Thanks for the youtube links. I didn't remember that
front shot of the instrument from 1991 (?). It is
obviously an attiorbato being fake played by an actor.
After all these years, the fingering is even more
distracting than I remember.--Especially St. Colombe
in that scene. I guess Mr. Sovall
be able
to confirm this.
- Original Message -
From: Michael Bocchicchio [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Saturday, February 02, 2008 9:07 AM
Subject: [LUTE] Theorbo/prop; youtube solves mystery, Thanks.
Thanks for the youtube links. I didn't remember that
front shot
attiorbato, in sync. I don't
think it's Lislevand, because he plays left-handed (unlike the
theorbo player in the orchestra scenes).
I did not think that Lislevand plays left handed, or are you
referring to
the player in the movie? It does not appear anything like
Lislevand
I think I had problems sending this message, sorry if it is duplicated...
Thanks Tony, Anthony and Lino for the kind words and link to my webpage. Don't
be mistaken : Lino is also a talented player, the only thing is he is
right-handed; nobody's perfect... ;-))) !
Well, Tony, if I remember well
Martyn Hodgson [EMAIL PROTECTED] wrote: Date: Sat, 2 Feb 2008 12:50:27 +
(GMT)
From: Martyn Hodgson [EMAIL PROTECTED]
Subject: Re: [LUTE] Re: Theorbo in G? Plus some guidelines
To: howard posner [EMAIL PROTECTED]
Thanks for this; I now better understand your position with which
Martyn Hodgson wrote:
In subsequent messages I gave more information (you must have
missed it): - how such small instruments were strung (just top
course an octave down or at a much higher nominal pitch eg D), -
early written evidence of theorbo sizes, - examples of solo music
All that said, the answer to the original question is that the lute
player is really playing a real liuto attiorbato, in sync. I don't
think it's Lislevand, because he plays left-handed
Ehm... No, he doesnt... But he does play a very small right-handed
theorbo. The reason he chose a small
I have made the point before that we would expect an instrument
designed to be played at AF6 to have strings about 83% the length
of an instrument designed to be played at A=390. If so, all other
things being equal, you'd expect that a 76cm instrument designed for
AF5 to be tuned the same
or another on the actual question.
First, it's grounded in the assumption that most powerful sound is
the governing consideration in stringing a theorbo. This could
hardly have been universally true historically. Why even build a
double-strung theorbo if loudness is all you want? Yet
Does anyone remember the instrument used in the movie
All the Mornings of the World to accompany the two
girls singing Un Jeune Fillette? The liner notes on
the disc say R. Lislevand- theorbo.
It has been some years since I saw the movie, but I
remember marveling at this instrument having
the two
girls singing Un Jeune Fillette? The liner notes on
the disc say R. Lislevand- theorbo.
It has been some years since I saw the movie, but I
remember marveling at this instrument having a very
short neck extension and strangely attached/placed
upper peg box. At the time, I summed it up
. Lislevand- theorbo.
It has been some years since I saw the movie, but I
remember marveling at this instrument having a very
short neck extension and strangely attached/placed
upper peg box. At the time, I summed it up to an
unfamiliar French variation of the English theorbo, or
a pure Hollywood
to the original question is that the lute
player is really playing a real liuto attiorbato, in sync. I don't
think it's Lislevand, because he plays left-handed (unlike the
theorbo player in the orchestra scenes). I'm sure one of the
European correspondents remembers his name. An Italian lute
At 10:25 PM 2/1/2008 -0800, howard posner wrote:
All that said, the answer to the original question is that the lute
player is really playing a real liuto attiorbato, in sync. I don't
think it's Lislevand, because he plays left-handed (unlike the
theorbo player in the orchestra scenes).
I did
07:25
À : Lute Net
Objet : [LUTE] Re: G Theorbo or movie prop?
