Don't forget our lute-playing President...
...I mean, of the LSA ;^)
Sean
On Feb 28, 2005, at 3:26 PM, James A Stimson wrote:
Dear Thomas:
There an easy-to-read edition published by Baylor University of Texas
--
one of the few good things to come out of Texas lately.
Yours,
Charles,
I use many sources for individual pieces (song versions, originals,
setting from such-and-such book, etc) and sometime I need to keep track
of it all and still have it flexible. What I've found that works best
for a notebook is to use clear plastic page protectors made for 3-ring
polyphonic way as the next. Fascinating right hand
technique on the blond plucker, too.
And my thanks to Alfonso for posting this page of lute iconography.
Here's the rest of it:
http://www.xs4all.nl/~amarin/Page1.html
all the best,
Sean Smith
To get on or off this list see list information
. If the music on the CD
is any
indication of what the concert depicted in the picture was supposed
have
on the program, I doubt that a plectrum was used.
Best regards,
Marion
-Original Message-
From: Sean Smith [EMAIL PROTECTED]
Sent: Mar 29, 2005 4:00 PM
To: Lutelist lute
Maybe the higher math of just where to place those frets (and how many)
never seemed to impress them. Number of strings and fingers are always
right but frets... dang!
Maybe it's a left-brain, right-brain thing.
s
On Mar 29, 2005, at 6:43 PM, James A Stimson wrote:
And another
in those days from those we use today? Then again I don't have a lute
in A or in E.
Best,
Marion
-Original Message-
From: Edward Martin [EMAIL PROTECTED]
Sent: Mar 29, 2005 7:08 PM
To: Dr. Marion Ceruti [EMAIL PROTECTED],
Sean Smith [EMAIL PROTECTED],
Lutelist lute
in those days from those we use today? Then again I don't have a lute
in A or in E.
Best,
Marion
-Original Message-
From: Edward Martin [EMAIL PROTECTED]
Sent: Mar 29, 2005 7:08 PM
To: Dr. Marion Ceruti [EMAIL PROTECTED],
Sean Smith [EMAIL PROTECTED],
Lutelist lute
Playford published a music book w/ some of these dances for cittern and
renaissance guitar. I wouldn't be surprised if some intrepid souls
reconstructed (I think it's ok, Jim, but we'll see) them for lute.
Sean
On Apr 14, 2005, at 5:43 AM, James A Stimson wrote:
Dear Bill and Craig:
Roger,
That's a wonderful handful of pictures. Many thanks! Yes, related
instruments have their place and its fine to borrow repertoire and
ideas --viol, torban, even that ridiculously ubiquitous classical
guitar ;^).
I've been happily raiding the gamba rep for years (Hume, Bovicelli,
Ortiz
Perhaps a solo by Francis Cutting?
best regards,
Gil O'Tean
On Apr 29, 2005, at 10:28 PM, Gernot Hilger wrote:
There is one picture of sawn neck lutes to be found:
http://www.vanedwards.co.uk/bargallery/pics/gernot/html/2.html
Sorry, could not resist :-)
g
To get on or off this list
Hi Gary,
I haven't seen a second verse to that chanson and offten there isn't
for the 4-voice through-composed chansons. One does find more verses in
the popular voix de villes for, say, 3 voices or voice-and-ren
guitar. On the other hand, these songs often had a response, that is
to say, a
If using sand paper, I would not only fine grit,
such as finer than 250, or even 400, finishing
off with 600 or 1200 if you can find it. If a small
adjustment will fix the problem there is no need for
anything more.
If you are tempted to go further, a little toothpaste on a soft cotton
Back when I worked the watermelon ranch in Minnesota (and for you
neophytes, that's west of Tennessee, on the Yukon-Nebraska border) we
were only allowed to make authentic bordon traps. All the others were
fauxbordon.
Sean
On May 22, 2005, at 7:19 PM, Garry Bryan wrote:
-Original
Dear Michael,
Italian tab is indeed learnable. I put it off for 20 years and then
lived it with it exclusively for a week and found it no biggy. I
started with single line pieces such as Francesco's canon and then
worked my way into dances w/ simple bass lines and then on to the
ricercares.
