The diameters need to be what they need to be to give you the right action.
The precise numbers vary from one lute to the next. 1.2 is maybe a little on
the thick side compared to many instruments, but if it works, it's what you
need. If this is a recent problem, your fret sizing should be OK.
Try bike racing (not that I was ever any great shakes as a racer, but I did
stick it out for three years). Beginners are generally expected to prove
themselves worthy before anyone will give you the time of day. I've found
the lute world far more accepting and supportive.
I showed up at my
Et in Terra and Qui Tollis. Jacob Herringman has a nice rendition of Et in
Terra on his Josquin CD.
- Original Message -
From: lutesmith [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Thursday, January 08, 2004 5:59 PM
Subject: Re: tab pdf for Benedictus, Missa de la Pange lingua
You really wouldn't want an instrument to be strongly resonant at a
particular frequency. I think that they did at least some things to
distribute the frequency response over a wide range. Something I picked up
from Grant Tomlinson's class this summer: in theory, the braces under the
top are
More precisely, the walls of a lute are elastic (i.e., deformable),
especially the top. The fact that the walls can flex in response to the
vibration is not taken into account in the simpler analyses of resonance
(and I suspect it becomes a nasty non-linear problem).
- Original Message
Ummm, the reason that golfballs have lower wind-resistance is that the
dimpled surface creates a turbulent boundary layer. That retards boundary
layer separation better than the laminar boundary layer that would be
created by a smooth surface, which in turn leads to lower wind-resistance
(see
If you mean something like the finish left by a fine-cut file, I'll buy
that. The beeswax should be stiff enough to basically fill in the modest
amount of surface roughness left by a good needle file. I'll have to try it.
- Original Message -
From: lutesmith [EMAIL PROTECTED]
To:
I've worked a fair amount with Delrin in the machine shop, and it's actually
one of the easier plastics to work with. Teflon, on the other hand, is a
pain in the neck. It's very soft and doesn't machine well at all.
- Original Message -
From: David Rastall [EMAIL PROTECTED]
To:
From the luthiers I've talked to, the reason that violinists etc. have peg
jobs so often is their insistence on ebony pegs. Ebony is somewhat abrasive
and wears out the holes fairly quickly. Not really a problem with most of
the woods used for lute pegs. If pegs are slipping, check to see if
Actually, it's more complicated. Asbestos is not a mineral as such. It's a
particular form (habit in mineralogist's lingo) that certain minerals can
take (i.e., elongated to the point that it becomes a fiber). Strictly, it's
asbestiform minerals. The different forms of asbestos have varying
Guild of American Luthiers is the publisher and you can buy it from them.
AFAIK, the site is OK (http://www.luth.org/).
- Original Message -
From: Michael [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Tuesday, July 20, 2004 7:13 PM
Subject: historical lute construction
Hey, does
If memory serves, one of the early volumes of Die Tabulatur has at =
least some of the pieces from this work (I don't recall if they did the =
entire thing or not). You should be able to find it at a decent music =
library.
Guy
- Original Message -=20
From: Rainermailto:[EMAIL
In Seattle, you have your choice of at least half a dozen small local =
coffee roasters (not counting Starbucks, which is a separate matter...). =
Seattle is a bit extreme, though, when it comes to coffee. I don't =
recall English coffee being that remarkable, but I certainly do have =
fond
Better barbecue though...
- Original Message -=20
From: Vance Woodmailto:[EMAIL PROTECTED]=20
To: lute listmailto:[EMAIL PROTECTED]=20
Sent: Sunday, November 14, 2004 7:30 AM
Subject: Re: McFarlane Workshop in Durham NC
Note below in original post. Subject: McFarlane
The LSA Western Seminar will again be held as part of the Vancouver =
Early Music Festival. We are still working on little details like =
faculty, but we do have a date now: the week of July 24 through 29, =
2005. Mark your calendars. (BTW, it's not definite yet, but it looks =
like we will again
And a reminder, especially for those of us on the western side of the
pond: Bob will at the Western LSA in Vancouver B.C(third week of July),
where he will perform a concert as well as teach courses and private
lessons. See
Or Seattle...
- Original Message -
From: Anna Langleymailto:[EMAIL PROTECTED]
To: lute@cs.dartmouth.edumailto:lute@cs.dartmouth.edu
Sent: Monday, April 11, 2005 8:46 AM
Subject: Re: Concertizing in dry environments.