On Feb 1, 2008, at 8:43 PM, Sean Smith wrote:
The movie itself didn't sync up because the actors didn't play the
instruments we heard. I confess I watched most of the movie with my
eyes closed.
True, the on-camera playing would
You can easily work it out yourself from what I've told you
David Tayler [EMAIL PROTECTED] wrote: OK, I'm asking, how would you,
specifically, tune the theorbos I just
mentioned?
Atton, Ecco, Hoess,
Kaiser, Aman, Koch, Langenwalder, Attore, Mascotto, Stehelin, Greiff,
Tieffenbrucker
dt
At
To the benefit of those not interested in a peeing contest but in theories
on theorbo stringing, as I am, and not in the happy possesion of a list of
historical theorbos stating string length and setup, here's what the guys
are talking about (info taken from one of the Pohlmanns lying around
Just out of interest, what size chitaronne do you think Piccinini was
playing when he wrote his pieces? I used to have a 92cm chitaronne and I
can tell you not many of those pieces are playable on a monster like
that. The theorbo I have now measures 85 cm and even then a lot of the
pieces
A or G tuned but with only the first course tuned an octave
down ie highest course is the second at e for an A theorbo or d for a G theorbo;
OR with first two courses an octave down but at a higher nominal pitch eg
in D like Talbot MS French lesser theorboe for lessons; note that in this case
of
Italian solo music to be quite technically challening
even on my small theorbo (76cm) which I currently have
inauthentically tuned in A. And then there's always
the tiorbino tuned an octave higher than the regular
theorbo...
Only Castaldi published for this, but I suppose it
could have been in wider use
Collected wisdom
I, for one, am grateful for the information on theorbo tuning and sizes.
I hope the discussion does not get too prickly to continue - Please, swallow
your rancor.
Joseph Mayes
On 1/31/08 8:36 AM, Martyn Hodgson [EMAIL PROTECTED] wrote:
I've already very clearly
tuned but with only the first course tuned an
octave down ie highest course is the second at e for an A theorbo or d for
a G theorbo;
OR with first two courses an octave down but at a higher nominal pitch
eg in D like Talbot MS French lesser theorboe for lessons; note that in
this case
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
Jurek
___
On 2008-01-31, at 17:25, LGS-Europe wrote:
I've already very clearly explained how small theorboes (ie up to
low 80s) were tuned (and even given sources for tablature
connecting any particular theorbo
with any particular stringing, tuning or nominal pitch, though the
Talbot ms does contain measurements that are subject to varying
interpretations.
That's actually more information than was contained in Martyn's posts
on the subject (which seemed to consist
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I don't. I keep mine (76cm) in a, first two courses down. All gut, 415 to
466 tested. I don't see the point why not. I haven't seen valid and or
historical arguments against it. It would work in d too, I'm
On Jan 31, 2008, at 9:56 AM, Jerzy Zak wrote:
I'm interested how one manages with the bass notes below the _d_ on
the 6th course of the instrument tuned in 'd'. This is more or less
one third of the statistical bass notes in an everage part to play
(depending of course on period and
On 2008-01-31, at 18:20, LGS-Europe wrote:
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I don't. I keep mine (76cm) in a, first two courses down. All gut,
415 to 466 tested. I don't see the point why not. I haven't seen
valid and or historical
On Jan 31, 2008, at 8:56 AM, Jerzy Zak wrote:
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I'm not sure what the it in your question is.
When Ensemble Chanterelle consisted of Sally Sanford, Cathy Liddell
and Kevin Mason, their basic setup was voice
A small price to pay for being able to play a three-note chord over
middle C in first position?
That's the point and the most promising bit. However the price seems to me
not small, indeed, and therefore my quest for someone maybe experienced.
Play an archlute! ;-)
Are
To get on or off
it for continuo too, but that's another starting point. If you're
after one continuo theorbo with two first strings down, a or g seems more
practical.
