Re: [HG] [Fwd: [omahaacoustic] La Musgana]
Hi Jake and all, unfortunately, there are no East coast stops beyond VA--it's a mid- and south west kinda tour. I was indeed living in Spain with my family from 2005-06, but we have sicne returned and I am completing my DM back at Indiana U. cheers, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Sep 25, 2008, at 2:12 PM, [EMAIL PROTECTED] wrote: In a message dated 9/24/2008 7:26:12 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: A great group of musicians from Spain, La Musgana, will be in Lincoln, Nebraska Love them. Hope they make their way to the New York City - Philadelphia area Please check out my page promoting the music of Celtic Spain (Asturias Galicia). www.myspace.com/celticspain P.S. Hey, Vlad, I thought you were living in Spain. Jake Conte Looking for simple solutions to your real-life financial challenges? Check out WalletPop for the latest news and information, tips and calculators.
[HG] La Musgaña
Yes, thanks Orest! On that note, I should really have posted this earlier, but I just put up their tour poster on my site: http://smishkewych.com/zanfona/amics/ also, do check out Carlos Beceiros' other sites: www.myspace.com/carlosbeceiro2 www.lamusgana.net http://www.carlosbeceiro.com/ Hope that you can catch them in NE, MO, VA, WI, MN, NM or here in our dear ol' Bloomington, Indiana! cheers, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Sep 24, 2008, at 7:21 PM, Orest Lechnowsky wrote: Start providing for your family by becoming a paralegal. Click Now. http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3nffPV7zcDEnHzpALDMSuxEppSnBE1lqu85K0VB815AWoHO0/ From: Michael Murphy [EMAIL PROTECTED] Date: September 24, 2008 10:15:51 AM GMT-04:00 To: [EMAIL PROTECTED] Subject: [omahaacoustic] La Musgana Reply-To: [EMAIL PROTECTED] A great group of musicians from Spain, La Musgana, will be in Lincoln at Nebraska Wesleyan tonight at 7:30, and I think that they have another show in Lincoln tomorrow. Check out there web site for more details!!! They perform with flutes, clarinets, fiddles, bazooki, hurdey gurdey, drums,... Also, come down to Lincoln again Sunday for the Plainsong Folk Festival. It will be in a new location in the Havlock area. Check out Plainsong on the web for all the details of the musicians and times. It starts at 1:00, and goes into the night, a great musical bargain. Hope to see a lot of Omaha people at both events Peace, Michael Murphy Yahoo! Groups Links * To visit your group on the web, go to: http://groups.yahoo.com/group/omahaacoustic/ * Your email settings: Individual Email | Traditional * To change settings online go to: http://groups.yahoo.com/group/omahaacoustic/join (Yahoo! ID required) * To change settings via email: mailto:[EMAIL PROTECTED] mailto:[EMAIL PROTECTED] * To unsubscribe from this group, send an email to: [EMAIL PROTECTED] * Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/
[HG] iberian HG group on facebook
Dear all, I just wanted to put out there that I have started an iberian HG group on facebook, which you can join by simply searching for zanfona iberica in the facebook search bar or by going to this link: http://www.facebook.com/group.php?gid=20500366925ref=ts and asking to join. If you send me a message at the same time saying you're also on the HG list that would be fab. Hope to see some of you there! In other news: I am on the tail end of my trip shooting footage for the documentary on the SPanish HG which will be the first fruit of my Fulbright year of research. I have come back with some great footage, I think! Also lots of photos, and some newly confirmed or disproved HG representations in stone carvings. More updates on that int he future (and on the facebook page!) best, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED]
Re: [HG] line drawing of cantigas de SM sinfonias?