What does one do if (s)he's scheduled to play
but
Back in January, I accompanied a Renaissance violin player on my cittern
on the ferry to Bainbridge Island, across the sound from Seattle (we
were on the way to a gig in Winslow). We made $17...
Guy
- Original Message -
From: [EMAIL PROTECTED]mailto:[EMAIL PROTECTED]
To:
Umm, no. Duluth is well below the 49th parallel, which is the northern boundary
of the US from central Minnesota to Washington (around 2000 miles), and a ways
from the Canadian border even at that longitude. Seattle is actually further
north, and is still well south of the border. That said, I
That's not far from Frostbite Falls, if memory serves:-)
- Original Message -
From: Greg Silvermanmailto:[EMAIL PROTECTED]
To: Lutelistmailto:lute@cs.dartmouth.edu
Sent: Tuesday, May 17, 2005 4:16 PM
Subject: Re: Ed Martin injured
guy_and_liz Smith wrote:
Umm
Crystals are only symmetrical to a point. It's a convenient and reasonably good
approximation, but perfect symmetry runs afoul of the second law of
thermodynamics, leading to things like point defects and dislocations.
- Original Message -
From: Michael Thamesmailto:[EMAIL
Just a reminder about LSA West. There's still time to sign up. We have a great
faculty (Ray Nurse, Steven Stubbs, Pat O'Brian, and Bob Barto). We will have
courses on a range of topics for both ren and baroque players at all levels of
expertise plus a lutebuilding course taught by Grant
Lets try again. My mail client got a little too creative about pasting the URL.
It should be:
http://www.earlymusic.bc.ca/vemp.htmhttp://www.earlymusic.bc.ca/vemp.htm
- Original Message -
From: guy_and_liz Smithmailto:[EMAIL PROTECTED]
To: lutemailto:lute@cs.dartmouth.edu
I had that problem when I lived in the midwest. I solved it permanently by
moving to Seattle:-)
Seriously, draping a piece of moderately heavy cloth or light leather over
the back of the instrument helps keep the sweat off without affecting your
own heat balance too much.
Guy
- Original
I play the serpent and have fooled around a little with cornetto. With both
of those instruments, the fingering only has a casual relationship to the
pitch. The standard fingerings (usually) do make it easier to get the
correct note, and some fingerings can make certain notes very difficult to
A guitarist acquaintance I worked with told me that when he was an
impecunious student (a classical guitar performance major at UW) he would
routinely clean his wound bases with alcohol. It removed a surprising amount
of crud, and extended the usable life of the strings considerably. Not
You might not save that much. We looked into dehumidifiers when we were
contending with the soggy hot summers in St. Louis, and discovered that they
use almost as much energy as an air conditioner. Main advantage is that you
can dehumidify just the room you care about, but a room air
The galliard is a difficult dance to slow down, given that you are in the
air for a portion of each sequence of steps. A slow galliard actually
requires more strength and skill than a fast one, since the dancer needs to
be a very good jumper to remain in the air long enough to stay on the beat.
Probably because they make a lot more selling slick-looking but poorly made
crap to consumers who don't know any better... Also, there isn't really a big
enough market for the more specialized tools to make it worth their while.
There are some very well made modern tools, just not by the old
Flint is cryptocrystalline quartz, which has a sort of a crystal structure but
behaves a lot like glass. I hadn't heard of surgeons making tools from flint,
but I know that they make microsurgical tools from glass, so flint is certainly
possible.
I think the reason that you can get a shaper
I've used both. You're correct: gut doesn't handle the kind of tensions used
with modern classical guitars. When strung at similar tensions, gut and nylon
sound similar, so most folks who use nylon string them at tensions much like
you would use with gut. Nylon is less dense than gut and has a
Similar != identical...
I've seen a lot of professionals with nylon-strung instruments, and I doubt
they would use it if it wasn't at least within shouting distance of the sound
of gut. That said, I agree that gut sounds better. Both my lutes are strung
with gut.
Guy
- Original Message
The fact that something is more mechanically complex doesn't necessarily mean
it's more sophisticated. To the contrary, sometimes complex mechanics are
really a kludge to get around the fact that you haven't been able to come up
with a simple and truly sophisticated solution. Ptolemaic (sp?)