Digital calipers have gotten mighty cheap lately --especially from
Harbor Freight. I like mine but all those hard, sharp edges always make
me nervous. A small 1-inch (2.4 cm?) micrometer admittedly fits so much
nicer and safer in hand but you can't measure fret heights.
Sean
On Jun 15, 2005,
On Jun 19, 2005, at 9:20 AM, Craig Robert Pierpont wrote:
We obviously have a difference of opinion here. I would be
interested to see Martyn's historical evidence.
The lute in Holbein's The Ambassadors very clearly has doubled frets.
As realistically as this painting is done I believe
The only possible way that double frets could work is if the fret
closest to the nut was slightly lower than the other, allowing the
string to
make contact with the crest of the higher fret. Otherwise you have big
intonation problems.
Michael,
The ridge closer to the nut quickly
Michael,
Unfortunately I no longer have the blow-ups from the Ambassadors on my
hard drive. Perhaps if Gernot Hilger still has them he could send you
one. If not, I could rephoto the picture I have. There is no
uncertainty there.
Gernot?
Sean
On Jun 19, 2005, at 3:29 PM, Michael Thames
Thanks Gernot! And Peter, I knew there was another Holbein that
depicted double frets. I just couldn't remember which.
thank you.
Concerning the Poulton/Dowland image. Perhaps it was overkill to double
the frets on a small lute. So far it hasn't been worth it to double
up on my descant.
Sean
Would it be safe to
say that the second fret prevents the courses from sliding around so
much?
I wouldn't think so. I just tie them tighter'n a fratboy on St. Paddy's
day.
Sean
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Stability is good word. Somehow, too, it requires less effort. W/ a
single fret you feel the string bend behind the fret and you want to
touch bottom.
I remember playing an orpharion w/ scalloped frets and it seems to take
these ideas to the next level. Bending the string behind the fret
Interesting idea, Chad. I had always thought the energy of the string
was transmitted to the body through the bridge but it makes sense that
some energy must go to the stopping fret as well.
There is the view that the lute should be held as loosely as possible
and a lesson with Ronn
A strong ditto here.
It's a long difficult puzzle to see the ingenuity and scope of the lute
in its many centuries. I know that if Arthur does make conjectures he
has, at least, done the research to back it up --and, more often than
not, among the primary sources.
And now I feel a little
the problem you
describe.
Best wishes,
Stewart McCoy.
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: Lute net lute@cs.dartmouth.edu; lutesmith
[EMAIL PROTECTED]
Sent: Thursday, July 28, 2005 12:57 PM
Subject: private message for Sean Smith
Sorry to bother the list
to pick out the notes of La Spagna is
determined by how well one is familiar with that tenor.
All the best,
Stewart.
- Original Message -
From: Sean Smith [EMAIL PROTECTED]
To: Lutelist lute@cs.dartmouth.edu
Sent: Friday, July 29, 2005 2:24 PM
Subject: Byrd - horizontal
On Jul 31, 2005, at 6:45 PM, Mathias Rösel wrote:
Sean Smith [EMAIL PROTECTED] schrieb:
The Spagna by Francesco is a different animal from most spagnas that I
have seen.
a while ago, Stewart and me had a little chat about the Spagna.
Stewart,
I hope you won't mind me forwarding your mail
The vihuela quartet is forming. does anyone have a good idea
for a
name for a vihuela quartet? Please, do not call it the vihuela
quartet.
ed
How about ...
Dr. Damano and his 4 Instruments of Mystery!
Sean
At 06:48 PM 8/1/2005 -0400, Arthur Ness wrote:
Ed,
Aha! The perfect answer! I rarely go to the LSA page --more fool me.
Thanks Arto,
Sean
On Aug 18, 2005, at 6:26 AM, Arto Wikla wrote:
Dear Sean,
I'm not sure I've seen references below to the earlier edition of Il
Fronimo (I'm sorry I don't know the publ date --my HMBrown resides at
the
Another 20-lb maine coon cat --I'm expecting a good string harvest
someday-- a bunch of 6-c lutes of various sizes and a renaissance
guitar.