David
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On 2008-01-31, at 20:42, Are Vidar Boye Hansen wrote:
A small price to pay for being able to play a three-note chord over
middle C in first position?
That's the point and the most promising bit. However the price
seems to me not small, indeed, and therefore my quest for someone
maybe
Dear Howard,
On 2008-01-31, at 18:59, howard posner wrote:
On Jan 31, 2008, at 8:56 AM, Jerzy Zak wrote:
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I'm not sure what the it in your question is.
Martyn Hodgson in his recent reply stated quite
have one, I'm sure
you'll use it for continuo too, but that's another starting point. If you're
after one continuo theorbo with two first strings down, a or g seems more
practical.
David
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
OK, I'm asking, how would you, specifically, tune the theorbos I just
mentioned?
Atton, Ecco, Hoess,
Kaiser, Aman, Koch, Langenwalder, Attore, Mascotto, Stehelin, Greiff,
Tieffenbrucker
dt
At 12:32 AM 1/30/2008, you wrote:
you replied to it
David Tayler [EMAIL PROTECTED] wrote:
I must have
Dear Nigel,
My 14-course theorbo in A has eight pegs for short strings, and eight pegs for
long strings. This means I can string it 6/8, 7/7, or 8/6. I used to have it
7/7, but a broken string made me change to eight short and six long, and I've
stayed that way ever since. Even though I could
On Jan 30, 2008, at 4:21 PM, Stewart McCoy wrote:
I can string it 6/8, 7/7, or 8/6. I used to have it 7/7, but a
broken string made me change to eight short and six long, and I've
stayed that way ever since. Even though I could have both a low F
and a stopped low F# available, I rarely
download free
from the internet Fleury's treatise on playing the
theorbo, published in 1660. He clearly had six short
strings on his theorbo. On page 8 he gives a
chromatic scale up from low F to the D above middle
C. Above each note of the scale he gives the
appropriate chord in tablature. His
Mace, Wilson
MH
David Rastall [EMAIL PROTECTED] wrote:
If the solo theorbo, being by definition an instrument of shorter
playing length, is known to have been tuned with only the first
course in re-entrant tuning, presumably there was some amount of solo
repertoire for that tuning
the theorbo, a website is great.
Maybe start with a list of all the different sizes, Pohlmann could
use an update. The list will be large, and diverse, or it will be incomplete.
Of what use is a preselected list for study?
As for whether I can handle a larger instrument, well, I await the
Lauten Werfen
How were they tuned?
dt
At 12:42 AM 1/29/2008, you wrote:
As very carefully explained earlier, theorbos of your recommended
size existed but not tuned as you believe.
MH
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
see earlier
David Tayler [EMAIL PROTECTED] wrote: How were they tuned?
dt
At 12:42 AM 1/29/2008, you wrote:
As very carefully explained earlier, theorbos of your recommended
size existed but not tuned as you believe.
MH
To get on or off this list see list information at
they are not - unless the composer is
aiming for a special effect. Personally, my modern
ears don't find such a sudden jump too objectionable
but I can't imagine that baroque listeners wouldn't
find it extremely disturbing.
Suffice it to say that, without some sort of adaption
of the re-entrant theorbo tuning
I must have missed that post, if you can tell me how the following
instruments were tuned
Atton, Ecco, Hoess,
Kaiser, Aman, Koch, Langenwalder, Attore, Mascotto, Stehelin, Greiff,
Tieffenbrucker
Then I can do some analysis.
dt
At 05:03 AM 1/29/2008, you wrote:
see earlier
David Tayler
in the
high 80s to low 90s.
Clearly, with modern overwound strings, 'toy' theorboes are possible but that
is insufficient reason for suggesting them as the first choice
MH
David Tayler [EMAIL PROTECTED] wrote:
You can ALWAYS change the strings on a theorbo, shortening the neck,
etc
used the term toy
theorbo. That doesn't mean it isn't inappropriate or
short-sighted.
