Hi all
On Friday 02 January 2004 01:50, Bill Sterling wrote:
?
http://www.crane.gr.jp/HyperUkuleleSchool/hyper-U/Weiss/Passagaille_1.gif
I made a few ukulele searchs by Google, and to my astonishment the
little guitar is often tuned in g c e a in re-entrant way (so the
low 4th string
I was advised to get in touch with you by Chris Goodwin. I have an 8 =
course lute made by Michael Cameron, 1976, Hampstead, London. I have =
tried to find out anything about this maker but have had no success. I =
would be grateful if you could pass on any information you may have.
Many thanks,
- Original Message -
From: sterling price [EMAIL PROTECTED]
To: Stewart McCoy [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]
Sent: 05 January 2004 04:25
Subject: Re: Double 1st
Weren't many re-entrant theorbos strung with a double
first? And especially bass lutes? I have been wanting
to
- Original Message -
From: Martin Shepherd [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 03 January 2004 21:47
Subject: Re: new pictures
- Original Message -
From: lutesmith [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 04 January 2004 17:45
Subject: Re: new pictures
The german lute society also has a Lexicon (ILNL or so they name it).
I don't know how comprehensive this is but maybe worth a look.
Best wishes
Thomas
Am Mon, 2004-01-05 um 04.54 schrieb Roman Turovsky:
Dear Luteneers,
Does anyone know a web site which has a comprehensive list of music
Hi,
I'm playing a 11-ch. and a 13-ch. swan neck baroque lute (the Martin
Hoffmann type 169_, which actually is made my JCH).
The term german theorboe could be irritating because Baron used it for
a different instrument (a large D-Minor lute with the upper two courses
shifted into the basses)
Dear Arto,
a Ukulele (and double bass!) player told me that it's
played with a thumb down stroke and index up stroke,
not the other way round as one might expect. It's a bit
like renaissance technique, isn't it?
Regards,
Stephan
Am 5 Jan 2004 um 12:17 hat Arto Wikla geschrieben:
Hi all
BTW, I regularly play renaissance guitar music on my baritone uke (which
is tuned like the top 4 on a guitar) and it works great.
Of course the uke is a direct descendant of the renaissance guitar... but
by way of the modern guitar. That is, after the development of the six
string guitar, the
I attended James Tyler's class on the early guitar at the Lute Society of America
summer seminar of 1993 in Rochester, New York, in which he made a point of telling us
that the little chitarrino (renaissance four course guitar) was spread to many corners
of the world through Jesuit missionaries
Michael, it would be worth looking on Stefan Lundren's
site.http://www.lundgren-edition.com/new_lute_works.htm
regards
Charles Browne
-Original Message-
From: Michael Stitt [mailto:[EMAIL PROTECTED]
Sent: 05 January 2004 02:32
To: [EMAIL PROTECTED]
Subject: Modern music for Renaissance
Dear Sterling,
There seems to have been considerable variety in instruments known
as theorboes. Single or double strings on the fingerboard is one of
many variants. From the purely musical point of view (i.e.
recreation of different notes, not tone quality), the only
significant difference
Dear lutenists,
I just got the Lute News number 68, December 2003 by the Lute Society (UK).
It had a very nice music supplement: 24 Preludes and Recercars from
early renaissance (early means here the first half of 16th
century, so not so very early... ;-)
But it is a very good compilation of
I had a chance to see a preview of the Johannes Vermeer movie, Girl with a Pearl
Earing, several weeks ago, but due to a bad storm I missed it. I have since seen the
preview, and there are scenes of Vermeer with his models painting. I was wondering
if anyone had seen the movie yet, and
- Original Message -
From: Stewart McCoy [EMAIL PROTECTED]
To: Lute Net [EMAIL PROTECTED]
Sent: 05 January 2004 16:24
Subject: Double 1st
Dear Sterling,
There seems to have been considerable variety in instruments known
as theorboes. Single or double strings on the fingerboard is
Dear Miles,
Zamboni wrote for an Archlute which is tuned in the vielle tone
(renaissance tuning) while Michael tunes his instrument in the new
(d-minor) tuning.
Archlutes are usually 14-ch., I also know about 15-ch. examples (for
example in Paris - take a look at the website of David van
Hello everyone,
Does anyone know where I might find some information about Gerle's Das
ander Buch Laub 1549?