I've had some fairly severe mouse-related problems at times, and I used to
switch hands every few days to keep either hand from getting over stressed (it
helps to have a mouse that works with either hand). You get used to it pretty
quickly. Lately it hasn't been a problem. It helps to have a
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
Or get a copy of Ghostscript
(http://www.cs.wisc.edu/~ghost/http://www.cs.wisc.edu/~ghost/), and you can
just print them yourself. It's free for non-commercial use and works quite well
in my experience.
Guy
- Original Message -
From: Rob MacKillopmailto:[EMAIL PROTECTED]
To:
Ronn MacFarlane moved to Portland recently. I don't know whether he's
interested in taking on students or not, but he's definitely a good teacher
(I've had several lessons from him at LSA and elsewhere). Worth checking
out.
Guy
- Original Message -
From: Steven Traut [EMAIL
I occasionally play serpent in a loud band that includes several shawm
players. They will often switch to recorder when we need to work through
difficult sections so they don't tire out too quickly. Tuning is a continual
challenge for them (as it is for serpent, but for entirely different
Not necessarily. In some countries, solicitors actually practice the law:-)
Guy
- Original Message -
From: gary digman [EMAIL PROTECTED]
To: lutelist lute@cs.dartmouth.edu; Edward Martin
[EMAIL PROTECTED]
Sent: Saturday, January 07, 2006 11:16 PM
Subject: [LUTE] Re: Music Therapy
* * * *
http://www.peteroljelund.se
[EMAIL PROTECTED]
Mobile +46 (0) 70-403 41 48
From: guy_and_liz Smith [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu, [EMAIL PROTECTED]
Subject: [LUTE] Re: Surviving in Eliz. England.
Date: Thu, 12 Jan
I saw the Czech chamber orchestra (??the exact name is fuzzy by now) when
they were on tour in the early seventies. They had something like 30-40
players, and no conductor; just the concert master to start things off. They
had a tighter cleaner ensemble than most orchestras of that size seem to
Also, some of us are playing 6-course *alto* lutes, which have a distinctly
different sound (much brighter) than the darker sound you typically get most
eight course instruments. I have a 6-course alto (by Andrei Perkhounkov)
that I love for much of the the early-to-middle 16th century
Likewise, especially for the Elizabethan repertoire. Unfortunately, POD
seems to have drifted to the dark side and started playing lutes with too
many strings:-)
- Original Message -
From: Mathias Rösel [EMAIL PROTECTED]
To: Lutelist lute@cs.dartmouth.edu
Sent: Friday, February 24,
Gravity doesn't make much difference on a string bass (which I used to play,
years back). The bow moves pretty much horizontally in either direction.
OTOH, a down bow usually starts close to your hand, giving you much greater
leverage with which to engage the string and a more robust sound. Up
Look can also be used as a noun, as in I gave him a dirty look. I think
that's how he's using it here. In that case, looks is just the plural of
look.
Guy
- Original Message -
From: Arto Wikla [EMAIL PROTECTED]
To: LGS-Europe [EMAIL PROTECTED]
Cc: Lute net lute@cs.dartmouth.edu
Sent:
] Re: I saw my lady weep
It was a poor imagination that could think of but one way to spell a
uuord.
Sean
guy_and_liz Smith [EMAIL PROTECTED] wrote:
Oops. Didn't read it very carefully. I think the extra s's are just
archaic
usages. English spelling wasn't very systematic back
Hardly. Come to an LSA seminar some time. You'll see quite a few folks
playing with a strap, myself among them. The person who convinced me to try
one was Pat O'Brian, who has more than a little credibility as a pedagogue
as well as a performer.
Guy
From: bill kilpatrick [EMAIL PROTECTED]
Another possible contributing factor to shoulder pain is strength (or lack
thereof). The shoulder joint depends in a big way on the muscles of the
rotator cuff to hold everything together. I had problems with shoulder pain
several years ago (computers again ...). The orthopedist eventually
A lot of folks, myself included, attach their straps like that, and this is
the first I've heard of anyone having any problems with the neck joint.