Much impressive scholarly work has been done by
Lynda and others. Unfortunately, for the question of
stringing and pitch, so much of what we have to go on
is conjecture of gut's capabilities based upon our
modern
Martyn,
Yes, I know many have used the term toy
theorbo. That doesn't mean it isn't inappropriate or
short-sighted.
Much impressive scholarly work has been done by
Lynda and others. Unfortunately, for the question of
stringing and pitch, so much of what we have to go
You are one to talk. Do you honestly think Straube wore jeans when he
performed???
http://www.youtube.com/watch?v=p5Eal16Wa3A
DS
On Jan 28, 2008, at 8:33 AM, [EMAIL PROTECTED] wrote:
We may
eventually be able to uncover the truth, but we may
also never know. The situation is confusing
of these different types of
theorbos were tuned is simply untenable as of now.
There may not have even been - and probably wasn't -
such a thing as THE theorbo back in the day. We may
eventually be able to uncover the truth, but we may
also never know. The situation is confusing enough
without the ol' Early
pitch all of these different types of
theorbos were tuned is simply untenable as of now.
There may not have even been - and probably wasn't -
such a thing as THE theorbo back in the day. We may
eventually be able to uncover the truth, but we may
also never know. The situation is confusing enough
the large theorbo
he reports is smaller than generally reckoned - how do you conclude this?
Smaller theorbos did, of course, exist but with the first course an octave
down as also commonly used throughout the 17thC. I'd refer you to Lynda
Sayce's website where she discusses the matter
, you might go for a lighter
one. Would an older historical player have felt the same?
I think if one wants to help promote the theorbo, a website is great.
Maybe start with a list of all the different sizes, Pohlmann could
use an update. The list will be large, and diverse
OK, gang: inquiring minds want to know.
Is there any historical source that correlates the size of a theorbo
with pitch, or tuning, or stringing (single/double courses, single/
double re-entrant)?
On Jan 28, 2008, at 5:44 AM, Martyn Hodgson wrote:
I'm merely pointing out that his advice
been - and probably wasn't -
such a thing as THE theorbo back in the day. We may
eventually be able to uncover the truth, but we may
also never know. The situation is confusing enough
without the ol' Early Music Police showing up on the
scene. ;-)
Chris
If the solo theorbo, being by definition an instrument of shorter
playing length, is known to have been tuned with only the first
course in re-entrant tuning, presumably there was some amount of solo
repertoire for that tuning. Where can it be found? The only solo
repertoire I know
As far as reentrant goes, a notch away in size is also a notch in
pitch, so a size smaller can be tuned in double reentrant a tone higher.
So that is really not an issue. I use double for most solo pieces,
but some sound persuasive in single. My solo instrument at 465 in A
is too high for
gm not nearly as bad as it seems on an A theorbo. Peri also wrote a lot in g
and G maj. and his pieces work well too. Even F is okay once you figure out
how to stay away from the Bb barr chord on the first fret. Reentrant tuning
helps . R.
From: Ed
You can ALWAYS change the strings on a theorbo, shortening the neck,
etc big problem.
Make sure you have enough pegs and holes and grooves to string it and
tune it anyway you want!
Guidelines (highly subjective, of course)
It should fall between these very general guidelines
String length 77-82
But look at how many pieces are in the key of F for a nominal G
Renaissance lute. I would expect something close to the same
proportions transposed up a tone for a theorbo in A.
cheers,
On Jan 16, 2008, at 2:07 AM, Rob wrote:
I have a theorbo being made now by Malcolm Prior for delivery
This is a very interesting question that has several answers:
practical, modern, professional historical.
The griffen element is subjective, of course.
1. Professional. As a professional, you need several theorbos. For my
work, I require at least four. Therefore, the theorbo in G at 465
Paintings Engravings exist, but the single strung thing is mainly
modern guitar practice.
There is also a hybrid style used quite a bit nowadays that has
guitar style theorbo (heavy single strings, etc) plus semi
historical technique.
