Isn't happy existentialist an oxymoron?
Gary
- Original Message -
From: Ron Andrico praelu...@hotmail.com
To: wi...@cs.helsinki.fi
Cc: lute@cs.dartmouth.edu
Sent: Sunday, July 01, 2012 1:25 PM
Subject: [LUTE] Re: Tuning
Thanks, Arto. I'm glad to know there are other happy
Is this the Doppler effect or the dopplich effect??
Is the Doppler effect what happens when you pitch a theorbo end over
end?
Leonard
On 7/1/12 5:05 PM, howard posner howardpos...@ca.rr.com wrote:
On Jul 1, 2012, at 1:55 PM, Ron Andrico wrote:
Is the Doppler effect what
Date: Mon, 25 Jun 2012 13:24:40 +0100
To: lute@cs.dartmouth.edu
From: akbut...@tiscali.co.uk
Subject: [LUTE] Re: Tuning
with apologies to those who aren't interested ;-)
For a plucked instrument the finger on the node is removed from the
string just after
Thanks, Arto. I'm glad to know there are other happy existentialists
out there, riffing on the absurdity of it all.
Ron
Date: Sun, 1 Jul 2012 22:35:41 +0300
To: praelu...@hotmail.com
CC: lute@cs.dartmouth.edu
From: wi...@cs.helsinki.fi
Subject: [LUTE] Re: Tuning
On Jul 1, 2012, at 1:25 PM, Ron Andrico wrote:
Thanks, Arto. I'm glad to know there are other happy existentialists
out there, riffing on the absurdity of it all.
Well, one person's absurdity is another's physical science. When I do stroll
gigs, I've found that if I stroll too fast the
Is the Doppler effect what happens when you pitch a theorbo end over
end? Is it the Droppler effect if the strap comes undone? Is it undone
if it's rare?
Date: Sun, 1 Jul 2012 13:37:37 -0700
To: lute@cs.dartmouth.edu
From: howardpos...@ca.rr.com
Subject: [LUTE] Re: Tuning
On Jul 1, 2012, at 1:55 PM, Ron Andrico wrote:
Is the Doppler effect what happens when you pitch a theorbo end over
end?
Pitching a theorbo end over end is an ahistorical practice because it's
possible only with a toy theorbo. Maybe Randy Johnson could pitch a theorbo
that way...
Is
we stop? I
say train your ears and tune to the best of your ability. RA
Date: Mon, 25 Jun 2012 13:24:40 +0100
To: lute@cs.dartmouth.edu
From: akbut...@tiscali.co.uk
Subject: [LUTE] Re: Tuning
with apologies to those who aren't interested
William Brohinsky wrote:
When intentionally tuning a cello to perfect fifths, use the octave
harmonic (divides the string in half) on the upper string, and the
'third' harmonic, i.e., the one that divides the lower string in
thirds.
Just for the sake of interest.
Harmonics on a plucked
On 25 June 2012 09:39, andy butler akbut...@tiscali.co.uk wrote:
Harmonics on a plucked string are a little bit sharp,
Isn't it the case that harmonics are pure by definition?
David
--
***
David van Ooijen
davidvanooi...@gmail.com
www.davidvanooijen.nl
09:55:50
To: Lutelist Listlute@cs.dartmouth.edu
Subject: [LUTE] Re: Tuning
On 25 June 2012 09:39, andy butler akbut...@tiscali.co.uk wrote:
Harmonics on a plucked string are a little bit sharp,
Isn't it the case that harmonics are pure by definition?
David
Subject: [LUTE] Re: Tuning
On 25 June 2012 09:39, andy butler akbut...@tiscali.co.uk wrote:
Harmonics on a plucked string are a little bit sharp,
Isn't it the case that harmonics are pure by definition?
David
--
***
David van Ooijen
davidvanooi...@gmail.com
with apologies to those who aren't interested ;-)
For a plucked instrument the finger on the node is removed from the string just
after the pluck. (otherwise the sound is damped)
Indeed, having sharp harmonics is a property of all strings outside the physics
lesson, as any piano tuner knows.
