Technically, kg is a measure of mass, but it's a little easier to grasp than tensions. Simply speaking, when you draw a string to pitch, associating something like "4 kg" to that string's tension means it is equivalent to the amount of effort that would be required to hold a mass of 4 kg. I'm happy to receive refinements from those who know physics better than I.
Eugene > -----Original Message----- > From: Stuart Walsh [mailto:s.wa...@ntlworld.com] > Sent: Friday, May 28, 2010 3:17 PM > To: Eugene C. Braig IV > Cc: 'Martyn Hodgson'; 'Lute List' > Subject: Re: [LUTE] Re: baroque mandolins etc--- tensions and kgs? > > Is there a simple explanation, somewhere, of string tensions and what > 3kg or 7 kg etc means and what is the significance of it. I've never > understood what it's all about. > > > Stuart > > > Eugene C. Braig IV wrote: > > > > Greetings Martyn, > > > > Of course, more lute-like mandolins comfortably predate wire-strung > > mandolins historically. I don't think modern mandolin tension had any > > influence on the recent semi-resurgence of early mandolin types. On > typical > > modern Neapolitan mandolins, tension on e'' around 6+ kg is pretty > common. > > Archtop mandolins will range up to 10 or so. Early Neapolitan types > often > > use gut e'' strings around 0.5 mm at similar scale lengths to 4th-tuned > > mandolins, thus are strung just a little heavier than 4th-tuned > mandolins, > > but still much lighter than fully wire-strung modern mandolins. Also of > > course, classical guitars are strung as high as 7 or even 8+ kg, even in > > gut. > > > > Whatever might have been historically available, I really think the > typical > > modern tension of 4th-tuned mandolini is simply dictated by the > availability > > of finest functional gut now. I've never tried splitting a string, > don't > > know that I'd trust myself to do so. However, 0.4 mm tends to fray very > > quickly as is. Tension certainly has some play in the fraying of gut > > fibers, but so does abrasion from the fingers or any contact with nail, > and > > if you apply quill, fraying could be accelerated. I think a player > could > > "eat" through gut of less than 0.4 mm very quickly. That's why I > ordinarily > > keep carbon on the highest course or two. > > > > Best, > > Eugene > > > > ________________________________________ > > From: Martyn Hodgson [mailto:hodgsonmar...@yahoo.co.uk] > > Sent: Friday, May 28, 2010 11:45 AM > > To: Eugene C. Braig IV > > Subject: Re: [LUTE] Re: playing technique of baroque mandolin > > > > Dear Eugene, > > > > Thank you for this. Not being at all familiar with the mandolino, I was > > unaware of, what to my mind, seems such high tension (4Kg) being > normally > > employed on the finger plucked instrument of only around 32cm string > length. > > No wonder someone remarked about 'iron bars'. Did this sort of tension > > emerge by working back from the later metal strung/bent belly neopolitan > > mandolin tensions or was there some other (historical) source you > mandolino > > players consulted. Clearly the Ospedale's strings look a very good line > of > > enquiry. > > > > Generally the desirable string tension on the lute seems to relate to > string > > length so that bigger instruments of the same type (eg 7 course lutes) > > mostly require higher tensions. Dowland, for example, tells us that > bigger > > lutes need thicker strings. Of course, there's some latitude and it > seems > > that lute tensions probably went down with an increase in the number of > > courses around 1600 (perhaps to keep the instrument from collapsing), > which > > in turn required a closer to the bridge plucking position - but all this > is > > another, and well rehearsed, story. What I was wanting to suggest is > that a > > lower string tension might well be worth exploring on the small > mandolino > > to, paradoxically, achieve more volume from finger plucking. I'm aware > of > > the suggestion that 0.4mm is the thinnest gut historically possible but > I'm > > not so sure how safe an assumption it is (perhaps for whole guts - but > > cannot they be split?). What if, for a test, you tried nylon 0.30mm on > the > > first (if it's still available) and the rest accordingly? > > > > Yours even more intrigued > > > > Martyn > > > > --- On Fri, 28/5/10, Eugene C. Braig IV <brai...