Sean
By the way, Arto, this is the week when the tarantulas wander the
hilltops in mid-coast California. Quite a sight, especially if you're
not
Dear Stewart,
You're right about the tablature being a speed bump to the
interpretation of this music. Tab's strength is in bringing many lines
together with a predetermined key added to a trust that the intabulator
knows what they are doing. It's often a toss up in difficult spots
which
Ed,
When I was comparing pictures last spring w/ Roger Blumberg I noticed
frequent pairings of a vihuela d'arco with a vihuela da mano. This
would suit the tenor/contrapunto arrangement.
Sean
On Oct 9, 2005, at 9:33 AM, Edward Martin wrote:
Dear Martin,
As these pieces come from the
G'day Craig and all,
A few weeks I had a concert with my renaissance ensemble in a theater
and the hot spotlights gave me extreme tuning problems with metal
strings of my cittern, but my lutes stayed well in tune.
Now there's a testamonial one rarely hears about lutes. ;)
Given a room
Hi Craig,
Roped would be the 2- or 3- strand gut bass strings sold by Aquila
(V-gut), Dan L and others. I would definitely choose this over the
loaded gut but I haven't tried the gimped versions yet.
I'm not sure how gimped strings apply to pre-1580 music. I do know that
Ed Martin and others
Aren't there versions of songs in the Pesaro-Ms?
Thomas
Not of the Parisian-chanson/Attaignant variety. As far as I know most
of the early Sermisy material comes from the Attaignant or Moderne
presses. There may be some in mss. and it might be best to check the
concordances in the
Thomas,
The songs are fun and you get to decide fast or slow, heavy or light.
There are two books in this group available from Minkoff: Libro Primo
1509/1977 and Libro Secundo 1511/1982. Were there some specific songs
you were looking for?
Each have a handful of short ricercares on the back
Roger,
Thanks for putting these out for us!
Concerning:
http://www.thecipher.com/braccio-
viol_MadreDeDeusRetable_early16th_deta.jpg
Does this count as a trio or a quartet? (a quintet if the closest
person is singing?) The idea of a pipe-and-drum player is well known
but I hadn't heard
ages.
Bruno
lutenist and various medieval instruments player
www.estavel.org
Sean Smith wrote:Roger,
Thanks for putting these out for us!
Concerning:
http://www.thecipher.com/braccio-
viol_MadreDeDeusRetable_early16th_deta.jpg
Does this count as a trio or a quartet? (a quintet
David,
http://www.omifacsimiles.com/mgencatalogs.html
Click on Lute/plucked. Campion is on p. 4
Best wishes for a good new year to all,
Sean
On Dec 31, 2005, at 2:19 PM, David Rastall wrote:
Are the lute songs of Thomas Campion still available in print? What
about commercial editions of
I'd say the bridge placement and shell's wood choice and spacers look
WV as do the inlaid frets. On the other hand, the depth of the shell
and lack of the funky endclasp make me wonder. Interesting pegwork on
the 1st and 9th courses. Weren't WV strings traditionally held behind
the bridge
10.3.9)
many thanks in advance,
Sean Smith
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
or Spinacino book in
Italian. The A-R Terzi book is in Italian and so is Arthur Ness' Francesco.
Sean Smith
dc [EMAIL PROTECTED] wrote: Vance Wood écrit:
Most modern editions you find in print will use French Tab unless they are
facsimile editions in which case they are basically photo
From this perspective, what should we make of Thos. Campion's Maske of
Flowers where nobility acted out and sang the parts?
Sean Smith
Herbert Ward [EMAIL PROTECTED] wrote: The social stigma attached to acting
had to do with its lowly origins,
a sort of form of beggary, even
those sycopated rhythms going. (And then the recorder
player brings out his Machaut book and my brain explodes!) I still
can't read as smoothly as tab but it's coming along.
all the best,
Sean Smith
On Feb 16, 2006, at 1:19 PM, Stuart Walsh wrote:
I've just got a copy of the Lute Society's
Hi Stuart,
A player w/ a 5 or 6 course lute could play at least any
two single voices of a composition and would have been useful in
consort (as well as part of a duo or a soloist and would probably have
been expected to be all three).