-...@cs.dartmouth.edu
Date: Mon, 25 Jun 2012 09:55:50
To: Lutelist Listlute@cs.dartmouth.edu
Subject: [LUTE] Re: Tuning
On 25 June 2012 09:39, andy butler akbut...@tiscali.co.uk wrote:
Harmonics on a plucked string are a little bit sharp,
Isn't it the case that harmonics are pure by definition
Message-
From: David van Ooijen davidvanooi...@gmail.com
Sender: lute-...@cs.dartmouth.edu
Date: Mon, 25 Jun 2012 09:55:50
To: Lutelist Listlute@cs.dartmouth.edu
Subject: [LUTE] Re: Tuning
On 25 June 2012 09:39, andy butler akbut...@tiscali.co.uk wrote:
Harmonics on a plucked string
: [LUTE] Re: Tuning
with apologies to those who aren't interested ;-)
For a plucked instrument the finger on the node is removed from the
string just after the pluck. (otherwise the sound is damped)
Indeed, having sharp harmonics is a property of all strings outside
...@tiscali.co.uk
Subject: [LUTE] Re: Tuning with apologies to those who aren't
interested ;-) For a plucked instrument the finger on the node
is removed from the string just after the pluck. (otherwise the
sound is damped) Indeed, having sharp harmonics is a property
of all strings
Thank you William Brohinsky - and others - for your response. I have been
tuning using the open strings fifths, but do remember a teacher years ago
telling me that tuning using the octave harmonic is more precise. I'll try
that method again. My Korg is a less high tech model; I may look
We would presume if you tune fifths by ear, you would tune them pure,
but ... if you have listened to fifths in equal temperament long
enough in your life, you might well unwittingly tune tempered fifths
by ear. So much for conditioning.
In equal temperament fifths are about 2 cents smaller than
Hi Ned,
Pure fifths and equal-tempered fifths are pretty damn close to each
other - slightly under 2 cents difference. I think the human ear -
even of a good piano tuner - will have difficulty picking up this
difference and will have to depend on beats to distinguish them. The
When intentionally tuning a cello to perfect fifths, use the octave
harmonic (divides the string in half) on the upper string, and the
'third' harmonic, i.e., the one that divides the lower string in
thirds. For tuning A against D, for instance, your little finger
should touch the same point where
Dear lute-listers,
A question from a beginner:
First to introduce myself, my name is Joshua and I've been playing the lute for
several months now; I have been on the list for a couple weeks and am really
enjoying following your discussions. I have a rental 7-course and I am now in
the process
: David Tayler vidan...@sbcglobal.net
To: lute lute@cs.dartmouth.edu
Subject: [LUTE] Re: tuning software?
Date: Wed, 1 Feb 2012 00:45:47 -0800 (PST)
This looks kind of cool
[1]http://www.musicmasterworks.com/tuning_software.html
manchap...@gmail.com
Subject: [LUTE] Re: tuning software?
To: David van Ooijen davidvanooi...@gmail.com
Cc: lutelist Net Lute@cs.dartmouth.edu
Date: Saturday, February 4, 2012, 4:19 PM
WinTemper is pretty good:
[1][1]http://wintemper.com/
Best,
Sam
Talking of tuning software. Has anybody come across anything that will
work on a Blackberry?
Bill
From: Craig Robert Pierpont crpierp...@yahoo.com
To: lutelist Net Lute@cs.dartmouth.edu
Sent: Sunday, 5 February 2012, 18:16
Subject: [LUTE] Re: tuning software?
Has
:
From: Sam Chapman [4]manchap...@gmail.com
Subject: [LUTE] Re: tuning software?
To: David van Ooijen [5]davidvanooi...@gmail.com
Cc: lutelist Net [6]Lute@cs.dartmouth.edu
Date: Saturday, February 4, 2012, 4:19 PM
WinTemper is pretty good:
[1][1][7
WinTemper is pretty good:
[1]http://wintemper.com/
Best,
Sam
On 29 January 2012 17:41, David van Ooijen
[2]davidvanooi...@gmail.com wrote:
It has come up, and I even had something installed on my computer
once, but I lost all. Does anybody use tuning software for
.