@osu.edu> wrote: > > > > From: Eugene C. Braig IV <brai...@osu.edu> > > Subject: [LUTE] Re: playing technique of baroque mandolin > > To: "'Lute List'" <lute@cs.dartmouth.edu> > > Date: Friday, 28 May, 2010, 15:45 > > Somewhere there is a catalogue of strings intended for shipment to > > Vivaldi's famous Ospedale della Piet`a. I don't remember the level > of > > detail, but do remember it lists strings for mandolin. I think I > have > > a transcription of that document someplace, but am not certain. I'll > > keep my eye open. If anybody else has it, feel free to weigh in. > > > > > > It's hard to find modern gut that functions very well below 0.4 mm > > diameter. With string lengths typically around 31-34 cm, depending > > upon pitch, I would expect the g'' strings to be pretty substantially > > higher in tension. Right now, I have carbon g'' strings on mine > > (technically, P-Line CFX flourocarbon fly fishing leader material) at > > 0.32 mm. Because of limitations of the strings themselves, the g'' > > usually clocks ca. 4 kg. I go to ca. 3 kg on the others. > > > > > > Best, > > > > Eugene > > > > > > > _______________________________________________________________________ > > > > From: Martyn Hodgson [mailto:hodgsonmar...@yahoo.co.uk] > > Sent: Friday, May 28, 2010 4:23 AM > > To: Eugene C. Braig IV; Stuart Walsh > > Cc: 'Susanne Herre'; 'Lute List' > > Subject: Re: [LUTE] Re: playing technique of baroque mandolin > > > > > > > > Not being a mandolino player I hope you don't object to me intruding > > and commenting on Timmerman's (fine) performance and the volume he > > generates from the instrument. Of course, since the piece is recorded > > we have no real means of knowing the volume - for all I know it could > > be as loud as a modern grand piano or as soft as a small clavichord. > > > > > > One thing did occur to me though: I sensed he employed a fairly low > > string tension (especially noticeable in the trills and the like). I > > don't know what tension you mandolino players would normally expect > to > > use on this sort of instrument (string length 30cm?) but by analogy > > with lutes I'd automatically be looking at something around > > 1.5Kg/Newtons. Is there historical evidence of the string tension on > > these instruments? > > > > > > yours enquiringly > > > > > > Martyn > > > > > > > > --- On Thu, 27/5/10, Stuart Walsh <s.wa...@ntlworld.com> wrote: > > > > From: Stuart Walsh <s.wa...@ntlworld.com> > > Subject: [LUTE] Re: playing technique of baroque mandolin > > To: "Eugene C. Braig IV" <brai...@osu.edu> > > Cc: "'Susanne Herre'" <mandolinens...@web.de>, "'Lute List'" > > <lute@cs.dartmouth.edu> > > Date: Thursday, 27 May, 2010, 22:21 > > > > Stuart Walsh wrote: > > >> > > > > > > > > > I just can't imagine how you get a loud, full sound playing the > > instrument fingerstyle when the instrument has such a tiny body. (But > > with a plectrum the instrument truly chirps). I think it was Stewart > > McCoy who, in a previous discussion of this same subject, said that > > mandolino strings at that short string length are going to feel like > > steel bars...and they do. So the technique of getting a sound from > the > > strings of a lute or guitar or wire-string instrument (e.g. English > > guitar) wouldn't be any use at all - it would surely be far too > gentle? > > Well, not for me, anyway. > > Well I came across this youtube video of Alex Timmerman playing an > > Alemanda by Ceccherini (it's also in Tyler's book). Played with > gusto! > > Sounds forceful and loud - and punteado/fingerstyle. Dunno how he > does > > it. Nails? > > Stuart > > > > > > Jake Shimabukuro (modern uke virtuoso) gets a great, full sound > but > > he seems to have an odd technique based around the RH thumb - nothing > > like early guitar or lute technique. > > > > > > )All those medieval depictions of gitterns have the celestial folk > > playing with plectra too.) > > > > > > So what 's the secret? Nails? Or some unusual aspect of > construction > > that enables players to use punteado style successfully? > > > > > > I'd be really interested to hear/see the instrument played > > (punteado) - mp3, youtube, anything. A little demo - with fingers, > > plectrum, with other instruments?? > > > > > > > > > Stuart > > > > > > > > > > > > > > > > > >> > > >> > > >>> -----Original Message----- > > >>> From: [1]lute-...