From: bill kilpatrick [EMAIL PROTECTED]
To: lute net lute@cs.dartmouth.edu
Subject: [LUTE] Re: lute straps (genuinely about straps and lutes)
Date:
I actually used something called a TotalGym
(http://www.totalgym.com/http://www.totalgym.com/), and the exercises I did
are peculiar to that device. This site has what looks to be a decent set of
rotator cuff strength and stretching exercises that don't require much in the
way of special
I've been to quite a few (although I won't be able to make this one:-(, and
they normally have a pretty good mix of Baroque and Ren attendees and faculty
(including some who do both). I'd guess the usual proportion is roughly 60/40
Ren/Baroque. There should be more than enough in the way of
On Ronn MacFarlane's Scottish album, there are several pieces that are only a
handful of bars long in the original manuscript (Rowallen or Straloch). It's
hard to imagine that they were meant to be played literally since some would
barely top 10 seconds as written. He's generally used those as
A trick I learned from Grant Tomlinson forlarger fret sizes is to bend the
section you that you will use to tie the knot back and forth a few times. This
softens it up a bit and makes tying a knot much easier. It probably weakens the
gut a bit, but there's more than enough strength left, and
Try some and use your own ear is exactly the advice I got from a friend who
is a very experienced recording engineer and rock musician (he used to work for
Mackey, among other things). He told me that the best he could do was maybe
steer me away from some that were obviously not suitable (for a
Not sure about Fronimo, but there are .tab versions of a number of standard
duets, including the two you mention, on Wayne's site (assuming it hasn't
changed since the last time I checked).
Guy
- Original Message -
From: Mathias R=F6selmailto:[EMAIL PROTECTED]
To:
It's a bawdy ballad about an encounter between a lad and a lass. It's an
entertaining song (and one of my favorites) but not about drinking at all. Ale
is just a metaphor for... well, better to just read the lyrics yourself:
1.. There was a maid this other day,
And she would needs go forth
Having also played in costume on a few occasions, a lot depends on how you do
it. If you simply sit up on stage and play in costume, much like you would in a
conventional concert, I think it ends up looking a bit affected and adds little
to the performance. Adding a bit of theatre with the
If memory serves, Clive Titmuss has made some lutes with Sitka spruce tops.
Unfortunately, that was at least a couple of years ago and I don't recall where
I saw the discussion (maybe in the GAL journal). I haven't heard ajy of the
instruments, so I can't say how they compare to instruments
Depends on the player and the music. Jacob Herringman did a number of his Ren
intabulation recordings on a Warwick Frei that was well over 62cm (someone else
may know the specifics). He doesn't use it for everything, though. I've got a
62cm 8-course that I use for later Ren stuff (mostly
I asked that question of someone knowledgeable several years (I can't recall
who at the moment but it might have been Frederico Marincola), and they said
that Balletto as used in the Capirola is just a generic term for a dance, not a
particular dance form.
Guy
- Original Message -
At our Dowland seminar several years ago, Pat O'Brian made that suggestion
about some of Dowland's lute songs, which specify fretted notes instead of the
adjacent open string. His take was that Dowland might have written it that way
because he wanted the darker sound of the fretted note, even
Nothing necessarily wrong with kiln-drying. I'm working with a nice slab of
kiln-dried red beech right now that's very stable. However, if the folks
running the kiln try to rush things, the wood can get pretty messed up, and
it's not always obvious until you do something like cut it.
Guy
If memory serves, it was not something that Jacob had recorded, at least at
that point. In fact, I'm not sure if he has even performed the entire thing,
he played only one section (of three?) in the concert (I remember it as
longish, but well short of 18 minutes). It might have been a Josquin
Not necessarily. When I changed my alto from equal temperament to sixth
comma meantone, the frets were fine after the shift. You aren't really
moving them all that much for sixth comma. I've never tried quarter comma,
so I can't say how that would affect fretting.
Guy
- Original Message
He played primarily a single line, although he occasionally used a strum or
his middle finger to add an extra note or two for additional color. IIRC,
Crawford primarily took the contratenor line, but that's based mainly on
what I got from his class. BTW, it was two voices and/or vielle, so it
I sometimes have to actually remove callus, especially from the tip of
my middle finger, where it can form a sort of corn that creates a point
force on the underlying tissue that can get quite uncomfortable. It
seems to be more of a problem with theorbo than Ren lute, perhaps
I use digital composition tools occasionally, and find MIDI playback very
useful for proofreading. A lot of mistakes are pretty quick and easy to catch
in MIDI, even if it does sound like a first-gen video game soundtrack. That's
about it, though...
Guy
-Original Message-
From:
A melody line is handy, especially for recitative but I'd rather not deal with
a full score. Too many page turns.