__
From: Ed Durbrow edurb...@sea.plala.or.jp
To: David van Ooijen davidvanooi...@gmail.com; LuteNet list
lute@cs.dartmouth.edu
Sent: Mon, January 30, 2012 7:22:44 PM
Subject: [LUTE] Re: tuning software?
The tuner in Logic (OSX) seems pretty good. There is Tuna
.
__
From: Ed Durbrow [2]edurb...@sea.plala.or.jp
To: David van Ooijen [3]davidvanooi...@gmail.com; LuteNet list
[4]lute@cs.dartmouth.edu
Sent: Mon, January 30, 2012 7:22:44 PM
Subject: [LUTE] Re: tuning software
On 1 February 2012 09:42, David Tayler vidan...@sbcglobal.net wrote:
I recommend the horribly named android app GStrings. Mulititemperament
multifunction with many programmable features.
Yep, I run it on my Archos too. Works well.
David
--
***
David van
The tuner in Logic (OSX) seems pretty good. There is Tuna Pitch, app
and widget, which I just tried and seems to work well, also Mac.
On Jan 30, 2012, at 1:41 AM, David van Ooijen wrote:
Does anybody use tuning software for Windows
and/or Mac, and if so, any feedback on the
Hello,
In my opinion this is the best software on the market at an
acceptable price: OT 120 Korg; I tune my baroque lute in 3 minutes with
it... [01.gif]
[1]http://www.korg.com/OT120
Caius
--- On Sun, 1/29/12, David van Ooijen davidvanooi...@gmail.com wrote:
From: David
Dear David,
For Mac:
Strobe tuner
Copyright © 2005-2007 Katsura Shareware.
It works on Mac OSX 10.6.8.
And as an iPhone applet: Cleartune.
All the best,
Andreas
PS: Time Machine for Mac is a clever solution for backups ;-)
Am 29.01.2012 um 17:41 schrieb David van Ooijen:
It has come
I use Strobe Tuner 1.6 from Katsura Shareware. $15. (It's good on a
Mac back to 10.3.9 --which is my Mac/Windows/Fronimo machine.) I more
often use the Cleartune on an ipod touch since it's easier to hold w/
a lute in my hand and does pretty much all the same things. The
Cleartune also
I second Cleartune for Iphone or Android.
Regards
David
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of David van Ooijen
Sent: Sunday, January 29, 2012 8:42 AM
To: lutelist Net
Subject: [LUTE] tuning software?
It has come up, and I even
Eeeew.
- Original Message -
From: Daniel Winheld dwinh...@comcast.net
Date: Wednesday, January 11, 2012 12:40 am
Subject: [LUTE] Re: tuning fork at 433Hz?
To: EUGENE BRAIG IV brai...@osu.edu
Cc: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
When did they change from gut saws?
On Jan 10
I agree with Chris, it is surprising that with their interest in
timbre-structures Schoenberg and followers apparently made no remarks on such
a major timbre change as that caused by moving from gut to metal strings;
although, Klangfarbenmelodie seems to have been a technique for fracturing
Howard,
--- On Sun, 1/8/12, howard posner howardpos...@ca.rr.com wrote:
Performances of their music were rare in those days, so the
issue of performance practice alternatives would not have
loomed large. And with the exception of the modern
early music movement, I can't think of many
Interesting topic.
This is maybe a bit facile, but I believe that the sound produced has a
lot more to do with the musician than it does with the particular
instrument or string material. OK an authentic gut-strung violin will
no doubt feel better to somebody who wants to produce
...@yahoo.com
Date: Tuesday, January 10, 2012 5:34 am
Subject: [LUTE] Re: tuning fork at 433Hz?
To: Christopher Wilke chriswi...@yahoo.com
Cc: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
I agree with Chris, it is surprising that with their interest
in timbre-structures Schoenberg
On Jan 10, 2012, at 4:21 AM, Christopher Wilke wrote:
OK, I used the Second Viennese School composers as an example due to the
particular concern they had with timbre at a minute level. The issue could
just as easily been voiced by Strauss, Mahler, Debussy, Ravel or others.