@cs.dartmouth.edu > > [mailto:[2]lute-...@cs.dartmouth.edu] On > > >>> Behalf Of Susanne Herre > > >>> Sent: Monday, May 17, 2010 6:38 AM > > >>> To: EUGENE BRAIG IV; Lute List > > >>> Subject: [LUTE] Re: playing technique of baroque mandolin > > >>> > > >>> Thank you Eugene! > > >>> > > >>> > > >>> > > >>> Is there in fact any iconography of baroque opera showing a > > mandolin > > >>> player at all? > > >>> > > >>> > > >>> > > >>> Yes, if you play with the quill you will hear more higher > > harmonics > > >>> because the section which hits the string is not as large as > if > > you > > >>> play with your finger... > > >>> > > >>> > > >>> > > >>> Yes, if you play with thumb-out and want to hit both strings > of > > one > > >>> course you have to play also with a bit of your nail. That > > happens > > >>> automatically, I made this experience as well. > > >>> > > >>> > > >>> > > >>> All the best, > > >>> > > >>> > > >>> > > >>> Susanne > > >>> > > >>> > > >>> > > >>> > > >>> > > >>> > > >>> > > >>> > > >>> > > >>> ----- Original Message ----- > > >>> > > >>> From: [1]EUGENE BRAIG IV > > >>> > > >>> To: [2]Susanne Herre ; [3]Lute List > > >>> > > >>> Cc: [4]davide.rebuffa > > >>> > > >>> Sent: Monday, May 17, 2010 3:35 AM > > >>> > > >>> Subject: Re: [LUTE] playing technique of baroque mandolin > > >>> > > >>> I agree with Davide. I'm just aware of no baroque-era > > iconography > > >>> that implies plectra/quills on 4th-tuned, gut strung > > mandolins. If > > >>> it were common in the pit for obligati parts, I would think > > plectrum > > >>> use would be at least occasionally evident in the sketchy > > >>> iconography. > > >>> I also use quills and more modern plectra on early and > modern > > >>> Neapolitan mandolins, even on a gut-strung mandolino > Toscano, > > so I > > >>> am accustomed to using plectra. I don't really gain > > appreciable > > >>> volume applying quill to my 6-course mandolin/o, but in > using > > quill, > > >>> I do lose any bass response I get by using my fingertips. > > That > > >>> said, I use a combination of flesh and nail on my > mandolin/o. > > >>> Again, I'm just not aware of any good written references to > > >>> technique on 4th-tuned mandolins (or reference to quill use > on > > same) > > >>> until they get only peripheral mention in the literature for > > >>> Neapolitan mandolins of the latter half of the 1700s. > > >>> Best, > > >>> Eugene > > >>> ----- Original Message ----- > > >>> From: Susanne Herre <[3]mandolinens...@web.de> > > >>> Date: Sunday, May 16, 2010 3:00 am > > >>> Subject: [LUTE] playing technique of baroque mandolin > > >>> To: "davide.rebuffa" <[4]davide.rebu...@fastwebnet.it>, Lute > > List > > >>> <[5]l...@cs.dartmouth.edu> > > >>> > > > >>> > Dear Davide, > > >>> > > > >>> > Thank you for your comments! > > >>> > > > >>> > I still think we can not be so sure about certain things > > because > > >>> > we don't > > >>> > have much evidence. > > >>> > > > >>> > > - to my knowledge - there is no evidence at all that it > > >>> > could be played > > >>> > > with a quill before the late XVIIIth century. > > >>> > > > >>> > Do you have any evidence against quill technique e.g. in > > operas? > > >>> > It is possible to play with a quill... > > >>> > > > >>> > I know about some paintings which show the finger > technique > > (all > > >>> > in all we > > >>> > don't have much, have we?) but I also saw one picture > > (English) > > >>> > where there > > >>> > seems to be a kind of