hi all,
I was just looking at the picture on the latest Barto-Weiss CD showing a
luteplayer with a french baroque lute. Looks quite normal until you look more
careful. Two interesting things:
1. There are 6 red strings indicating loaded gut for strings where normally
normal gut would be
They have to follow the chord progression and be in the same key or mode as
the composition they compliment. Other than that I know of little else that
govern them. Divisions can be viewed as improvisational despite the fact
that most of our exposure to them have been in written variations in
Craig:
I would not dream of telling you I have all the answers but I have had some
of the same problems and here is how I have dealt with them. First of all
you are probably playing with too much tension in both arms. Understandable
because the music itself does not come easy and difficult
I don't quite understand why the string length on the Quito instrument
became such an issue. There is a number of surviving early 17th century
Italian guitars with string length between 72 - 73 cm. A rare vaulted-back
guitar by Magno Grail c.1630, for example, was sold recently on one of the
Personally I don't like octaves on any course. As to why the placement of
octaves would change with the addition of the seventh course? All anyone
can tell you is not much more than an informed assumption that with the
arrival of the seventh course the music changed.
Vance Wood.
- Original
I had a hand specialist tell me of an exercise that helps. Make a fist,
place it on a table and slowly extend out all of the fingers as far as you
can. Maintain this position for 20 seconds then draw the fingers back into
the fist. Repeat three times in a sitting, and repeat three times a day.
I'd really have to see your left hand to know what to suggest. I could be a
result of poor positioning, pressing too hard on the strings or just that
you are playing pieces that are too difficult for you.
Another cause of left hand tension is due to the instrument itself. With
the
My thanks to all who responded to my plea for info on what you do for the
pains I described. I am checking out both the Trigger Point therapy as well
as the Alexander Technique (I've written Jacob with some questions but I
know he's a busy man playing concerts and attending to his lovely
Dear Vance,
What you are saying would be good advice for
someone with good kinaesthetic awareness, so
it's not wrong and I'm sure it worked for you.
But one of FM Alexander's discoveries was that the
kinaesthetic sense that tells us what's going on in
our body can be numbed by excess tension.
Dear Taco,
The picture is an anonymous French School painting in Hamburg
Kunsthalle and was featured on the front cover of Early Music
magazine in October 1982. The whole picture makes it clear that it's
mostly a perspective problem, since the bridge also is on at an
impossible [and opposite]
Denys:
I agree, the Alexander Technique is the way to go. There are two problems,
one is finding someone who is skilled in teaching it, and the other is, as
I understand it, giveing up playing the instrument for five years so that
you can unlearn some bad habbits. Julian Bream used this method
David:
After looking at the painting I have to agree with you. There are quite a
few anomalies in perspective and proportion that do not make any sense as to
an actual Lute. In other words the painting is too far from perfect to
place too much credence on any technical information one might
Dear Vance,
I'm glad to say that whoever told you that it's
necessary to give up playing to use Alexander Technique
was quite wrong - you don't need to stop playing at all,
let alone for 5 years. If you have Alexander lessons and play
the lute, what will happen is that over a period of time
an
Dear Denys and Vance,
I have managed to find a teacher in the Annapolis area, about 20 miles from
where I live in southern Ann Arundel County. Her name is Robin Gilmore and
she is a dancer and has taught musicians as well as dancers and other
performers. I've written her an email and she's
Fredrico Marincola did an interesting course at the LSA a few years back that
looked at the divisions in the Capirola lute book. The first problem in trying
to analyze them is to sort the divisions out from regular moving passages. He
had us compare several Capirola intabulations with the
That's my point, we just think to play like they used to do in the past, but
now and then something comes out to show us we are still far away...
Donatella
- Original Message -
From: Thomas Schall [EMAIL PROTECTED]
To: Lutelist lute@cs.dartmouth.edu
Sent: Sunday, October 30, 2005
Thanks, Edward.
In my opinion, considering the body of the instrument and the lenght of the
lutenist's forearm and fingers, he had no other way to play, because keeping
his hand toward the rose would have meant to have his shoulder and wrist in
such a position to suffer from pain in thirty
From: Rob MacKillop [EMAIL PROTECTED]
To: vihuela@cs.dartmouth.edu
Sent: Saturday, November 05, 2005 10:19 PM
Subject: [VIHUELA] Fuenllana Fantasia
I've just uploaded mp3 file and score for Fuenllanas 3rd fantasia from his
fourth book:
http://www.musicintime.co.uk/Fuenllana.htm - scroll down to
Dear David,
thanks for making he painting available.
it is quite interesting that instruments in general and lutes and
violins in particular tend to be somewhat distorted even in paintings
of better masters.
My son, who is 18, is working very hard to master drawing and
painting. He is
albrecht durer used a lute to demonstrate a drawing
devise he made from a frame bisected with equally
spaced, horizontal and lateral wires. by looking
through the wire grid the artist could accurately
gauge the lute's difficult perspective.
lutes also feature heavily in david hockney's theory
albrecht durer used a lute to demonstrate a drawing
devise he made from a frame bisected with equally
spaced, horizontal and lateral wires. by looking
through the wire grid the artist could accurately
gauge the lute's difficult perspective.
Which is no indication that Duerer used it himself,
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