A related question: what did continuo players use back in the day, i.e., when
did we start publishing part music as a score? That's a common practice in
modern editions, but most
rs?
Choral Wiki (free)
[1]http://www2.cpdl.org/wiki/images/e/ee/Josquin_Adieu_mes_amours_4v.pd
f
Another good place to look is in the World Catalogue. Or Google.
By the way, is this by Josquin?
Arthur Ness
[2]arthurjn...@verizon.net
-Original Message-----
From: guy_an
Can anyone point me to a texted version of Josquinâs Adieu mes Amours?
All I can find (on IMSLP) is several instrumental versions and Moutonâs
arrangement of the piece (which does at least have text). Is it buried
in one of the (many) collections or are there sources other than
Does anyone know where I can get a facsimile of H. Neusidlerâs Der
Ander Theil des Lautenbuchs. Iâve got Miles Dempsterâs edited French
tab version, but Iâd like to have the original for reference. I could
have sworn I saw one on IMSLP relatively recently, and LSA has a link
is it?
> https://digital.blb-karlsruhe.de/blbihd/Musikalien/content/titleinfo/243869
>
>
>
>> On 04/15/2017 02:37 PM, guy_and_liz Smith wrote:
>>Does anyone know where I can get a facsimile of H. Neusidler’s Der
>>Ander Theil des Lautenbuchs. I’ve got Miles
There's a couple of facsimiles on IMSLP:
http://imslp.org/wiki/Category:Ballard%2C_Pierre .
Guy
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Nancy Carlin
Sent: Thursday, August 3, 2017 2:33 PM
To: lute@cs.dartmouth.edu
Subject:
Also German. I have a couple of versions that I play from one of the Bavarian
manuscripts that Richard Darsie edited some years ago (MS 1612, I think, but
it's not handy at the moment). However, the piece was spelled something like
Dubienschela.
Guy
-Original Message-
From:
IMSLP is a great source for facsimiles (I've played from many of them in wind
bands and looked at a lot more), but the quality of the edited versions varies
a lot. Check the composer's Collections tab to see if you can find a facsimile
version to at least verify that the edited version you are
And for those of you who aren't familiar with application programming, porting
a Windows App to Linux or OS X is a non-trivial exercise (as is porting an OS X
app to Windows, and...).
When I had work with both Windows and Linux, I used two machines with a KVM
switch that allowed me to use one
I enlarged a couple of bridge holes on my old Larry Brown, which was apparently
drilled for relatively thin wound basses and couldn't accommodate larger gut
strings. I used what's called a pin vise to hold the drill (standard item in
machine shops), with some tape on the top to protect it from
Any liquid lubricant might cause the wood and/or the gut to swell, which isn't
going to help. Maybe graphite? I use that to lubricate the nut without ill
effect on either gut or synthetic strings.
Guy
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu]
One of the exercises Pat recommended to understand this principle (and to help
break the habit of pinching the neck with your thumb) was playing without using
your thumb at all. You can't play as well as you do with the thumb, but it does
work.
Guy
-Original Message-
From:
As a (now retired) geophysicist, I sometimes think in metric, sometimes in
traditional units, sometimes in "machinists' metric" (inches and .001 inches),
and sometimes in "surveyors' metric" (feet, tenths of feet, hundredths of
feet...). Sometimes I think it makes my head hurt.
On the other
LSA published at least one other Nordstrom reconstruction, a ground to go with
a John Johnson treble (( don't recall which issue; I only have a copy of the
piece now).
Have any of Lyle's other reconstructions been published, formally or
informally? I'm guessing that he did at least some of the
I've been playing a fair amount of jazz lately (on trombone, not lute, but
that's another story). Jazz charts are conceptually similar to figured base;
the details are different, but it's the same basic idea. Shouldn't be any
harder to play from a chart with lute than it is with guitar, and
Pacific MusicWorks in Seattle (Steve Stubbs org) has been doing "underground"
concerts in a variety of venues, including my favorite brewpub, Naked City
Brewery, in the Greenwood neighborhood. Worth going to just for the beer, but
if you hit the right night, you can have some early music to go
Of
guy_and_liz Smith
Sent: Wednesday, January 3, 2018 10:31 AM
To: lutelist Net
Subject: [LUTE] Re: Early Music life
OK, Outlook was a little too helpful with the link. Here's another try:
https://nam04.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.pacificmusicworks.org%2Funderground
I give up. Google "Early Music Underground, Seattle" ...