plectrum. But it is an anonymous > > picture > > >>> > without any > > >>> > year. Also I have seen a still life by Baschenis where > there > > is > > >>> > a quill and > > >>> > I don't believe that the violin, the harp or the lute on > > this > > >>> > picture is > > >>> > played with it... > > >>> > > > >>> > I can't say that I have much experience of comparing the > > >>> > loudness of > > >>> > different playing techniques with an audience. This maybe > > also > > >>> > depends on > > >>> > different acoustics (as I would use different bows in > > different > > >>> > concert > > >>> > rooms) > > >>> > But I think you get a brighter sound with a quill amd then > > the > > >>> > sound will > > >>> > maybe go easier to the > > >>> > listeners. But it is interesting to read about your > > experience! > > >>> > > > >>> > I didn't say that amteurs used finger techniques and who > > says > > >>> > that playing > > >>> > with fingers is more complex than playing with a quill? > > >>> > If you would like to do it very well it is both not > easy... > > >>> > I was just considering that there were persons who maybe > > played > > >>> > the mandolin > > >>> > but not the lute or the theorbo. > > >>> > > > >>> > For the use of the quill I say it could be a possibility, > > >>> > "maybe". It is > > >>> > just a theory as all is what we try to find out. > > >>> > > > >>> > I think in the 17th and 18th century there was such a > > diversity > > >>> > of things > > >>> > and not as much standarts as today that we would be > > surprised > > >>> > what is > > >>> > possible if we would have the chance to make a journey to > > the > > >>> > early times > > >>> > ; ) > > >>> > > > >>> > fingers: fast scales are more difficult, arpeggios more > > easy, > > >>> > sound is more > > >>> > smooth > > >>> > quill: arpeggio is more difficult, fast scales mire easy, > > sound > > >>> > is more > > >>> > bright > > >>> > So we try to use the advantages of the techniques. The > more > > >>> > possibilities we > > >>> > have, the better... > > >>> > > > >>> > Yes I also think that in general it is easier to play fast > > >>> > scales with thumb > > >>> > and index. But some things are easier to do with middle > > >>> > finger... So I think > > >>> > the best is maybe a combination. > > >>> > > > >>> > If we look at Weiss he didn't use much the alternation of > > thumb > > >>> > and index, > > >>> > did he? > > >>> > So I don't think the techniques are exactly the same > because > > the > > >>> > mandolinhas other musical tasks and really less strings... > ; > > ) > > >>> > > > >>> > I agree with you about "milanese", "lombardo" etc. but I'm > > tired > > >>> > of talking > > >>> > about that... ; ) > > >>> > > > >>> > But I think the nomenclature of "mandolino" and > "mandolin" > > >>> > is also not very > > >>> > helpful because it is only a question of the language... > > >>> > At the moment I prefer "baroque mandolin" and "neapolitan > > >>> mandolin". > > >>> > > > >>> > I really would like to see and hear your playing! Please > > tell me > > >>> > when you > > >>> > will be playing near Cologne or do you have any video > > etc...? > > >>> > And please tell me how your book is developing. > > >>> > > > >>> > Kind regards and thanks! > > >>> > > > >>> > Susanne > > >>> > > > >>> > > > >>> > > > >>> > ----- Original Message ----- > > >>> > From: "davide.rebuffa" <[6]davide.rebu...@fastwebnet.it> > > >>> > To: "Susanne Herre" <[7]mandolinens...