I should have added to my comment below that, because tied frets makes
it easy to have carefully graduated frets and thus to set a lute very
'fine' indeed (ie with a relatively low distance between the string and
fingerboard even in high positions), it makes playing considerably
easier in the higher positions. We also know that this was a preferred
historic practice.
MH
__________________________________________________________________
From: Martyn Hodgson <[email protected]>
To: Andreas Schlegel <[email protected]>; Daniel Shoskes
<[email protected]>
Cc: Matthew Daillie <[email protected]>; lute list
<[email protected]>
Sent: Thursday, 8 March 2018, 16:25
Subject: [LUTE] Re: meantone tuning tech
I agree with the review: just because frets could be moved doesn't
mean
they were. The historical evidence is thin indeed. Tying frets is a
very convenient way to fret a lute and, an added advantage, can
easily
be replaced when worn.
MH
__________________________________________________________________
From: Andreas Schlegel <[1][email protected]>
To: Daniel Shoskes <[2][email protected]>
Cc: Matthew Daillie <[3][email protected]>; lute list
<[4][email protected]>
Sent: Thursday, 8 March 2018, 16:02
Subject: [LUTE] Re: meantone tuning tech
There's a different view here:
A. Otterstedt, Fretting about tuning (review of D. Dolata, Meantone
temperaments on lutes and viols, Bloomington und Indiana, 2016), in:
Early Music, cax101, [1][5]https://doi.org/10.1093/em/cax101
Andreas
> Am 08.03.2018 um 16:09 schrieb Daniel Shoskes
<[2][6][email protected]>:
>
> For an excellent book by a musicologist and busy lute performer
(solo
and continuo), I highly recommend "Meantone Temperaments on Lutes and
Viols" by David Dolata. Indiana University Press 2016. History
covered
in part 1, theory in part 2 and practicalities in part 3 (by ear and
using a tuning device).
>
> goo.gl/9Aewv2 <[3][7]http://goo.gl/9Aewv2>
>
>
>> On Mar 8, 2018, at 9:54 AM, Matthew Daillie
<[4][8][email protected]> wrote:
>>
>> I totally agree with Martin Shepherd (indeed two of our messages
said the same thing) but what is the valid point Ron was making ??
>>
>> Leonard's original post was a question about his method for tuning
1/4 comma meantone, not whether it was appropriate or not to use it
on
lutes, a can of worms I certainly did not wish to open (personally I
use both equal and 1/5 comma mean-tone on my lutes).
>>
>> Best,
>> Matthew
>>
>>
>> On 08/03/2018 15:31, Martyn Hodgson wrote:
>>> Ron and Martin have valid points - in particular the advocacy of
a
true
>>> meantone is something of a chimera on the lute. Indeed, this
matter of
>>> non-equal temperament on lutes has been considered on this forum
a
>>> number of times before - just search the archives. For example
this
>>> some seven years ago (and quite a few much more recently):
>>> * [1]Martyn Hodgson <[5][9][email protected]>
>>
>>
>>
>> To get on or off this list see list information at
>> [6][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
> --
Andreas Schlegel
Eckstr. 6
CH-5737 Menziken
Festnetz +41 (0)62 771 47 07
Mobile +41 (0)78 646 87 63
[7][11][email protected]
--
--
References
1. [12]https://doi.org/10.1093/em/cax101
2. mailto:[13][email protected]
3. [14]http://goo.gl/9Aewv2
4. mailto:[15][email protected]
5. mailto:[16][email protected]
6. [17]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
7. mailto:[18][email protected]
--
References
1. mailto:[email protected]
2. mailto:[email protected]
3. mailto:[email protected]
4. mailto:[email protected]
5. https://doi.org/10.1093/em/cax101
6. mailto:[email protected]
7. http://goo.gl/9Aewv2
8. mailto:[email protected]
9. mailto:[email protected]
10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
11. mailto:[email protected]
12. https://doi.org/10.1093/em/cax101
13. mailto:[email protected]
14. http://goo.gl/9Aewv2
15. mailto:[email protected]
16. mailto:[email protected]
17. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
18. mailto:[email protected]