Zero is an awfully big number, but it freezes well.
dt
I very much agree and I deprecate the various lute societies making editions of
Italian music in French tablature when they ought to be encouraging people to
read the latter - it's really not difficult.
MH
Are Vidar Boye Hansen [EMAIL PROTECTED] wrote:
As you imply: I guess it's
, January 17, 2008 12:01 AM
Subject: [LUTE] Re: Kapsberger's lute (was: banchieri and the Theorbo in G)
be that the lute in question here actually is a 10/11-corse liuto
attiorbato?
If that means, 1st and 2nd courses normal (like on the lute), the answer
is no. All pieces of Libro prima require 1st
As you imply: I guess it's because they can't be bothered to
learn to read on an A instrument
A lot of people prefer to work in those areas they're most familiar
with. We have modern editions of Italian music in French tablature,
because French tab is the one that a lot of people feel
I had a quick look through the libro primo di lauto, but could not find any
indication of more than 10 courses. You must be mixing up the primo di
chitarone.
No, the person who told me was very specific that it was the libro primo
di lauto, and that this is the first source for 11-course
What do you call a tablature polyglot? A tablyglot?
G.
- Original Message -
From: Are Vidar Boye Hansen [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Thursday, January 17, 2008 6:45 PM
Subject: [LUTE] Re: Theorbo in G?
As you imply: I guess it's because they can't be bothered
and the Theorbo in G)
I had a quick look through the libro primo di lauto, but could not find
any
indication of more than 10 courses. You must be mixing up the primo di
chitarone.
No, the person who told me was very specific that it was the libro primo
di lauto, and that this is the first source
Corrente 7
- Original Message -
From: Are Vidar Boye Hansen [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Thursday, January 17, 2008 8:02 PM
Subject: [LUTE] Re: Kapsberger's lute (was: banchieri and the Theorbo in G)
Yeah, and he was probably right! On second check, page 29 ms
Yeah, and he was probably right! On second check, page 29 ms. 27 shows an
11th course?
!? Which piece?
Are
To get on or off this list see list information at
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: [LUTE] Re: Kapsberger's lute (was: banchieri and the Theorbo in
G)
Corrente 7
- Original Message -
From: Are Vidar Boye Hansen [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Thursday, January 17, 2008 8:02 PM
Subject: [LUTE] Re: Kapsberger's lute (was: banchieri and the Theorbo
Unfortunately my work it's in Italian only. It was written 12 years ago
and I'm now working again on it, for a printed version.
What you read is just a draft copy.
Pretty good for a draft copy, I'd say. Thank you for sharing this with us.
David
David van Ooijen
for a moment that his
bass lines might actually be what he played on his theorbo, he seems to have
had a 10c theorbo, as with Kapsberger's first book, possibly a large bass
lute in A with the first two courses down an octave.
Did Banchieri utilize more than ten courses? Is it possible he had
[EMAIL PROTECTED] écrit:
Banchieri in his Conclusioni nel suono dell'organo (Bologna 1609), p.
59, gives a G tuning for the chitarrone, with the
reentrant tuning for the first string only.
From my homepage (under 'docs tab') you can download a pdf copy of my
dissertation about the chitarrone
I'm wondering how many of the early publications for a 'theorbo' (various
spellings) or chitarrone were actually for large 10c bass lutes with
re-entrant tunings?
I wonder about this too! As far as I know, Kapsberger's Libro primo for
chitarrone is for a 10-course instrument.
Are
PS: I
I'm wondering how many of the early publications for a 'theorbo' (various
spellings) or chitarrone were actually for large 10c bass lutes with
re-entrant tunings?
I wonder about this too! As far as I know, Kapsberger's Libro primo for
chitarrone is for a 10-course instrument.
You can find
that the theorbo isn't just a big lute.