This wouldn't be so easy playing with a plectrum,
to music
notated in tablature. Music in staff notation is fair game too, even
if, at first sight, it doesn't look like lute music.
Hear hear.
all the best,
Sean Smith
*(The Instrumental Consort Repertory of the Late Fifteenth Century)
To get on or off this list see list information at
http
Daniel,
One thing that may be helping and is often overlooked is the thicker,
half-round neck shape. When I play a friend's 8-c nowadays that throws
off my sense of where my left fingers are in relation to my thumb as
much as anything else.
Sean
On Feb 18, 2006, at 1:15 PM, Daniel Shoskes
to understand
from the audience's point of view (the stereo effect helped immensely
as well as seeing who did what) than one lute accompanying her.
Sean Smith
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Dear Stuart,
From our modest first forays into reading this rep. I've found that
different size lutes help in the following ways:
a) They put the 'voice range' of the line in the center of the lute
fingerboard. When we consider that they probably didn't have roped or
great strings for the
My bass lute is only 68cm in string length. I put beefier strings on
it (ie, 6th course = ~1.62mm gut), tune it to D and it works fine.
Btw, a 6c A-lute is very nice but if you really want to enjoy a
sustaining voice, go long.
Sean
On Feb 20, 2006, at 7:29 PM, Daniel F Heiman wrote:
The
decorated versions of 3-voice chansons so
perhaps w/ less decoration 4-voice songs were also possible.
I suspect that what we don't know about this era and the lute would
fill a very educational book.
all the best,
Sean Smith
ps, sorry if this is a duplicate; I didn't see it show up on the list
On Mar 12, 2006, at 10:50 AM, bill kilpatrick wrote:
in a previous post from arne keller - no subject was
given but he was asking for notation advise - he says
that according to tinctoris, there was a change from
playing the lute with plectrum to plucking it with the
fingertips during the
/11/06 1:03 PM, Sean Smith [EMAIL PROTECTED] wrote:
Dear Arne,
I was just looking at Tinctors' single line 'solos' over popular
tenors
taken from the Segovia. (from his collected works. No, I didn't get
the
editor information but will next time if you'd like it). To my eye
it's
Banks (rightly) offers it in mensural notation --as it
was
in contemporary sources. You tune your lute as you see fit.
all the best,
Sean
On 3/11/06 1:03 PM, Sean Smith [EMAIL PROTECTED] wrote:
Dear Arne,
I was just looking at Tinctors' single line 'solos' over popular
tenors
taken
vihuelas w/ 10 tied frets and my ren guitar has 11.
Maybe that was the waisted instruments' lure
Sean
On Mar 12, 2006, at 2:03 PM, Stuart Walsh wrote:
Sean Smith wrote:
I think some pieces in Spinacino are modified 5c reductions since they
are high on the neck
I've just got hold
strings. That's a case where up-down-up-etc can get a little
funny
with beat emphasis. It can be tricky, but it can also make things a
little
easier. Good to mark the music to learn it.
Leonard Williams
On 3/12/06 3:33 PM, Sean Smith [EMAIL PROTECTED] wrote:
On Mar 12, 2006, at 10:50
One could imagine the teeshirts of dancing terrapins (holding lutes)
from an LSA seminar a few years ago as an homage...
Sean
On Mar 15, 2006, at 7:05 AM, Craig Allen wrote:
Herbert wrote:
Typing early music festival into Google gives me the impression
that there are, perhaps, 15-40 of
This is in his Regola Rubertina (1542). I'm sorry, Ed, I don't have it
in front of me for the details.
