Chris,
I'll wont go on after this but will just repeat that the only historical
evidence (from me- see earlier) on reentrant theorbo sizes in A or G is for
large instruments. If you have anything like the Praetorius, Mace, Picinni,
Talbot evidence on large theorbos but clearly relating to
(Sorry David for sending this to your private mailbox. I don't master yet all
the subtleties of replying to the list when I get messages from such or such
person )
Thanks David. That's a clear statement, full of good sense and and I totally
concur. My not so small theorbo, which I use for
Martyn wrote:
If you have anything like the Praetorius, Mace, Picinni, Talbot evidence on
large theorbos but clearly relating to smalI instruments in this tuning, I'd
like to see it please.
So far we have seen evidence of reentrant tuning for large theorbos, thank
you for the references.
God question, Anthony. In absence of any evidence anywhere of making
thumb picks for lutes,, I would highly doubt that this was done.
ed
At 08:46 AM 2/8/2008 +0100, Anthony Hind wrote:
Ed
I am still surprised that the long nails succeeded in marking
through the strings. Does anyone
Dear Jean-Marie,
There's quite a history to this discussion, both recently and some months ago
and you may care to look in the archives for the long and, I'm afraid, rather
tedious and repetitive thread.
Basically the historical case (evidence for your 'burden of proof') for
saying
Dalla Casa, mid 18thC seems to use something like this
MH
Anthony Hind [EMAIL PROTECTED] wrote:
Jaroslaw
Well that could be the explanation then, medium length nails, and
perhaps the string length meant the use of quite low tesnion strings.
Although Rob does say that somewhere on Van
Thanks Ron. I think I've got everything under control now ;-)
Best,
Jean-Marie (F)
Expéditeur original:Ron Fletcher
Adresse expéditeur original: [EMAIL PROTECTED]
Hi Jean-Marie,
1) To make a private reply to an individual, click 'Reply'.
It is important to check that their e-mail
Dear All
Thanks to David Van Edwards, I think I found the picture mentioned
by Rob.
http://www.mail-archive.com/lute@cs.dartmouth.edu/msg20273.html
I am not sure of the significance for our question here. Although if
these are artificial nails, it would not be impossible, that
David,
As promised - here it is again!
Incidentally, if you look at the earlier messages you'll see that I do, of
course, agree that solo music may well have sometimes/often(?) been played on
small double reentrant theorbos. My focus however has been principally on the
instruments
David,
I'm afraid I thought Jean-Marie was the author of this email so I replied to
him! It will come to the main list but I will also forward it to you - I hope
it is helpful, especially on single reentrant being the usual for small
theorbos if you can get away with it (ie the second
Thank you very much Martyn for these precisions.
Actually, I think I am going to experiment with my smaller theorbo with a
single reentrant first string. I will play continuo in some Locke music soon.
It could be a good opportunity to try that !
Best,
Jean-Marie
Expéditeur original:
From: Martyn Hodgson [EMAIL PROTECTED]
In short, if you can you should just detune the first course and only
detune the next if the second string is likely to break.
So why making a double reentrant tuning on a tiorbino?
Diego
To get on or off this list see list information at
Hello Friends,
Just to let you know that Ronn's newest release INDIGO ROAD is
available for download from iTunes as well as many other digital
platforms. Please direct your tech-savvy friends there to find this
recording!
cheers
Suzanne Konefal
Director of Marketing and Business
Dear David,
Thanks - that's a very perceptive comment which I have taken to heart,
despite the fact that the majority opinion seems to be in favour of
reverb. Perhaps we are so used to hearing commercial CDs with
compression, added reverb, etc, that we expect everything to sound like
that.
Martin
I liked the ones without reverb, by far. The reverb sounds like you're in a
big room but play behind a screen: all muffled and shy, not at all like the
room acoustics would invite you to play!
Just my two eurocents (which many shops already don't accept anymore,
anyway).
David
Dear All,
I have revived the Piece of the Month feature on my site. It now
includes MP3 files. No reverb added this time - compare them with the
files on my recordings page and let me know which you prefer:
www.luteshop.co.uk/month/pieceofthemonth.htm
www.luteshop.co.uk/recordings.html
Is it possible that the Spanish Pavan actually is a spanish vihuela piece?
Are
Dear All,
I have revived the Piece of the Month feature on my site. It now includes
MP3 files. No reverb added this time - compare them with the files on my
recordings page and let me know which you prefer:
Anthony,
From the detail David send us(the big close up) I could say Pellegrini had
very long nails on all fingers. They don't look like artificial ones unless
they had Superglue at that time (which is rather improbable :-))
This could explain scratches in a simplest possible way. Have you
It has a melody as well as a ground and rhythm, and even lyrics in some
sources.
These do vary.
There is quite a bit about it in Maurices Esses book Dance and instrumental
diferencias in Spain during the 17th and early 18th centuries. Including
one version of the tune.
There must be
Anthony,
Many years ago when I was at the stage of transformation from guitar to lute
playing I tried playing my lute with normal (medium length) finger nails
(influenced by Picinnini's remarks). The result showed up very quickly - the
fingerboard was covered with small marks in the place where
Jaroslaw
Well that could be the explanation then, medium length nails, and
perhaps the string length meant the use of quite low tesnion strings.
Although Rob does say that somewhere on Van Edwards site there is
mention (or a painting) of a thumb or finger attachment for playing
theorbo.
Hi Martin,
I personally prefer a bit of reverb, but admit it is a difficult thing to
get right without spending thousands on a professional system. I think your
recordings with reverb sound better - better separation, and more of the
instrument's resonance comes through.
Nice playing, again.
Highly doubtful, on many accounts. For the vast majority of pieces, the
vihuela had fantasias, tientos, intabulations, Canciones. Not dances
(although, there are 1 or 2 dances). Besides, the melody to me sounds very,
very English/Elizabethan.
ed
At 08:00 PM 2/8/2008 +0100, Are Vidar Boye
Dear Are,
I'm not sure about the origins of the Spanish Pavan - I know there is
an article by Diana Poulton in the LSJ 1961 but have not had time to
look it up. It seems almost like a ground bass, rather than a tune,
but as with so many other pieces, it is hard to draw a line between the
Yes, this is how it appears to be. In examining the top, it showed all
signs of nail usage. I have never, ever encountered evidence to show that
some sort of finger pick was used for the baroque lute. Nails were used by
some, and nails are what made these marks.
Keep in mind, that in this
Dear Martin,
a couple of years ago a harpsichord player mentioned to me that the
Elizabethan name for the piece we are talking about - The Spanish Pavan came
from it being introduced to English musicians by Antonio Cabezón when he
visited England in 1554-1555. He published the piece in one of his
On Tue, Feb 5, 2008, Duncan Midwinter [EMAIL PROTECTED]
said:
At 06:37 + 5/2/08, Duncan Midwinter wrote:
Is there a method for drawing the teardrop shape of a lute soundboard
using
circles? I've been messing around in Adobe Illustrator drawing different
sized circles and can almost get
27 matches
Mail list logo