@web.de> > > >>> > Sent: Saturday, May 15, 2010 11:56 PM > > >>> > Subject: Re: [LUTE] lute music and playing technique in > > italy > > >>> > 18th century > > >>> > > > >>> > > > >>> > > Dear Susanne, > > >>> > > > > >>> > > thanks for your email and your suggestions. > > >>> > > First of all I would say that while there is evidence > that > > >>> baroque > > >>> > > mandolino was played with finger tips ( music, > > iconography) > > >>> > > - to my knowledge - there is no evidence at all that it > > >>> > could be played > > >>> > > with a quill before the late XVIIIth century. > > >>> > > > > >>> > > My experience is just the opposite of what Edward Martin > > wrote > > >>> > and I > > >>> > > wonder if he performed with a baroque orchestra or a > > modern > > >>> > one or if he > > >>> > > used modern plectrums. > > >>> > > By the way I would suggest everyboby to stop using the > > term > > >>> > mandolino> LOMBARDO or MILANESE which is a modern (XIX th > > >>> > century) term referred to > > >>> > > the 6 single string mandoline that developed and was > > played in > > >>> > the XIX > > >>> > > century untill the beginning of the XX century ( played > > with a > > >>> > cherrybark> plectrum). > > >>> > > It is a very common mistake also here in Italy ( > museums, > > >>> exhibition > > >>> > > catalogues, mandoline makers ect....) very misleading. > > >>> > > When I started playing the baroque mandolino, more than > 20 > > >>> > years ago - > > >>> > > having previously played the neapolitan with the > plectrum > > - I > > >>> > thought just > > >>> > > like you and I tried to play chamber music with a quill > > >>> > for some pieces > > >>> > > which didin't require fingers for polyphonic passages, > > because > > >>> > I thought > > >>> > > it could be louder, but then I realized it is not. > > >>> > > I also tried to play the same piece in a concert or > > concert- > > >>> > lecture using > > >>> > > the two different tecniques and every body ( musicians, > > >>> > audience,> instrument makers...) noticed that if you play > > >>> > with fingers it is much > > >>> > > louder and sounds better than with any plectrum > plectrum. > > >>> > > Apart form the loudness you cannot compare the quality > > >>> > of sound you get > > >>> > > with finger tips. > > >>> > > Unless you have a bad instrument you will agree, if you > > try.( > > >>> > I read you > > >>> > > have an Hasenfuss so I suppose it is good and loud > > enough) > > >>> > > The mandolino plucked with finger tips is very loud, > > louder > > >>> > than a > > >>> > > neapolitan or genovese mandoline played with historical > > quills; > > >>> > > I play many different original mandolini made in the > XVIII > > >>> > century, with a > > >>> > > low string tension, from different makers and different > > string > > >>> > lenght as > > >>> > > well as copies and I never had any problems of volume > > >>> > performing with > > >>> > > baroque orchestra in a theatre. > > >>> > > So I really cannot understand whay you say that for > > cahmber > > >>> > music they > > >>> > > needed the plectrum, and why XVII and XVIII century > > amateurs > > >>> > should have > > >>> > > used a tecnique which was more difficult and that nobody > > >>> > used,except,> maybe, folk musicians on other instruments. > > >>> > > I'm sure you know (and tried )that fast arpeggios are > > >>> > much more difficult > > >>> > > with the plectrum than with finger tips. > > >>> > > The sound is brighter but not louder with plectrum. It > > could > > >>> > almost be the > > >>> > > same if you use a modern thick plectrum ( as > unfortunatly > > many > > >>> > mandolin> players do) > > >>> > > but if you try with a quill it is not loud at all. > > >>> > > > > >>> > > The professional mandolin player did not exist before > the > > >>> neapolitan > > >>> > > mandoline became popular, and there is evedence that > many > > >>> > theorbists and > > >>> > > lute player played the mandolino and composed music for > > it. Of > > >>> > course they > > >>> > > played with the only tecnique they knew. > > >>> > > Everything is possible in theory but you do not have any > > >>> > evidence to say > > >>> > > the contrary, do you? > > >>> > > > > >>> > > Anyway the main question is that most of the music > suvived > > ( > > >>> > staff and > > >>> > > tablature) requires the use of the fingers (not only the > > very > > >>> > few solo > > >>> > > pieces) because is not entirely nonodic and unless you > > don't > > >>> > change the > > >>> > > chords positions or arpeggios ( as we have evidence > > looking at > > >>> the > > >>> > > corrections that XVIII century players did in some > > pieces). > > >>> > > Besides I don't think that a lutenist/ thoerbist > would'nt > > have > > >>> > add some > > >>> > > harmony playing a piece written in a single monodic > line). > > >>> > > > > >>> > > You are right when you say that "there is no evidence > the > > >>> playing > > >>> > >> technique will be thumb and index in fast scales. Could > > also > > >>> > have been > > >>> > >> middle plus index or a mixture..."