The lute list's favorite riddle: when is a lute not a lute? If I
see theorbos in general as continuo-lutes, and the large theorbos as
double-bass lutes, what am I failing to appreciate? Am I missing
something?
David R
[EMAIL PROTECTED]
--
To get
On Jan 15, 2008, at 1:54 PM, Rob wrote:
so why do people choose to tune to G?
Is it purely because they already think 'in G', or is there another
reason?
G tuning (with the second course at lute pitch) seems to have been
common in England. Mace wrote that the theorbo was just a big lute
I'm wondering how many of the early publications for a 'theorbo' (various
spellings) or chitarrone were actually for large 10c bass lutes with
re-entrant tunings?
I wonder about this too! As far as I know, Kapsberger's Libro primo for
chitarrone is for a 10-course instrument.
You can
Are Vidar Boye Hansen [EMAIL PROTECTED] schrieb:
be that the lute in question here actually is a 10/11-corse liuto
attiorbato?
If that means, 1st and 2nd courses normal (like on the lute), the answer
is no. All pieces of Libro prima require 1st and 2nd courses down the
octave. (Nevertheless,
be that the lute in question here actually is a 10/11-corse liuto
attiorbato?
If that means, 1st and 2nd courses normal (like on the lute), the answer
is no. All pieces of Libro prima require 1st and 2nd courses down the
octave. (Nevertheless, one might want to discuss one or another
Rob,
I play theorbo more than anything (the only instrument which seems to pay and
you do get a lot of variety) - mine is in A at 93cm.
In fact G is a very strong key (possibly with D the strongest) on the A
theorbo - quite a few open strings and the relative keys are also strong
Banchieri in his Conclusioni nel suono dell'organo (Bologna 1609), p. 59,
gives a G tuning for the chitarrone, with the
reentrant tuning for the first string only.
From my homepage (under 'docs tab') you can download a pdf copy of my
dissertation about the chitarrone and the continuo in
On Jan 15, 2008, at 4:54 PM, Rob wrote:
...so why do people choose to tune to G?
Is it purely because they already think 'in G', or is there another
reason?
That's the reason I would do it. I spent so long playing renaissance
lute that I think in G. Also the first methods I found for
Diego wrote:
..
From my homepage (under 'docs tab') you can download a pdf copy of my
dissertation about the chitarrone and the continuo in Italy.
..
Here's the link:
www.diegocantalupi.it/tesi.pdf
Mille grazie Diego! Molto interessante!
Ciao,
Arto
To get on or off this list see list
also
says ' The lesser Theorbo (fitt for lessons [solos?]) carryes the same number
of ranks (courses) and Strings with F. Theorbo and is 4 notes higher all the
way. Plus other helpful observations. He also confirms the tuning as in d.
There is some evidence from M Crevecoeur quoted by Talbot
Many thanks, Martyn. Nothing there to convince me either that it was
commonplace for French theorbo music or for de Visee.
Cheers,
Rob
www.rmguitar.info
-Original Message-
From: Martyn Hodgson [mailto:[EMAIL PROTECTED]
Sent: 08 January 2008 08:09
To: [EMAIL PROTECTED]; 'Lute Net
Jurek,
You should ask Lynda Sayce: www.theorbo.com
Rob
www.rmguitar.info
-Original Message-
From: Jerzy Zak [mailto:[EMAIL PROTECTED]
Sent: 12 December 2007 19:28
To: Barocklautenliste Lutelist'
Subject: [BAROQUE-LUTE] theorbo music sources
Dear List,
I know, the Christian
From what Weiss writes (and thanks for the quote Mathias - is it complete?),
I infer that he's saying he is obliged to use nails on the theorbo to produce
the volume/edge required but, because he doesn't mention doing so on the lute,
he didn't on the lute. Incidentally. I suspect (again
message sounds about right to my non specialist ears,
having never played the
theorbo.
