Le 15 mai 07 à 00:05, Edward Martin a écrit :
> The use of the table is a very interesting concept. Last summer at
> the
> 2006 LSA Seminar, Chritopher Morrongiellgo gave a series of
> musicological
> lectures, and one of the topics was use of the table. He had many,
> many
> examples from paintings, and quotes from sources. In fact, some
> rooms had
> tables which were referred to as "musical tables", which were actually
> designed for the lute in mind.
>
> One thing that stuck in my recollection of his talk is that the table
> actually enhances the sound of the lute. Chris, who prefers
> tables to
> straps, demonstrated in how the vibration of the lute on the table
> made it
> much more projective and audible.
>
> ed
Ed
This does indeed sound a very interesting concept. The tables
were made specifically for lutes, so I suppose the wood and its
thickness, and perhaps its shape, would have been chosen for this
purpose. I tried an ordinary mahogany dining table, but which was not
ultra thick. I imagine if the wood were too thick, it would inhibit
the propagation of sound waves. Might the wood, chosen, have been of
the same essence as that of the lutes played (maple, yew, or whatever)?
A Japanese loud-speaker maker uses wood that he tunes to resonate
with the loud speaker and by this he aims at increasing the
projection. The wood used is relatively thin as loud-speakers go, and
you can feel it resonate. While other makers seem to use as thick a
wood as possible and even to reinforce it to damp out the resonances,
this maker tries to use the resonance to his advantage. Could this
have been the approach adopted by the musical-table maker.
It seems that such tables were made available to lutists, which would
tend to imply there would not have been a table-size according to the
lute or the lutist. I suppose the lutist would have adjusted his
sitting height accordingly.
The prospect of every lutist carrying his own table around is a
little daunting, so one assumes that a lute would not ever have come
with its own table exactly tailored to its own properties.
Nevertheless, the fact that many salons might have had such a lute-
table, does imply that lutes took up much more space in people's
lives than one might have expected at first reflection. Less than a
piano today, more like a spinet, perhaps.
Best
Anthony
>
>
>
>
> At 05:59 PM 5/14/2007 +0100, Andrew Gibbs wrote:
>> I've seen a several Ren lute players holding their instruments by
>> sitting with their left ankle resting on their right knee - this does
>> away with the necessity for a strap but in my advanced years I can't
>> hold this position comfortably for more than a few measures.
>>
>> There's always the historically documented position of sitting at a
>> table with the front edge of the table propping the lute. Does anyone
>> play like this now? Perhaps tables were smaller in those days...
>>
>> Andrew
>>
>>
>> On 14 May 2007, at 17:46, Anthony Hind wrote:
>>
>>> Thanks Sean
>>> I will try this more complex system for tying it to the peg-
>>> box. In
>>> fact, at the moment I am using a slightly unorthodox system. I
>>> have a
>>> long and wide leather belt (which is made of fairly flexible
>>> leather,
>>> that I reinforced at my shoulders), and this is tied to the 5th and
>>> 8th strings by thongs that are attached before the end of the belt .
>>> I then wrap the end of the belt round the end of the peg-box. I
>>> feared this might damp the sound, but I don't think so; and it does
>>> seem to prevent the lute from rolling. However, it has received some
>>> rude remarks from other lutists.
>>> I will probably press on regardless.
>>> Regards
>>> Anthony
>>>
>>> Le 14 mai 07 à 18:33, Sean Smith a écrit :
>>>
>>>>
>>>> I've made my peace with straps and often play standing now. One
>>>> thing that helps is to use a wide belt that has ties. For these I
>>>> scavange used clothing stores.
>>>>
>>>> On the peg box end of the strap I have strings (or thongs) that
>>>> go to both ends of the pegbox, ie, the 1st and 6th courses as well
>>>> as the far end (3rd and 4th course pegs). With a little wrapping or
>>>> string adjustment I get a VERY stable position. The lute never
>>>> rolls down or up.
>>>>
>>>> regards,
>>>> Sean
>>>>
>>>> Caroline Usher <[EMAIL PROTECTED]> wrote:
>>>> Anthony Hind wrote:
>>>>> On two slightly different topics.
>>>>> I have seen lutists using a wooden tool to turn pegs. I wouldn't
>>>>> mind
>>>>> buying one of these myself; however, is there not a risk of
>>>>> breaking
>>>>> a peg or even the peg-box?
>>>>>
>>>> Not if you know when to cease and desist. It should be pretty
>>>> obvious
>>>> when a peg is really jammed and needs to be tapped out, or
>>>> allowed to
>>>> dry out in lower humidity. If your pegs are in good working
>>>> condition
>>>> there should be no danger.
>>>>
>>>> The peg-turner helps you to turn the peg more smoothly.
>>>>> I have not noticed any paintings of lute players showing them
>>>>> with a
>>>>> lute strap, and yet most players use a strap today. Might these be
>>>>> absent from paintings, but nevertheless have been used when the
>>>>> lutist actually played? Are there any signs on the old lutes
>>>>> themselves that straps were indeed used?
>>>>>
>>>> Search the archives of this list.
>>>>> There seem to be many ways of wearing these straps.
>>>> Yes. Remember that the clothing worn in the heyday of the lute was
>>>> very
>>>> different from ours. That makes a big difference.
>>>>> Would either of these
>>>>> methods be beneficial or tend to inhibit resonance?
>>>>>
>>>>> I have noticed that the lute remains most stable when the strap is
>>>>> tied nearer the extremity of the peg-box.
>>>>>
>>>> That works for you and probably most men. I find that since my
>>>> shoulders are narrower and more rounded, I have to attach the strap
>>>> close to the neck or it slips off my shoulder.
>>>>> Furthermore, some people use colourful cloth material, while
>>>>> others
>>>>> use a very solid guitar-strap. Is it just the case of 'use what
>>>>> works
>>>>> for you", or are there serious reasons for adopting a particular
>>>>> method?
>>>> De gustibus non disputandum. Wider is better, as is non-
>>>> slippery. You
>>>> want something that will grip your back.
>>>>
>>>> Remember that how you look does affect how people perceive you. A
>>>> psychedelic strap may remind you of your hard-rockin' college days
>>>> and
>>>> comment ironically the instrument you now favor, but would be
>>>> out of
>>>> place in the Collegium concert. Black or natural leather is
>>>> never out
>>>> of place.
>>>>
>>>> When I play in costume I have a strap that matches my dress. BTW my
>>>> costume is in subdued colors with low contrast--in other words it's
>>>> not
>>>> a "stage" costume with lots of stripes, gold braid etc. The idea
>>>> is to
>>>> focus on the music after all. The costume helps set the mood.
>>>> Caroline
>>>>
>>>> --
>>>> Caroline Usher, Dept. of Biology
>>>> Box 90338
>>>> Durham NC 27708
>>>> 613-8155, fax 660-7293
>>>> "So that its subjects will view it with admiration, as a chicken
>>>> which has the daring and courage to boldly cross the road, but also
>>>> with fear, for who among them has the strength to contend with such
>>>> a paragon of avian virtue? In such a manner is the princely
>>>> chicken's dominion maintained." - Machiavelli
>>>>
>>>>
>>>>
>>>> To get on or off this list see list information at
>>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>>
>>>>
>>>> --
>>>
>>>
>>>
>>
>>
>>
>>
>>
>> --
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>> 12:17 PM
>
>
>
> Edward Martin
> 2817 East 2nd Street
> Duluth, Minnesota 55812
> e-mail: [EMAIL PROTECTED]
> voice: (218) 728-1202
>
>
>
>