Sean
On Mar 16, 2006, at 3:14 AM, Ed Durbrow wrote:
On Mar 13, 2006, at 6:23 AM, Sean Smith wrote:
Ganassi (c1530) give lots of
different different tunings for viols w/ different missing
Dear Ken,
This is very enlightening. It sounds like some stiffening under the 12
fret area should be mentioned to one's luthier when having an early
lute made. I've often played the glued frets and winced at the
intonation. Sometimes I wonder about their placement and alternately
wondered if
Dear Stuart,
Thanks! I've been tuning my descant lute to C and it sound like an easy
jump over to the guittern --when I get around to getting one. That
tuning makes a lot of sense. Do I understand the lowest string to be a
5th below its adjacent course? Btw, are these unison tunings? Is that
Thanks Daniel,
It seems that instruments with *parallel* strings often got more frets
on the neck. I'm thinking of guitars but this extends to citterns too.
Another parallel is that these are strummable instruments. Am I reading
too much into this?
Talking to Andy Hartig (shameless plug:
On Mar 26, 2006, at 11:59 AM, [EMAIL PROTECTED] wrote:
¥ªí×~öÛôuõçÎ kÞº.Ö«È*'µéíO*^ém«·ö¥µêçjدyº.Ö«
This is what my playing sounds like w/ nails.
Sean
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
the lute mold is almost identical to building a half model (where the
carpenter would take his lines and measurements) except one only builds
half a hull. Like a lute mold, the half model is used over and over.
Sean Smith
On Apr 3, 2006, at 6:20 PM, [EMAIL PROTECTED] wrote:
David Rastall
I'm glad you liked the issue, Arto. I couldn't find any lute-playing
tarantulas. ;^)
Sean
Arto Wikla [EMAIL PROTECTED] wrote:
Hi gang,
thanks for the LSA Quarterly I No.1! The interview of R. Savino
is very interesting! I was so pleased of Richards's comment on his
it would be invisible in most
iconography. (my old Vandervogel lute has one, too)
Has anyone tried this? Was it successful?
Sean Smith
Vance Wood [EMAIL PROTECTED] wrote:
You are a funny man David. Levitateing Lutes, whoever heard of such a
thing-would
I would imagine he uses a thumb [6 feet] under technique here.
Ed Durbrow [EMAIL PROTECTED] wrote:
I was surprised to learn Pat O'Brien has been playing with Cannibal
Corpse since 1997.
http://en.wikipedia.org/wiki/Cannibal_Corpse
:-)
Ed Durbrow
Saitama, Japan
[EMAIL PROTECTED]
Cufflinks are fine --provided they don't flash, rattle or mar the
finish. It's sausage links that are frowned upon.
Sean
On May 8, 2006, at 8:40 PM, Edward C. Yong wrote:
Hiho Chaps,
Greetings from Singapore! I've been off the list for some years, but
am back
now - ready to learn much
Sounds like a good line-up to me: got the early and late covered, the
long-time players, the johnny-come-latelys, serious big names, great
teachers and some seriously above-average concerts from names you've
always wondered about.
Then there's the other folks who show up: folks who ask good
. There should be more
than enough in the way of courses to keep you occupied unless your
interests are extremely narrow. The usual problem is having too much
to choose from and too little time.
Guy
- Original Message -
From: Rob Dorsey
To: 'Sean Smith' ; 'Lutelist'
Sent: Thursday
Frets, like fruit, go bad but we usually catch them before they go
rotten. ;^)
I suspect they have worn to a fairly flat surface. It's the pristine
round surface that gives the best, cleanest tone and transfers the best
vibratory energy to the neck (there was a nice thread about this last
Hi Gary,
I've always thought that about the Humorous Pavan, too. It certainly
fits with his 'humor'.
Sean
On Jun 1, 2006, at 3:38 AM, gary digman wrote:
Stewart;
Not to mention 37, 38 and 97. Number 43 A Humorous Pavan always
sounds to me like it has some Flow My Tears in it. Is it
)
_before_ moving it up to its permanent address. Wouldn't this keep the
knot tight as it moves?
A good topic to bring up now and then. A lutenist's dexterity ain't
just for the notes!
all the best,
Sean Smith
good luck
--
Dana Emery
To get on or off this list see list information at
http
.