Specifically, who are the composers and does the book contain reprints of
earlier works?
Best regards,
Jason
I would support your point in general - just an addendum:
It's somehow like a relation between pupil and teacher: We need the
teacher to learn the basics, technique and - yes! to get a feeling for
the music but at a certain point in the education we also need to
emanzipate ourselfs from our
My liuto attiorbato (14-ch. model after Sellas) has a low F and it's
frequently used by Mellii, Zamboni and others. I have not seen up to now
a piece in the italian baroque which uses a 15th ch. - many players even
tune their 14th course at f-sharp (for easier continuo).
BTW: BWV 995 works fine
Thomas,
Very interesting indeed! Well I might try a retune and explore. Many thanks,
Michael Stitt
Thomas Schall [EMAIL PROTECTED] wrote:
My liuto attiorbato (14-ch. model after Sellas) has a low F and it's frequently used
by Mellii, Zamboni and others. I have not seen up to now a piece
Thanks for this Thomas. Assuming Bach either misunderstood the lowest tuning of the
Baroque lute (which I very much doubt) not being an Gg but rather a Aa, or was in
contact with such a 14 course instrument. Just how low can the instrument be tuned
down to take advantage of low bass strings
Jason Kortis wrote:
Hello everyone,
Does anyone know where I might find some information about Gerle's Das
ander Buch Laub 1549?
Specifically, who are the composers and does the book contain reprints of
earlier works?
Best regards,
Jason
???
Such a book does not exist. Do you mean
Dear Michael,
On Mon, 5 Jan 2004, Michael Stitt wrote:
Arto!!!Stop itt!!:-) ;-)
I am sorry Michael! I just could not avoid saying so... ;-))
Arto
Dear Jason,
I can see no reference to this book in H. M. Brown's _Instrumental
Music Printed Before 1600_. Are you sure you have the right details?
If so, please could you tell us more about the book, and how you
know what you know already.
Best wishes,
Stewart.
- Original Message -
Hello Rainer,
I guess I do - while browsing my local music library's German lute
music tablature books, I saw this one which is actually 3 in 1. Gerle is
listed as the author in the library's catalogue. Below is a paste of the
title-
Ein Newes sehr kunstliches Lautenbuch Formschneider
Hi David:
Here is the Heresy of Heresies: I use different weights of clear
monofilament fishing line. I can but it in bulk cheaply, it is available
in many different diameters, I have very little problem with it and if it
does mess up it is easy enough and cheap enough to just change it out.
Howard,
This is fair assumption to make, but I don't think a man who devoted a greater part of
his life to music, a meticulous thinker, friends of at least two lutenists, and one
frequented by one of the greatest of them all (Weiss), without mistaking the lowest
bass string on the lute. It
I believe it is a copy of Jauch.
ed
At 06:59 PM 1/5/04 -0800, Michael Stitt wrote:
Up or down, it must be for a different tuning, otherwise it would rip the
pegbox off the neck.
I note Bob Barto plays something like a three-pegbox swan neck theorbo
lute. Is this a modern adaption or based on
Dear Michael all,
I think it is wrong to assume that because BWV 995 calls for a low G, JSB
must have had a 14 course lute in mind.
I do not think it was a matter of practicality for JSB. He wrote pieces
for other instruments as well that called for notes out of the
tessitura. I think he
Roman,
Interesting. Is there any advantage in tuning this instrument over a swan neck?
M.
Roman Turovsky [EMAIL PROTECTED] wrote:
I note Bob Barto plays something like a three-pegbox swan neck theorbo lute.
Is this a modern adaption or based on a historical - period instrument?
David Rastall at [EMAIL PROTECTED] wrote:
Picinnini also uses the 14th course at times, but it looks to me as if
he is sometimes indicating something other than F. Did they use
re-entrant tuning on those bass courses?
In a way. Piccinini's 14th course was tuned to the F# below the
Jason:
It is not Gerle. According to HM Brown (1549sub6), this is a revised
reprint of Hans Newsidler's 1544 Das ander Buch (1544sub2). The
instructions on playing the lute seem to have been expanded a bit, and
the number of compositions included has been increased from 57 to 69. In
fact, is
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