Around the
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)
I've read portions of it, but it's quite a large document to browse
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)
Eugene,
--- On Tue, 1/10/12, EUGENE BRAIG IV brai...@osu.edu wrote:
In the song cycle Ancient
Voices of Children, George Crumb asks
the mandolin be played with a
metal paper clip in stead of a plectrum
of more typical material:
plastics, tortoiseshell, etc. His
intent was to
On Jan 10, 2012, at 12:21 PM, Christopher Wilke wrote:
I've read portions of it,
More than I have, then.
but it's quite a large document to browse through. Relevant to the topic of
this discussion: What does he have to say about the relative merits and
defects of gut vs. steel strings
Did his ghost finish it for him
RT
From: howard posner howardpos...@ca.rr.com
On Jan 10, 2012, at 12:21 PM, Christopher Wilke wrote:
I've read portions of it,
More than I have, then.
but it's quite a large document to browse through. Relevant to the topic
of this discussion: What does
--- On Tue, 1/10/12, R. Mattes r...@mh-freiburg.de wrote:
He died in 1908 - that's pretty much before the general
shift to
metal strings on bowed instruments.
I thought it seemed a bit early for Rimsky-Korsakov to be discussing steel
strings in much depth. Does he discuss the tone of
On Jan 10, 2012, at 12:52 PM, Christopher Wilke wrote:
I thought it seemed a bit early for Rimsky-Korsakov to be discussing steel
strings in much depth. Does he discuss the tone of metal strings anywhere,
perhaps even a remark noting them as a new novelty?
Metal and steel are mentioned
On Jan 10, 2012, at 12:49 PM, Roman Turovsky wrote of Rimsky-Korsakov's
Principles of Orchestration:
Did his ghost finish it for him
RT.
Of course. Rimsky-Korsakov was like most musicians. On the whole, they don't
write well, so they make much use of ghost writers.
The name you're
4:00 PM
Subject: [LUTE] Re: tuning fork at 433Hz?
On Jan 10, 2012, at 12:49 PM, Roman Turovsky wrote of Rimsky-Korsakov's
Principles of Orchestration:
Did his ghost finish it for him
RT.
Of course. Rimsky-Korsakov was like most musicians. On the whole, they
don't write well, so
On Jan 10, 2012, at 1:09 PM, Roman Turovsky wrote:
Hmmm, what about those musicians who write rather well, in many languages,
including dead ones?
You have to have a ghost writer if you're going to write in a dead language.
--
To get on or off this list see list information at
as I recall Orff wrote masterfully in ancient Greek and Latin, without being
dead.
RT
- Original Message -
From: howard posner howardpos...@ca.rr.com
To: lute List lute@cs.dartmouth.edu
Sent: Tuesday, January 10, 2012 4:14 PM
Subject: [LUTE] Re: tuning fork at 433Hz?
On Jan 10
howardpos...@ca.rr.com
To: lute List lute@cs.dartmouth.edu
Sent: Tuesday, January 10, 2012 4:14 PM
Subject: [LUTE] Re: tuning fork at 433Hz?
On Jan 10, 2012, at 1:09 PM, Roman Turovsky wrote:
Hmmm, what about those musicians who write rather well, in many
languages, including dead ones
: Christopher Wilke chriswi...@yahoo.com
Date: Tuesday, January 10, 2012 3:43 pm
Subject: [LUTE] Re: tuning fork at 433Hz?
To: lute@cs.dartmouth.edu lute@cs.dartmouth.edu, EUGENE BRAIG IV
brai...@osu.edu
Eugene,
--- On Tue, 1/10/12, EUGENE BRAIG IV brai...@osu.edu wrote:
In the song cycle
the melody up or
down. Bowed saw isn't much like any lutey kin.
Eugene
- Original Message -
From: Christopher Wilke chriswi...@yahoo.com
Date: Tuesday, January 10, 2012 3:43 pm
Subject: [LUTE] Re: tuning fork at 433Hz?
To: lute@cs.dartmouth.edu lute@cs.dartmouth.edu, EUGENE BRAIG IV
close to the pitches
notated for saw. The best I could do is generally follow the melody up or
down. Bowed saw isn't much like any lutey kin.