Perhaps apropos, last week at Cleveland, Toyohiko Satoh pointed out
that his top string was cow. The rest, sheep.
Good luck,
Sean Smith
On Jul 9, 2006, at 11:45 AM, Mathias Rösel wrote:
Steve Bryson [EMAIL PROTECTED] schrieb:
Hi everyone - I'm a long-time on-again-off-again amateur lute
I wonder if the 1560 model replaces the previous 1553 version.
Sean
Edward Martin [EMAIL PROTECTED] wrote:
Incredible!
ed
At 06:09 PM 7/14/2006 +0200, LGS-Europe wrote:
When looking for info on Paladin's publication of 1560 I chanced upon this:
Paladin 1560
COAX CABLE TESTER
or other 16th century compilers
That covers a lot of ground, David, namely most every amateur who kept
a notebook of things he or she copied from other printed books and
notebooks or even stuff he or she intabulated or came up with.
I'm looking at the cover of Andrea Damiani's
After Phalese stopped publishing his anonymous lute settings there
seems also to be a dialogue between the English and Adrianssen too.
Light of Love is nearly identical in Ad (Saltarello Englesa, 1584) and
the Board book. Conversely, the Pickering Battle duet borrows many
devices from A's
__
From: Sean Smith [EMAIL PROTECTED]
To: Lutelist lute@cs.dartmouth.edu
Subject: [LUTE] Re: Phalese's bookshelf
Date: Sun, 23 Jul 2006 09:26:45 -0700
After Phalese stopped publishing his anonymous lute settings there
seems also to be a dialogue between the English
attract the finest
audience. And I'm sure the others would enjoy it too.
Face it, there is a sensual side to this music. When I chose a recent
cover for the LSA Quarterly I didn't realize the possible double
entendre but probably would have gone with it anyway.
all the best,
Sean Smith
On Jul
in the
Fronimo or perhaps an addition to an existing canzona, chanson or
madrigal.
Would anyone have information on this?
thanks in advance,
Sean Smith
To get on or off this list see list information at
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Sorry, Donatella, I blame Hollywood. They had a great plan for a TV
show, then they spelled the title wrong and there were no German lute
players. Ever!
Sean
On Aug 10, 2006, at 10:13 AM, [EMAIL PROTECTED] wrote:
Can you guess how Weiss was spelled by someone here in California,
where I
Not only is nylon completely authentic but one eliminates all traces of
gut afterward!
s
On Aug 10, 2006, at 11:41 AM, EUGENE BRAIG IV wrote:
- Original Message -
From: Caroline Usher [EMAIL PROTECTED]
Date: Thursday, August 10, 2006 10:06 am
Subject: [LUTE] Francesco da Milano
Lately I've been knee-deep in the Marsh book but, lo and behold, there on p.
98 and again on 228
Got my pizza fixin's ready, Persieds lined up under a full moon (alas) and
we're good to go. Probably the closest I'll get to fishing is deciding against
the anchovies.
Sean
a reiteration of the D-chord root.
A quick look at the Pratum Musicum of 1584 showed quite a few 7th
course indications (short lines) but no 8ths. In both books the 7th
course is occasionally fingered.
Sean Smith
On Aug 17, 2006, at 11:36 PM, Luca Manassero wrote:
Thank you, Kenneth
' something from the
other repertories.
many thanks in advance,
Sean Smith
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There's still the possibility you'd play it and sing inflammatory
lyrics.
Sean
On Aug 23, 2006, at 11:55 AM, Arne Keller wrote:
At 05:27 23-08-2006 -0700, Howard Posner wrote:
Arne Keller wrote:
I just heard that Pinchas Zuckerman was prohibited from taking his
Strad
along as hand
bill,
I think that somewhere along the line, some of the family immigrated to
the US.