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
guy_and_liz Smith
Sent: Wednesday, January 3, 2018 10:35 AM
To: lutelist Net
Subject: [LUTE] Re: Early Music life
And a
OK, Outlook was a little too helpful with the link. Here's another try:
http://www.pacificmusicworks.org/underground/underground-2017-18-season/
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
guy_and_liz Smith
Sent: Wednesday, January
al Message-
From: lute-...@cs.dartmouth.edu On Behalf Of
guy_and_liz Smith
Sent: Thursday, April 26, 2018 12:22 PM
To: r.turov...@gmail.com; Elliott Chapin
Cc: Leonard Williams ; lute@cs.dartmouth.edu
Subject: [LUTE] Re: Left hand technique
One of the exercises Pat recommended to understand this
Definitely get it evaluated by a hand specialist to make sure you get the
appropriate treatment. I had a mallet finger injury to my right middle finger,
which basically broke off a chip of bone and disconnected the end joint from
half of the associated muscles and tendons. Splinting probably
This, perhaps:
Louis Armstrong - "There is two kinds of music, the good & the bad. I play the
good kind."
--
Personally, I'm a purist to the extent that I play only Ren music on the lute
or sackbut. I play modern music (symphonic band and jazz) on a modern trombone.
Works for me, but one of
I've been using a K regularly for years for both early and modern music (jazz
and band). It's light and compact and works very well but does have some
limitations. In particular, it's a bit tippy in windy conditions (I play
outdoor band concerts at times) or when you put anything very heavy on
If you have a Manhasset (which is what I use at home), you can use standouts to
make the desk much larger.
https://www.amazon.com/MANHASSET-Music-Stand-Out-Shelf-Extenders/dp/B00H5XQH20/ref=sr_1_1?s=musical-instruments=UTF8=1539803248=1-1=standouts
Guy
-Original Message-
From:
Some years ago at the Seattle Folklife festival, I talked to someone from
Colorado Case about a soft case for a lute. They make very nice soft cases for
a lot of instruments, but they don't stock them for lutes. However, the rep
said that they could probably handle it as a custom order. Never
https://www.amazon.com/DOVER-DOWLAND-J-Classical-sheets/dp/B0058UE0VM/ref=sr_1_fkmrnull_1?keywords=dowland+lute+songs+sheet+music=1551570009=gateway=8-1-fkmrnull
This edition has volume 1 and 2 and includes (French) tablature for the lute
part, but the tab typeface is so small that it is
At a seminar I attended some years ago, Pat O'Brien made a plausible case that
Can She Excuse (which is based on the Earl of Essex galliard) is a veiled
reference to the relationship between Elizabeth and Robert, Earl of Essex. They
were widely believed to be lovers early on, but it didn't last
now any?
>
> I meant specific lute literature, like Passamezzi or Ricercars, or at
> least contemporary intabulations like those of Phalèse.
>
> Which passages astonish you whenever you play them?
>
>
>
>> On 11.05.19 23:12, guy_and_liz Smith wrote:
>> Just ab
Just about anything by Gesualdo. His harmony sometimes sounds almost 20th
century. https://imslp.org/wiki/Category:Gesualdo%2C_Carlo. If you want to go
straight to the source, there are a number of facsimiles under the Collections
tab.
Guy
-Original Message-
From:
, guy_and_liz Smith wrote:
> As a wind player, I've played from or at least looked at several hundred
> facsimiles of 16th and early 17th century polyphony (mostly English, German,
> Italian, and Flemish) and they were all notated as either zero or one flat
> (B flat). Notes were someti
As a wind player, I've played from or at least looked at several hundred
facsimiles of 16th and early 17th century polyphony (mostly English, German,
Italian, and Flemish) and they were all notated as either zero or one flat (B
flat). Notes were sometimes modified by a sharp or flat
One of the Minnesota Ren Faire's that I went to when I lived there in the early
eighties included a booth for Dan Larson, who must have been just starting his
business. I nearly ordered one of his six course instruments to replace my old
German heavy lute (Steiner), and I wish I had. Apart from
If you can figure out how to get in touch with Tom Bergen in Seattle (last I
heard...), he had a great sounding Lundberg 11 course French baroque instrument
with an internal pickup mounted near or under the bridge. He had a miniplug
built into the strap button that he connected to a wireless
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