string, and
although the
torsions were not balanced, they worked poorly but for a
while
became the new thing to try. I looked
, in
the
case of lutes, but I have seen paintings of bowed instruments
that do
seem to have ropes.
If Charles allows me I will send you one, but I need his
permission,
I don't know where he got it from.
AH
Le 8 juin 08 à 23:27, damian dlugolecki a écrit :
Hi Anthony, I don't know Patrizio Barbieri's
that we would like to solve, and I think that aside
from practical everyday experience,
we need to look more closely at the inner workings of commerce.
DD
From: Anthony Hind [EMAIL PROTECTED]
To: damian dlugolecki [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent: Wednesday, June 04
Subject: Benjamin Narvey' essays
I Just finished reading and re-reading Benjamin Narvey's award winning essay;
'Robert de Visee's Musical Gravestones: The End of Grandeur the Death of the
French Lute.'
It appears in the April edition of 'Goldberg' Like his other essay,
'Etes-vous
I Just finished reading and re-reading Benjamin Narvey's award winning essay;
'Robert de Visee's Musical Gravestones: The End of Grandeur the Death of the
French Lute.'
It appears in the April edition of 'Goldberg' Like his other essay,
'Etes-vous precieuses?' Refinement and preciosite in
Dear Lutists, I first joined this topic to contribute what I
could to Mathias Rosel's understanding
of the design of the 12c he was considering (may 30). I
didn't think my comments would be so
controversial, but I soon became aware that there were a
number of serious historical errors being
of
discussion, because it is different from our own. Now whether,
it is
better to pick up one's lute and to play instead of
discussing, is
quite another question, and I think that is what I am juts
about to do.
regards
Anthony
Le 6 juin 08 à 17:38, damian dlugolecki a écrit :
Dear Lutists, I first
6 juin 08 à 17:38, damian dlugolecki a écrit :
Dear Lutists, I first joined this topic to contribute
what I
could to Mathias Rosel's understanding
of the design of the 12c he was considering (may 30). I
didn't think my comments would be so
controversial, but I soon became aware
a trade still exists,
although it is very much endangered by synthetic strings.
It could be interesting to see the string types they use.
Regards
Anthony
DD
From: Anthony Hind [EMAIL PROTECTED]
To: damian dlugolecki [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent
not consider that in any way as a proof, just part
of my
thoughts on the topic.
I hardly ever played that game, and my father never handed me
down
any such resipe, so I don't suppose he played conkers either.
Regards
Anthony
Le 5 juin 08 à 16:57, damian dlugolecki a écrit :
Anthony, Are you suggesting
:00 PM, damian dlugolecki wrote:
There is no way to change the specific weight or mass of a
gut
string by chemical means. If someone
were to claim that there are ways to chemically change the
gut to
make it heavier, that would be classed
as some kind of alchemy.
--
To get on or off
Water, yes. Dye, no. Water is heavy. Dye is not. I repeat.
You can not chemically alter the specific
gravity of gut. Ask Mimmo.
DD
Please visit my web site at www.damianstrings.com
- Original Message -
From: howard posner [EMAIL PROTECTED]
To: Lute List lute@cs.dartmouth.edu
No, no, no. This is complete and utter nonsense without any
factual basis.
I am sorry to be so blunt, but I will not accomodate this kind
of fantasy
science.
DD
What seems to me more feasible, as regards to the increase
of the density of the gut string, is that some substances
that were
Please visit my web site at www.damianstrings.com
- Original Message -
From: damian dlugolecki [EMAIL PROTECTED]
To: Anthony Hind [EMAIL PROTECTED]
Sent: Wednesday, June 04, 2008 1:01 PM
Subject: Re: [LUTE] Re: [LUTE] Re: Double headed 12c/loaded/Demi-filé
I had forgotten about
]
To: damian dlugolecki [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent: Wednesday, June 04, 2008 4:12 PM
Subject: Re: [LUTE] Fw: [LUTE] Re: [LUTE] Re: Double headed
12c/loaded/Demi-filé
Damian
Well let me say, what I actually said again, in slightly different
words, but meaning exactly the same
The color of the string is a result of the processing of the casings making
gut strings. It is a consequence of the nature of the casings themselves,
the chemistry used, the Ph of the water etc. So finished strings can end up
being a rich brown color, a nearly white color, and anything in
Can anyone point to a source for the Courante that Hopkinson Smith performs in
the d min. set on his Vieux Gaultier recording? The piece just slays me and I
can't find it in any of my sources.
Thanks.
Damian
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On the Ex Libris page of the Saizenay ms. there are two lines of figures
without a clef. Does anyone out there have a clear notion why these figures
appear here, what their purpose is and how we might use them?
Damian
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