Eugene
- Original Message -
From: Christopher Wilke chriswi...@yahoo.com
Date: Tuesday, January 10, 2012 3:43 pm
Subject: [LUTE] Re: tuning
, Guitarist and Composer
www.christopherwilke.com
--- On Sat, 1/7/12, Anthony Hind agno3ph...@yahoo.com wrote:
From: Anthony Hind agno3ph...@yahoo.com
Subject: [LUTE] Re: tuning fork at 433Hz?
To: t...@heartistrymusic.com, e...@gamutstrings.com, howardpos...@ca.rr.com
Cc: lute@cs.dartmouth.edu
Date
On Jan 8, 2012, at 5:17 AM, Christopher Wilke wrote:
I find the area of performance practice in the early 20th century to be
extremely fascinating. There were a lot of changes that effected the quality
of instrumental timbre, but they seem to have happened with little complaint
or
2012 15h47
Objet : [LUTE] Re: tuning fork at 433Hz?
I don't think it was me made the remarks about tense people tuning
sharp,
it's not an effect I've noticed.
Gordon
-Original Message-
From: [1]lute-...@cs.dartmouth.edu
[mailto:[2]lute-...@cs.dartmouth.edu] On Behalf
Thank you all for your responses, and your detailed explanations, Tom.
I agree that
In fact, that's one reason pitch has risen over the past few hundred
years - more string tension = higher volume and brighter sound. Even
today some orchestras tune to 442 -444, to take advantage
...@gamutstrings.com; howardpos...@ca.rr.com
Cc: lute@cs.dartmouth.edu
Subject: [LUTE] Re: tuning fork at 433Hz?
Thank you all for your responses, and your detailed explanations, Tom.
I agree that
In fact, that's one reason pitch has risen over the past few hundred
years - more string
Thanks Anthony,
although it would indeed seem difficult to explain why 433
might be the harmonic frequency of the universe.
BTW - they think it's 432 - one vibe-per-second less than your fork.
These people have elaborate and mathematical explanations on their
This is very interesting to me, because an old friend recently alerted me to
a new line of thinking claiming that 432Hz OUGHT to be true concert pitch.
There are websites devoting a lot of space to articles and discussions about
this.
http://www.omega432.com/music.html
So true. I recall years ago, playing a mandolino in the double
Vovaldi concerto, with a modern chamber orchestra. The concertmaster
gave a true a=440 to tune all the string players, but most of the
string players tuned sharper than that, and they were around 443. I
recall in rehearsals
On Jan 6, 2012, at 3:43 PM, Edward Martin wrote:
I
recall in rehearsals stopping, and inquiring why they did that. They
responded that many of the individual violinists tuned sharp, so I
can hear myself, and they found that it was easier for them to play that way.
The usual answer is
How silly is that? Playing sharp _is_ out of tune!
At 05:51 PM 1/6/2012, howard posner wrote:
On Jan 6, 2012, at 3:43 PM, Edward Martin wrote:
I
recall in rehearsals stopping, and inquiring why they did that. They
responded that many of the individual violinists tuned sharp, so I
On Jan 6, 2012, at 4:17 PM, Edward Martin wrote:
The usual answer is better sharp than out of tune.
How silly is that? Playing sharp _is_ out of tune!
Well, it's a joke, but like much humor, it's based in experience. If the
orchestra is playing at 441 and the flute player comes in at 442
Try to turn the wound string around (tail to head). If that does not work - it
is wounded indeed! and you need the new string. Of course, one can spend some
time with a micrometer measuring the string, looking for the twisted part of
it, and hoping it is not in the middle of the string. But
Dear All,
Yes, I agree, try turning the string round. What happens is the string
gets worn thinner, especially around the second fret where it gets
fingered more often than anywhere else.
Gut string users should note that this happens with gut strings as well,
so turning the string round
On Thu, Jul 16, 2009, Ivo Jancík iv...@trabant.cz said:
Hello everybody.
I have a tuning problem with my lute, which I don't know how to solve. I have
got 8-course lute, G-tuning, 572 mm bridge to nut. My fifth course (C)
consists of Nylgut 56 and wounded NG 112D (octave difference).
Hi All,
I've got exactly the same problem: same kind of lute, same tuning, same
course, same string (which is actually a brand new one)... I wonder if this
is not a string problem.
Nicolás
-Mensaje original-
De: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] En nombre
de
Different take on the issue.
If you're using a metal-wound (rich in harmonics) on the 5th course of
an 8-course lute, there is no reason whatsoever to pair that with an
octave string (there only to enrich a dull (gut) bass string with
extra harmonics).
So, how about replacing the octave string
And the double metal wounds struck together seem to reinforce
themselves so they ring f-o-r--e--v---ah !
Uuuwwaawaaaoooo, baby!
We 'stuck-in-the-rennaissance-touchy-feely-ropey-gut-types' just have
to go to longer lutes to get that kind of sustain-lovin' action.
Here's another 8 course (all gut) with the out-of-tune fretted 5th
(and, once, 6th) course. Took the advice of reversing the string (in this
case, the fundamental), and -- presto! no problem. Saved me $20 on a pistoy
gut string. The old one had gone false, but in away that reversal
That's a good trick, Leonard, and a real dollar saver. And the strobe
could be useful. On a good string in natural light it *should* be
difficult to pick out the wavy line of a false string. Still I wonder
if the strobe might give you the 'false positive' of a bad string.
Obviously I
One thing about gut strings when using a 4th course, or larger
diameter, all one has to do is to stick the string through the peg
hole. None does not have to make a knot kink it.
ed
At 06:43 PM 7/16/2009, Sean Smith wrote:
Another trick is to never cut the bass fundamental whatever its
Dear Leonard and All:
The wise guys in the New York Continuo Collective generally use G as their
tuning standard. When somebody new asks for an A, they reply, eh?
Cheers,
Jim
From: Leonard Williams [EMAIL PROTECTED]
Date: 2008/07/29 Tue PM 05:30:29 CDT
To: Lute List lute@cs.dartmouth.edu
Does anyone else tune down the chanterelle after playing or tie
pieces on to broken strings and re-use them? If so, how long does
it extend the life of the string?
I do this all the time with lower non treble courses that break above the nut.
I even use thick non stretchy thread or even
It depends on how salvageable the string is. If it broke in the pegbox
area and is a good treble, I have no shame in getting further use out of it.
I am noticing much longer life lately in gut trebles for my baroque lutes
(11 and 13 course), because I tune them lower than usual.
ed
At
Leonard
Sean Smith gave me information about the Strobe Tuner 1.5 for
$15 from Katsura Shareware
Sean says, It appears to be Mac _only_ and it's far more exacting
than my strings or my ear. It's nice to have the choice of 1/4 or 6th
comma, or even equal temp. in any key and/or hertz.
: Rebecca Banks [mailto:[EMAIL PROTECTED]
Sent: Wednesday, November 21, 2007 3:27 PM
To: [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Subject: [LUTE] Re: Tuning Blues
November 21st, 2007
Dear David:
Thank you for your kind email. I have already ordered the replacement
gut strings from
On Nov 22, 2007, at 12:15 AM, Guy Smith wrote:
You should try to get to an LSA seminar, if possible. Next year is in
Cleveland, which isn't all that far from Montreal (a good bit
closer than
Seattle, anyway). You will see all sorts of lutes there, and folks are
usually more than happy to
A must read.
Just say no to Valotti.
http://music.cwru.edu/duffin/
dt
At 03:56 PM 11/19/2007, you wrote:
In case someone doesn't know it, there's an enjoyable paper by Ross
Duffin online:
Why I hate Valotti (or is it Young?):
http://music.cwru.edu/duffin/
Regards,
Stephan
Am 19 Nov 2007
In case someone doesn't know it, there's an enjoyable paper by Ross
Duffin online:
Why I hate Valotti (or is it Young?):
http://music.cwru.edu/duffin/
Regards, Stephan
How nice to be validated! Thank you so much for the above reference-
great article. When I was actively messing around with
Dear All
After leaving my bag in a motorway cajé with papers some music and
Korg OT12 tuner, I was forced, while waiting for it to be sent on to
me. (There are some honest people about!), to use my equal
temperament Zen-on Chromatina 331 tuner. I bought this 20 years ago.
Yes I know I
Not me- keep the gimps; and if the Korg keeps giving you trouble tell
it you're taking it out for coffee again...
