All instruments very authentic copies.
Gamba and violin on gut, historical bows, baroque flute traversierre,
14 course theorbo in A on nylgut and copper and organo di legno (wood
organ)
One example:
[1]http://www.youtube.com/watch?v=JfDoomhnUOUlist=UUFoONkd8wBnm1emuE8y
Hera,
If I may be so bold, I might suggest playing closer to the bridge with
the thumb far out in front of the fingers as the treatises and
iconographic sources demonstrate. I feel that as pluckers in ensembles,
we have to get past the idea of always making a nice sound. (not that
David,
In this quote:
However, I would add that most lutes made nowadays are not copies
of
originals. They are rescaled, resized, rebarred, rebridged, reglued,
revarnished.
Available is everything: everything-except-original.
Now, you may want that.
I agree with Christopher, also as suggested by Mathias one could
(probably should)break the chords. A close study of the way that
for instance Esaias Reussner tells us about how to break chords
gives us an idea and could provide a starting point.
Lex
Op 10 apr 2012, om 13:26 heeft hera
I must say you seem to be right here, Chris. We lutenists (and I'm no
exception) have this prejudice in favour of always producing a 'nice'
sound. There's no reason to believe the old guys weren't as passionate
and vigorous as ourselves. It's hard to believe they always
A luthier would need a formula relating hand dimensions (hand span,
fistmele and so on) in order to build a lute that's exactly the right
size for a particular player. Without such a formula, all the luthier
gets is a headache when asked to build a lute that's the right size for
a
Some interesting videos...
http://www.youtube.com/watch?v=clxoDOwK-qI
http://www.youtube.com/watch?v=tQ5vltWA0IY
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
That guitar teacher, mentioned very early on, was Mr. John McCormick, and is
still active in publishing classical-era art song with guitar accompaniment and
is one of my favorite guys in the world.
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu
Thanks for the links, Val!
I had to listen all of the program immediately. It is a pity that the
concert was excluded...
Arto
On 10/04/12 16:10, Valery Sauvage wrote:
Some interesting videos...
http://www.youtube.com/watch?v=clxoDOwK-qI
http://www.youtube.com/watch?v=tQ5vltWA0IY
From: Braig, Eugene brai...@osu.edu
Subject:[LUTE] Re: All about micing...redux
I'm assuming it's still pronounced 'mike' but maybe it's 'mick'?
Perhaps we should be talking about 'micking'?
I think Jagger has a copyright on that term ...
T
To get
Yes a pity,
but many on the list will be glad we couldn't hear this typical non hip
player, playing late Elizabethan repertoire with thumb under, near the rose
and with nylgut strings...
;-
V.
-Message d'origine-
De : wi...@cs.helsinki.fi [mailto:wi...@cs.helsinki.fi]
Envoyé :
To be perfectly clear, the quote below regarding pronunciation is not mine, but
is re-quoted from my reply to William Samson et alia. Carry on.
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
t...@heartistrymusic.com
Sent:
Some of the responses to the Harmoniis video might indicate that there was
some problem with the balance. The continuo balance is good and I could hear
the theorbo just fine.
On Apr 10, 2012, at 4:26 AM, hera caius wrote:
All instruments very authentic copies.
Gamba and violin on gut,
My teacher told me that you don't choose a lute, it chooses you. Maybe
that is true.
That is true, you know it when you feel it, but it may take years of playing
experience on many instruments to finally recognize that right and perfect
match up when it happens. My once-in-a-lifetime lute
Although the shoe analogy can be taken too far, it is true that one edge of the
double-edge sword of too many historical sizes, shapes, set-ups that can lead
the player/builder dynamic astray is also that other edge provides more
opportunity to get it right; and was consciously done so:
I hope Val exaggerates when he says many on the list will be glad. . .. The
practical reasons for using nylgut - especially in performance - are obvious.
And if POD didn't feel he was getting the sound best expressing his
interpretation of the music he plays with thumb under technique, I'm
Another source that recommends practicing on a tough-to-play lute is
the Mary Burwell book.
It will be good to play [. . .] upon a lute something high in strings
and the strings something big. Practicing upon such a lute, it will
strengthen the hands and make you play admirably
-Message d'origine-
De la part de Edward Mast
Objet : [LUTE] Re: Paul O'Dette interview
I hope Val exaggerates when he says many on the list will be glad. . ..
Of course, it was some kind of joke... ;-)
V.
To get on or off this list see list information at
Valéry, how dare you ?... :-) !
Jean-Marie
=
== En réponse au message du 10-04-2012, 21:33:39 ==
-Message d'origine-
De la part de Edward Mast
Objet : [LUTE] Re: Paul O'Dette interview
I hope Val exaggerates when he says many on the list will be
Anthony,
thank you for the morning reading. Much refreshing, vs the normal
'let's kill 70 million people because they are jews... mm muslims...
mm... smell funny... don't use our money morning type of shock.
I probably should have stated right away that i do not enjoy the
sound of
Brad,
I favor a coincident pair because there are no phase problems in mono, but even
more so because it is easy to recreate. I don't have a problem with close
miking (30-40cm). It is a matter of placement and mic quality, though. Every
environment and instrument is different. It is probably
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