Sean
On Aug 24, 2006, at 9:21 AM, bill kilpatrick wrote:
does history relate the name of the officious twit who
suspected this theorbo? as they're born, not made,
his great-great-great-etc., etc. nephew
Jason,
I decided to try a strap at Paul Beier's suggestion. I went to a few
Goodwill stores in the area and finally found a 1.75 (40mm) wide black
lightweight leather belt. I cut the ends and put one large hole w/ a
slit in it to snugly go over the peg. I put two holes in the other to
run a
a fiberglass analog one is cheaper and
works about as well and the traditional micrometer has no sharp edges.
all the best,
Sean Smith
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
Freight). Of course a fiberglass analog one is cheaper and
works about as well and the traditional micrometer has no sharp edges.
all the best,
Sean Smith
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[EMAIL PROTECTED] wrote
Freight). Of course a fiberglass analog one is cheaper and
works about as well and the traditional micrometer has no sharp edges.
all the best,
Sean Smith
[EMAIL PROTECTED] wrote: On Thu, Aug 31, 2006, Paul Pleijsier
said:
What is the rationale of diminishing fret height towards higher
.
all the best,
Sean Smith
On Sep 1, 2006, at 3:42 PM, Rebecca Banks wrote:
September 1st, 2006
Dear Lutenists:
I am having a Dieffopruchar Renaissance Bass Lute 6c.
constructed and
am wondering if I should have fixed or tied frets. What does it
mean to
have a tied
Thank you, David, but I'm still a little puzzled.
This is clearly a single line contrapunto lacking accompaniment. It
doesn't seem to accompany the previous Antico variations (Passemezzzo
-6 p.114) either.
I'm looking at the SPES facsimile (Firenze 1992) of his ms. that was
_intended_ for
Dear Stewart,
That's what I thought too but I wonder about the parallel octave going into
m. 7. Usually Borono is more careful about this sort of thing.
Sean
Stewart McCoy [EMAIL PROTECTED] wrote:
Dear Jason,
I have been reading through some old Lute Net messages from August,
reading the figured bass nowadays write a
lute/theorbo part like that?
I'm sorry, more questions than answers.
all the best,
Sean Smith
On Sep 24, 2006, at 8:18 PM, David Rastall wrote:
Hi Luters,
I've been looking on numerous websites to find out whether or not
theorbos were used
I believe Jacob's Warwick Frei is a bass lute tuned to D and is 72 cm. This
is based on a rebuilt baroque lute from an original bass 6c lute.
The basis for the ~62-63cm Frei lute is probably a different instrument thoug
I could be wrong. My usual duet partner has a 62 cm Frei body lute
Martin Shepherd [EMAIL PROTECTED] wrote:Dear All,
As Jacob's recordings using his Frei instrument demonstrate, there is no
reason why one should not play almost any Renaissance lute music on a
long lute - it's just a question of technique. As a maker, I am
constantly beseiged by people
Dr. Be,
I'm noticing some lint in the crevices on my belly
;^)
Sean
On Nov 2, 2006, at 5:35 AM, [EMAIL PROTECTED] wrote:
In a message dated 11/2/2006 3:27:29 A.M. Eastern Standard Time,
[EMAIL PROTECTED] writes:
from Kenneth Be, a conservator at the Cleveland Museum
of Fine
a little retyping. ;^)
all the best,
Sean Smith
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On Nov 14, 2006, at 5:20 PM, [EMAIL PROTECTED] wrote:
--- Sean Smith [EMAIL PROTECTED] wrote:
It was easy to transcribe, both by hand and in
print. It allowed the
individual to transmit his own fingerings and
provided a diagram that
was easily absorbed by the brain at speed for those
I had to tune down to 415 recently and was impressed by the difference
in tone. I won't say it's better across the board but I liked many
things about it. It did bring out different flavors of the instrument
that I hadn't heard before.
Ed, I remember Toyohiko's playing from this summer and to
Is there any support for this sort of tension for renaissance
instruments?
Sean
On Nov 27, 2006, at 5:49 PM, Edward Martin wrote:
It is around 65% less than conventional stringing.
ed
At 05:08 PM 11/27/2006 -0800, Sean Smith wrote:
I had to tune down to 415 recently and was impressed
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