Any ideas about this. Yes I know you are going to tell me to swap my
gimped for wirewounds!!!
and that the Korg is telling me that the string has gone false
One big problem with
In case someone doesn't know it, there's an enjoyable paper by Ross
Duffin online:
Why I hate Valotti (or is it Young?):
http://music.cwru.edu/duffin/
Regards, Stephan
How nice to be validated! Thank you so much for the above reference-
great article. When I was actively messing around with
I'll try that David
Le 20 nov. 07 à 12:32, Daniel Winheld a écrit :
Not me- keep the gimps; and if the Korg keeps giving you trouble tell
it you're taking it out for coffee again...
Any ideas about this. Yes I know you are going to tell me to swap my
gimped for wirewounds!!!
and that the
Benjamin Stehr wrote:
Hi Steward,
i choosed a tension that works well in 440 on the extension of my theorbo.
Changing to 415 caused the 8th course to touch the fretboard when playing
very loud, but putting something under the saddle on the extension (about
1mm) increased the forward pull on
Hi Steward,
i choosed a tension that works well in 440 on the extension of my theorbo.
Changing to 415 caused the 8th course to touch the fretboard when playing
very loud, but putting something under the saddle on the extension (about
1mm) increased the forward pull on the extension so that this
End of Tuning blues,
http://www.gibson.com/robotguitar/RobotGuitarVideoVoting.aspx
hope they will develop it soon for lute. ;-)
lute on
we
Nigel Solomon schrieb:
Benjamin Stehr wrote:
Hi Steward,
i choosed a tension that works well in 440 on the extension of my
theorbo.
Changing to 415
Hi all,
Nigel Solomon wrote:
Benjamin Stehr wrote:
Do the others on this list change the strings on their instruments
between 415 and 440?
Big instruments like theorbos don't seem to mind being tuned up or
down a semi-tone, a slightly harder or weaker tension doesn't make
much
Ever try just tuning down a semitone and playing a G instrument?
On Nov 19, 2007, at 10:03 AM, Stewart McCoy wrote:
My theorbo is tuned at A=415, and is not designed to go up to
A=440. However, if I need to play at A=440, I get round the problem
by turning the 14th course (G) down to
I know the feeling. For me, every now and then a correct chord creeps
in. It's very gratifying when that happens.
On Nov 19, 2007, at 3:29 PM, Stewart McCoy wrote:
I can happily read figured bass on a G lute and an A theorbo, but
when I swap the tunings around, mistakes start to creep in.
In case someone doesn't know it, there's an enjoyable paper by Ross Duffin
online:
Why I hate Valotti (or is it Young?):
http://music.cwru.edu/duffin/
Regards,
Stephan
Am 19 Nov 2007 um 18:03 hat Stewart McCoy geschrieben:
Dear David,
The temperament known as Valotti was presumably
Hi Rebecca- love to help, but we need to know the string length. I
don't know the extreme limit for a D [EMAIL PROTECTED], but when I had a
short scale bass for solo work, I could get up to E @A=440 on 72 cm.
w/nylon before the instrument's response pooped out. I usually kept
it at 415 to 420
Just found a very interesting interactive educational website dealing with
tuning:
http://www.j2b.co.uk/tuning/index.html
Leonard
Very nice!
David
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
]; [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Subject: [LUTE] Re: tuning/modern orchestras/King Kong
At 06:51 PM 12/19/2005, [EMAIL PROTECTED] wrote:
In einer eMail vom 20.12.2005 00:02:56 Westeurop=E4ische Normalzeit schreibt
[EMAIL PROTECTED]:
Jackson also took the Lord of the Rings a step
At 07:30 AM 12/18/2005, [EMAIL PROTECTED] wrote:
But modern or period still does matter, I enjoy listening to Bruckner, Mahler
etc. But I don't want to hear it played on a clavichord !
An inaudible lute showing it's extended pegbox is just not good enough for
me, I expect a so high a level of
At 09:26 AM 12/18/2005, Daniel Shoskes wrote:
On Dec 18, 2005, at 8:49 AM, Rob MacKillop wrote:
.
Why am I getting back to the lute? I need one for my new post. I
have just
become Musician In Residence to a University for 3,500 nurses!!!
Hmm. Shades of Antonio Vivaldi?
Oops. Please
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