Regards
Anthony
Le 12 déc. 07 à 14:56, Joseph Mayes a écrit :
I think this might be a case of front-end loading. That is:
looking at
data from an established point of view - to whit:
Weiss hints that he used
PROTECTED]
Date: Sat, 8 Dec 2007 16:58:53 -
To: baroque-lute@cs.dartmouth.edu
Subject: [BAROQUE-LUTE] Re: Theorbo
Hi Theo,
Some confusion here. Assuming de Visee used the small theorbo, it would be
strung in the old tuning but with both the first and second courses down an
octave AND the whole
I think there are more theorbo players on the main lute list, Theo, so you
might get more feedback there. Everyone is different, of course, and what
works for me might not work for you. I found the larger one easier in every
respect - musically and physically.
Rob
www.rmguitar.info
Music written for a big instrument tends to take the size into
account. There aren't a lot of big left-hand stretches in the
Italian theorbo music I've played. I don't know much about the
French repertoire.
On Dec 8, 2007, at 9:04 AM, T. Diehl-Peshkur wrote:
Interesting. This is all new
theorbe de pieces.
Rob
www.rmguitar.info
-Original Message-
From: T. Diehl-Peshkur [mailto:[EMAIL PROTECTED]
Sent: 08 December 2007 15:24
To: [EMAIL PROTECTED]
Subject: [BAROQUE-LUTE] Theorbo
I had a request to all the performers/teachers among you here. Any
help would be appreciated.
I
I had a request to all the performers/teachers among you here. Any
help would be appreciated.
I am on a waiting list for a theorbo to used only for solo music, almost
exclusively late
(like de Visee) although it might occasionally be used to play with very
small ensembles
at home, or a few early
: Rob [EMAIL PROTECTED]
Reply-To: [EMAIL PROTECTED]
Date: Sat, 8 Dec 2007 16:33:44 -
To: [EMAIL PROTECTED]
Subject: [BAROQUE-LUTE] Re: Theorbo
Hi (what's your first name?)
All the surviving solo repertoire (and I'm sure someone will correct me if
am wrong) is for 6 courses on the fingerboard
www.rmguitar.info
-Original Message-
From: Rob [mailto:[EMAIL PROTECTED]
Sent: 08 December 2007 17:13
To: 'T. Diehl-Peshkur'
Subject: RE: [BAROQUE-LUTE] Re: Theorbo
Everything is difficult. Getting out of bed is very difficult. Is a large
theorbo more difficult than a small one
Interesting idea... trying to imagine the chords in my head. So are all the
bass courses of your theorbo a 4th lower? Down to a very low D? And what kind
of string is on the 14th course to make that note?
Kevin
- Original Message
From: David Tayler [EMAIL PROTECTED]
To: lute
On the archlute the 4th and 5th course are down a half step, F goes
to E and C goes to B
If you have seven fretted, the seventh is better at D or C, I use mainly D
On the Theorbo in G--IMHO better for 17th c. music--the same is true,
fourth and fifth courses down a half step.
That places all
At 05:50 PM 11/6/2007, you wrote:
Interesting idea... trying to imagine the chords in my head. So are
all the bass courses of your theorbo a 4th lower? Down to a very
low D? And what kind of string is on the 14th course to make that note?
Kevin
- Original Message
From
Hi guys,
I did something interesting today, I took the first six string tunings
of a Theorbo and tuned my Guitar to it. I recorded a little 59 second
intro. Ya'll can check it out here:
http://joshuahorn.com/TheorboGuitar.mp3
--
Joshua E. Horn
[EMAIL PROTECTED]
--
http://www.fastmail.fm
cents worth.
ed
At 11:24 PM 10/23/2007 +0200, Nigel Solomon wrote:
I have just put gut strings on the long basses on my theorbo (170
cm),
they all sound great except the 13th and 14th courses which sound
a bit tubby
The diameter is 1.24 (14th) and 1.12 (13th) (4 kg per string) .
Perhaps
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