> > > >>> > > Index and medium could be possible, can you do it in > very > > fast > > >>> > scales on a > > >>> > > mandolino? > > >>> > > I can't and I can tell you that Nigel North and Paul > > O'Dette > > >>> > told me they > > >>> > > cannot either or at least they decided to use thumb and > > index. > > >>> > > I think we can use all the right hand fingerings we find > > in > > >>> > contemporary> lute pieces (like Weiss tablatures ) and > just > > >>> > think we have a very small > > >>> > > (but loud) lute in our hands. > > >>> > > We need more lute players to try the fingerstyle > baroque > > >>> > mandolino and > > >>> > > experiment different lute tecniques on it. > > >>> > > By the way I starded to write a book on the early > > mandolino > > >>> > and mandolin > > >>> > > so I'm very interested in collecting new ideas on this > > >>> > subject and to > > >>> > > learn from anybody if there is evidence. > > >>> > > > > >>> > > Best wishes, > > >>> > > > > >>> > > Davide > > >>> > > > > >>> > > > > >>> > > > > >>> > > ----- Original Message ----- > > >>> > > From: "Susanne Herre" <[8]mandolinens...@web.de> > > >>> > > To: "davide.rebuffa" <[9]davide.rebu...@fastwebnet.it>; > > "Lute List" > > >>> > > <[10]l...@cs.dartmouth.edu> > > >>> > > Sent: Saturday, May 15, 2010 8:04 PM > > >>> > > Subject: Fw: [LUTE] lute music and playing technique in > > italy > > >>> > 18th century > > >>> > > > > >>> > > > > >>> > >> > > >>> > >> Dear Davide, > > >>> > >> > > >>> > >> Thanks! > > >>> > >> > > >>> > >> About the use of the quill: I think we can't be sure if > > they > > >>> > didn't use > > >>> > >> it > > >>> > >> before the neapolitan mandolin became popular. The lute > > in > > >>> > middle ages > > >>> > >> was > > >>> > >> also played with a quill as well as the mandore in the > > >>> > renaissance. The > > >>> > >> quill could have been very useful in chamber music and > > opera. > > >>> > >> > > >>> > >> I don't think that ALL mandolin players where also lute > > and > > >>> theorbo > > >>> > >> players. > > >>> > >> There were also amateurs who maybe not played the lute > or > > >>> > theorbo. Or > > >>> > >> maybe > > >>> > >> professionel people who just played mandolin, or, or... > > >>> > >> > > >>> > >> And as there is no evidence we can't generally say that > > the > > >>> playing > > >>> > >> technique will be thumb and index in fast scales. Could > > also > > >>> > have been > > >>> > >> middle plus index or a mixture... > > >>> > >> > > >>> > >> Don't you think? > > >>> > >> > > >>> > >> Best wishes, > > >>> > >> > > >>> > >> Susanne > > >>> > >> > > >>> > >> > > >>> > >> > > >>> > >>> ----- Original Message ----- > > >>> > >>> From: "davide.rebuffa" > > <[11]davide.rebu...@fastwebnet.it> > > >>> > >>> To: "Susanne Herre" <[12]mandolinens...@web.de> > > >>> > >>> Sent: Friday, May 14, 2010 6:29 PM > > >>> > >>> Subject: Re: [LUTE] lute music and playing technique > in > > >>> > italy 18th > > >>> > >>> century > > >>> > >>> > > >>> > >>> > > >>> > >>>> Dear Susanne > > >>> > >>>> > > >>> > >>>> the baroque mandolino ( 4, 5, 6 course) was played > with > > >>> > finger tips at > > >>> > >>>> least untill the middle of the XVIII century: > > >>> > >>>> Afterwards, as the roman and neapolitan mandolines > > >>> > became popular, > > >>> > >>>> they > > >>> > >>>> started playing the six course tuned in fourths also > > with > > >>> > the plectrum, > > >>> > >>>> Always thumb out like the baroque lute because all > the > > >>> mandolino > > >>> > >>>> palyers > > >>> > >>>> were acyuaslly lute and theorbo players. Thum and > index > > >>> > alternated for > > >>> > >>>> fast > > >>> > >>>> notes, arpeggios and 2 or 3 notes chords with thumb > > out. > > >>> > >>>> In case you are interested I have a class of baroque > > >>> > mandolino in > > >>> > >>>> Vicenza, > > >>> > >>>> Italy, which is the only one in Italy and one of the > > very > > >>> > few in > > >>> > >>>> Europe. > > >>> > >>>> > > >>> > >>>> I hope this may help, > > >>> > >>>> Best regards, > > >>> > >>>> > > >>> > >>>> Davide > > >>> > >>>> > > >>> > >>>> > > >>> > >>>> > > >>> > >>>> ----- Original Message ----- > > >>> > >>>> From: "Susanne Herre" <[13]mandolinens...@web.de> > > >>> > >>>> To: "Lute List" <[14]l...@cs.dartmouth.edu> > > >>> > >>>> Sent: Thursday, May 13, 2010 12:45 PM > > >>> > >>>> Subject: [LUTE] lute music and playing technique in > > italy > > >>> > 18th century > > >>> > >>>> > > >>> > >>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> Dear Lute Wisdom, > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> It would be great if you could help me. I'm > > >>> > doing some research on > > >>> > >>>>> the baroque mandolin. > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> I would like to know which italian baroque > > >>> > music for lute > > >>> > >>>>> instruments do we have from the first half of > > >>> > the 18th century? > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> Which composers are represented? > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> Which kinds of instruments are preferred? > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> What is known about playing technique? More > > >>> > "thumb-in" or > > >>> > >>>>> "thumb-out"? > > >>> > >>>>> "Two-voice-chords"- how will they be played? > > >>> > How high is the thumb > > >>> > >>>>> going? > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> Thanks in advance for any helpful comments! > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> Susanne > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> -- > > >>> > >>>>> > > >>> > >>>>> > > >>> > >>>>> To get on or off this list see list information at > > >>> > >>>>> > > [15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >>> > >>>> > > >>> > >>> > > >>> > >> > > >>> > > > > >>> > > > >>> > > > >>> > > >>> -- > > >>> > > >>> References > > >>> > > >>> 1. mailto:[16]brai...@osu.edu > > >>> 2. mailto:[17]mandolinens...@web.de > > >>> 3. mailto:[18]l...@cs.dartmouth.edu > > >>> 4. mailto:[19]davide.rebu...@fastwebnet.it > > >>> > > >> > > >> > > >> > > >> > > > > > > > > > > > > > > > -- > > > > References > > > > 1. http://uk.mc263.mail.yahoo.com/mc/compose?to=lute- > a...@cs.dartmouth.edu > > 2. http://uk.mc263.mail.yahoo.com/mc/compose?to=lute- > a...@cs.dartmouth.edu > > 3. http://uk.mc263.mail.yahoo.com/mc/compose?to=mandolinens...@web.de > > 4. > > > http://uk.mc263.mail.yahoo.com/mc/compose?to=davide.rebu...@fastwebnet.it > > 5. http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu > > 6. > > > http://uk.mc263.mail.yahoo.com/mc/compose?to=davide.rebu...@fastwebnet.it > > 7. http://uk.mc263.mail.yahoo.com/mc/compose?to=mandolinens...@web.de > > 8. http://uk.mc263.mail.yahoo.com/mc/compose?to=mandolinens...@web.de > > 9. > > > http://uk.mc263.mail.yahoo.com/mc/compose?to=davide.rebu...@fastwebnet.it > > 10. http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu > > 11. > > > http://uk.mc263.mail.yahoo.com/mc/compose?to=davide.rebu...@fastwebnet.it > > 12. http://uk.mc263.mail.yahoo.com/mc/compose?to=mandolinens...@web.de > > 13. http://uk.mc263.mail.yahoo.com/mc/compose?to=mandolinens...@web.de > > 14. http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu > > 15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > 16. http://uk.mc263.mail.yahoo.com/mc/compose?to=brai...@osu.edu > > 17. http://uk.mc263.mail.yahoo.com/mc/compose?to=mandolinens...@web.de > > 18. http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu > > 19. > > > http://uk.mc263.mail.yahoo.com/mc/compose?to=davide.rebu...@fastwebnet.it > > > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > >
