Smith lutesm...@mac.com
To: lute lute@cs.dartmouth.edu
Sent: Wednesday, May 13, 2015 1:13 AM
Subject: [LUTE] Re: Vihuela Stringing
There may be reason to rethink the splitting of the 4th course in
renaissance guitar technique. In the December 2012 LSA Quarterly, Michael
Fink has strongly argued
Bakfarks use of split-course technique in the Krakow lute book:
1. Jesu nomen sanctissimum. Secunda pars: Sit nomen domini, measure 9
2. Circumdederunt me, measure 25, measure 56
3. Secunda pars: Quoniam tribulatio, measure 15
4. Qui habitat in adjutorio, measure 59
5. Secunda
It seems we have at least 5 different threads going here under the same
heading. I think several are still worth discussing so maybe we could
divide them up somehow?
1. split string early 16th century where one fingers only one string of
the course but strikes both Capirola etc.
list list lute@cs.dartmouth.edu
Sent: Wednesday, 13 May 2015, 14:43
Subject: [LUTE] Re: Vihuela Stringing
Bakfarks use of split-course technique in the Krakow lute book:
1. Jesu nomen sanctissimum. Secunda pars: Sit nomen domini, measure 9
2. Circumdederunt me, measure 25
-
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: G. C. kalei...@gmail.com; Lex van Sante lvansa...@gmail.com
Cc: lute mailing list list lute@cs.dartmouth.edu
Sent: Wednesday, May 13, 2015 4:13 PM
Subject: [LUTE] Re: Vihuela Stringing
Do we know whether the 'split-course technique
@cs.dartmouth.edu
Sent: Tuesday, May 12, 2015 3:20 PM
Subject: [LUTE] Re: Vihuela Stringing
I suppose he meant Capirola.
Chris
[1]Sent from Yahoo Mail for iPhone
At May 12, 2015, 8:27:26 AM, Monica Hall'mjlh...@tiscali.co.uk'
Fuenllana (1554) prescribes playing only one of the two
: Tuesday, May 12, 2015 3:20 PM
Subject: [LUTE] Re: Vihuela Stringing
I suppose he meant Capirola.
Chris
[1]Sent from Yahoo Mail for iPhone
At May 12, 2015, 8:27:26 AM, Monica Hall'mjlh...@tiscali.co.uk'
Fuenllana (1554) prescribes playing only one of the two strings in the
course
: Monica Hall mjlh...@tiscali.co.uk
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Wednesday, 13 May 2015, 16:40
Subject: [LUTE] Re: Vihuela Stringing
As far as I know there are only two sources which actually indicate in
the
music/tablature
]hodgsonmar...@yahoo.co.uk
To: G. C. [3]kalei...@gmail.com; Lex van Sante
[4]lvansa...@gmail.com
Cc: lute mailing list list [5]lute@cs.dartmouth.edu
Sent: Wednesday, May 13, 2015 4:13 PM
Subject: [LUTE] Re: Vihuela Stringing
Do we know whether the 'split-course technique
To: Christopher Wilke chriswi...@yahoo.com
Cc: Martin Shepherd mar...@luteshop.co.uk; lute@cs.dartmouth.edu
Sent: Wednesday, May 13, 2015 5:33 PM
Subject: [LUTE] Re: Vihuela Stringing
Albert de Rippe, Douce Memoire intab (1562), bar 26--emphasize, or play
only, the high octave of the fourth course
, 2015 12:41 PM
To: Monica Hall
Cc: Lutelist
Subject: [LUTE] Re: Vihuela Stringing
Thanks Monica,
I was aware of the 17thC lute sources (another besides Mouton uses the
Aa notation) and the Corrette but raised the matter in the context of
the much earlier supposed practice.
Martyn
Could someone pls. explain why the thinner string is sometimes placed
above (baroque practice?) and sometimes below (renaissance practice?)
the thicker one?
G.
On Tue, May 12, 2015 at 10:11 AM, Monica Hall
[1]mjlh...@tiscali.co.uk wrote:
I think octave stringing on the 5th
I think octave stringing on the 5th and 6th courses is now thought probably
and I think that John Griffiths does that although I am not certain.
The thing is that you have to get the strings perfectly matched so that the
high octave string enhances the low octave string but doesn't create a
Does Capirola say that you should play one or other string of an octave
strung course?
Monica
- Original Message -
From: Christopher Wilke chriswi...@yahoo.com
To: mjlh...@tiscali.co.uk; dwinh...@lmi.net
Cc: lute@cs.dartmouth.edu
Sent: Tuesday, May 12, 2015 3:20 PM
Subject: [LUTE] Re
Of course I did not mean the fourth but the third course, sorry for the
confusion. So Capirola as far as I know did not employ split octave courses.
Where does Fuenllana mention splitting the courses? I have not found any
reference. As I have no complete edition of Bakfark where does he use this
No. But he, together with Bakfark, Fuenllana and whoever propagated the
relatively rare gimmick of splitting the course. Fingering one of them
but playing on BOTH. Rather difficult to do though.
As to the placing of the thinner string in a course, I remember having
seen also modern
:20 PM
Subject: [LUTE] Re: Vihuela Stringing
I suppose he meant Capirola.
Chris
[1]Sent from Yahoo Mail for iPhone
At May 12, 2015, 8:27:26 AM, Monica Hall'mjlh...@tiscali.co.uk'
Fuenllana (1554) prescribes playing only one of the two strings in the
course in some passages
Message - From: Christopher Wilke chriswi...@yahoo.com
To: mjlh...@tiscali.co.uk; dwinh...@lmi.net
Cc: lute@cs.dartmouth.edu
Sent: Tuesday, May 12, 2015 3:20 PM
Subject: [LUTE] Re: Vihuela Stringing
I suppose he meant Capirola.
Chris
[1]Sent from Yahoo Mail for iPhone
Yes - that's what I thought.
Monica
- Original Message -
From: Martin Shepherd mar...@luteshop.co.uk
To: lute@cs.dartmouth.edu
Sent: Tuesday, May 12, 2015 5:35 PM
Subject: [LUTE] Re: Vihuela Stringing
Let's not get confused here - the split course technique consists of
stopping only
Bakfark split course example:
Krakow lute book, Jesu nomen sanctissimum. Secunda pars: Sit nomen
domini bar 9
Fuenllana mentions the technique in his instructions
G.
On Tue, May 12, 2015 at 7:47 PM, Lex van Sante [1]lvansa...@gmail.com
wrote:
Of course I did not mean the
I am glad you agree with me!
Monica
- Original Message -
From: [1]Antonio Corona
To: [2]Monica Hall ; [3]Dan Winheld
Cc: [4]Lutelist
Sent: Tuesday, May 12, 2015 5:52 PM
Subject: Re: [LUTE] Re: Vihuela Stringing
Dear Monica
I could not agree more
- From: Christopher Wilke
chriswi...@cs.dartmouth.edu
To: mjlh...@tiscali.co.uk; dwinh...@lmi.net
Cc: lute@cs.dartmouth.edu
Sent: Tuesday, May 12, 2015 3:20 PM
Subject: [LUTE] Re: Vihuela Stringing
I suppose he meant Capirola.
Chris
[1]Sent from Yahoo Mail for iPhone
At May
A few thoughts:
I think it was John Ward's 1955 PhD thesis which started everyone on the
idea that the vihuela was strung in unisons, and it remained
unquestioned until quite recently, probably because with modern overspun
strings no-one thought there was a problem.
As far as lute stringing
Sorry. I didn't see all that stuff was still hanging on my first
message of this thread. Please excuse the clutter.
--
Sent from my Android phone with GMX Mail. Please excuse my brevity.
To get on or off this list see list information at
- Original Message -
From: Martin Shepherd mar...@luteshop.co.uk
To: lute@cs.dartmouth.edu
Sent: Tuesday, May 12, 2015 11:24 AM
Subject: [LUTE] Re: Vihuela stringing
A few thoughts:
I think it was John Ward's 1955 PhD thesis which started everyone on the
idea that the vihuela was strung
I suppose he meant Capirola.
Chris
[1]Sent from Yahoo Mail for iPhone
At May 12, 2015, 8:27:26 AM, Monica Hall'mjlh...@tiscali.co.uk'
Fuenllana (1554) prescribes playing only one of the two strings in the
course in some passages (as does Dalza - does he?)
As far as I am
Thanks, Dan.
Just a footnote to the effect that if you have a double first course,
you're more likely to be tuning to a lower pitch (because otherwise the
total tension on the first course would be too great for comfort), so if
anything you'd be more likely to want octaves on the lower
Some of this seems to me to be a bit muddled.
In particular ...
Pisador (1552), talking about the 4th course, made it clear it ought to be
strung in unison:
Such a statement could imply that the use of octaves was standard but he did
not like it,
or it was not appropriate for his music. Hence
Message -
From: G. C. kalei...@gmail.com
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Tuesday, May 12, 2015 9:25 AM
Subject: [LUTE] Re: Vihuela stringing
Could someone pls. explain why the thinner string is sometimes placed
above (baroque practice?) and sometimes below (renaissance practice
Dear Martyn and all,
I think the notion that the vihuela was strung in unisons is based on a
source (which one, anyone?) which contrasts the vihuela with the
Flemish vihuela i.e. the lute. Can someone help with the reference?
As far as I know there is no documentary evidence on the
htmlheadmeta http-equiv=Content-Type content=text/html;
charset=UTF-8/headbodyCovarrubias? nbsp;I think that was the source, I
might be wrong.nbsp;divnbsp;A non musical one, btw.nbsp;brbrbrfont
size=2Enviado de Samsung Mobile/font /divbrbrbrMartin Shepherd
lt;mar...@luteshop.co.ukgt;
, Martin Shepherd mar...@luteshop.co.uk wrote:
From: Martin Shepherd mar...@luteshop.co.uk
Subject: [LUTE] Re: Vihuela stringing - was 6c (lute) stringing?
To: lute@cs.dartmouth.edu
Date: Monday, 21 January, 2013, 12:00
Dear Martyn and all,
I think the notion that the vihuela
Dear G Abramovic,
I'd love to read what you wrote but all I got was this below! Is it
Wayne's system or what?
regards
Martyn Hodgson
--- On Mon, 21/1/13, G_abramovic g_abramo...@hotmail.com wrote:
From: G_abramovic g_abramo...@hotmail.com
Subject: [LUTE] Re
all the upper octaves, as it is
not to. If so, I take my hat of to you.
regards,
Martyn
--- On Mon, 21/1/13, Martin Shepherd [1]mar...@luteshop.co.uk wrote:
From: Martin Shepherd [2]mar...@luteshop.co.uk
Subject: [LUTE] Re: Vihuela stringing - was 6c (lute) stringing
.
And the rest of it was Martin's email
Stuart
--- On Mon, 21/1/13, G_abramovic g_abramo...@hotmail.com wrote: From:
G_abramovic g_abramo...@hotmail.com Subject: [LUTE] Re: Vihuela
stringing - was 6c (lute) stringing? To: Martin Shepherd
mar...@luteshop.co.uk, lute@cs.dartmouth.edu Date: Monday
that the 5th and 6th courses were octave
strung.
Monica
- Original Message -
From: Martin Shepherd mar...@luteshop.co.uk
To: lute@cs.dartmouth.edu
Sent: Monday, January 21, 2013 12:00 PM
Subject: [LUTE] Re: Vihuela stringing - was 6c (lute) stringing?
Dear Martyn and all,
I think the notion
: Martin Shepherd mar...@luteshop.co.uk
Subject: [LUTE] Re: Vihuela stringing - was 6c (lute) stringing?
To: lute@cs.dartmouth.edu
Date: Monday, 21 January, 2013, 13:07
Dear Martyn,
I never said it was easy! It's not a question of avoiding playing
all
the upper
Subject: [LUTE] Re: Vihuela stringing - was 6c (lute) stringing?
To: [3]lute@cs.dartmouth.edu
Date: Monday, 21 January, 2013, 12:00
Dear Martyn and all,
I think the notion that the vihuela was strung in unisons is based on a
source (which one, anyone?) which contrasts
Dear Ed
Yes, the Chambure works great for polyphony, in my opinion. But, with a
soprano in C, and an alto in Bb, we found the octave stringing too bright
[...]
unisons worked better. But for solo, octaves work perfectly well, and, as
you suspect, may be better than unisons for polyphony.
These are great questions, David. I cannot recall the sources, but most
agree that vihuelas should be strung in unison to the 6th. I personally
think that Milan sounds the best in unison, but some of the later
vihuelists sound good with octaves starting at the 4th, particularly the
Hi Ed
How's your health, doing a little better again?
Thanks for your reply. It confirms my hunches. It's not much more than
hunches, anyway, with vihuelas, right?
I love the story of the Quito-instrument: we cannot get acces because it
belonged to a saint! Now, if that is not inducement
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