Thanks Rebecca! Since copyright and cross-stitching didn't quite mix with what I needed, I went ahead and did a line-drawing tracing of the CSM 160 illumination myself: http://smishkewych.com/zanfona/images/vlad-biz-card-zanfona- documentary.jpg so that I could make myself some business cards (for my upcoming trip in August to film the HG-in-Spain documentary): http://smishkewych.com/zanfona/images/Vlad%202008%20business%20card.jpg Thanks to all who responded! cheers, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Jul 17 2008, at 22:40, [EMAIL PROTECTED] wrote: There's one on the Kelischek website: http://www.susato.com/ konakart/Welcome.do Go to the hurdy gurdy page. It might be copyrighted, it's the only place I have seen a black and white version. Best, Rebecca Rebecca Arkenberg 91 Flagler Ave. Stratford, CT 06614 203-380-0126 or 203-767-3285 (cell) -Original Message- From: Wolodymyr Smishkewych [EMAIL PROTECTED] To: hg@hurdygurdy.com Sent: Thu, 17 Jul 2008 1:47 pm Subject: [HG] line drawing of cantigas de SM sinfonias? Hi all, does anyone have or know of a source (beyond doing it myself) of the cantigas de SM sinfonia players image as a line drawing? I suppose I could super-contrast a BW image... thanks! Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] The Famous, the Infamous, the Lame - in your browser. Get the TMZ Toolbar Now!
Re: [HG] Russian Folk Tune
Hi all, I think, better than strange scales with missing notes (Graham, I know you meant no negative connotation :^) we can refer to the lira more accurately as a primarily pentatonically organized instrument. This is similar (and note here the etymological similarity as well) to another instrument which is also primarily pentatonic in nature, the lyre. The plucked lyre was played in Kievan-Rus earlier than the lira, and it can be conjectured that the melodic patterns of tunes or accompaniment utilized by these slavic bards (skoromokhi) were more easy to transfer to a lira that was pentatonically capable. (Of course, it is equally compelling to surmise that an instrument would be easier to make, especially by non-professional luthiers, if one didn't have to deal with pythagorean math on the keybox layout...) In any event, as some of our colleagues have pointed out, its home is centered around D, and the pentachord is arranged as C-D-F-G-A. If you have one of those kids Waldorf-school lyres, tunes the (lower) five strings to this pattern you'll be able to play the tune that way, too. cheers, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Jun 19 2008, at 07:57, Graham Whyte wrote: The instrument I think, is a Lira (Lyra) Liras have strange scales with missing notes Look at the key spacing The tune is played in D with D and A drones In fact it is in Authentic Dorian mode It works well without transposing on a G/C Gurdy You need no top row keys Tuning as follows Chanterelle(s) in G as normal Trompette in D as nornal Petit Bourdon tuned up from C to D Optionally Mouche tuned up from G to A I scored the first few bars (its not 100% correct but close) You can view the score as a PDF at http://www.altongate.co.uk/music/Lira_01.pdf The second line is the same as the first line but an octave higher Graham -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of David Smith Sent: 19 June 2008 02:15 To: aHurdyGurdy Subject: [HG] Russian Folk Tune Hello, On YouTube I have been listening to a Russian folk tune played on hurdy gurdy. I would like to learn to play it, but I can't seem to get started. It sounds like it's in a minor key or some sort of mode. Does anyone know what the starting note is or what drones to use? If I can get started on the melody, I think I can figure out the rest. I would really appreciate any help, it is a haunting tune. Here is the website: http://www.youtube.com/watch?v=_DX08nQows0 Thanks, David from Michigan, USA
[HG] HG Joke--one more
A couple more, from my banjo/mando/zouk-playing friend and the author of the Journal of Stuntology, Sam Bartlett (adjust banjo to HG as needed): Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] Begin forwarded message: Also: conversation: Dad, when I grow up I want to play the banjo. Son, you can’t have it both ways. Diff between a banjoist and a 401K---the 401K eventually matures and makes money for you...
Re: [HG] Sephardic Tunes
Hi JOn, see if you can find any of the resources under books from: http://dbs-win.ruhr-uni-bochum.de/sefarad/References.htm The Isaac Levy chants judeo espagnols is pretty well-known one and you might be able to get an interlibrary loan if your local university's school of music doesn't have it. best of luck, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Mar 18 2008, at 20:37, Jon Redpath wrote: I have been asked to play Shephardic tunes for two belly dancers, does any kind person know where I can find some dots as I cannot play by ear. JON Rise to the challenge for Sport Relief with Yahoo! for Good
Re: [HG] George Leverett-Altarwind Music [EMAIL PROTECTED]
Yes, and I would also mention a fine new spanish luthier, Jaime Rebollo: http://www.xente.mundo-r.com/rebollo/ his redux models may be right for you,e ven with the sad dollar=euro conversion... cheers, VLad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Mar 06 2008, at 24:32, [EMAIL PROTECTED] wrote: Hello Daniel, Before you make a choice, please look at Jaap Mulder's website at www.jaap-mulder.nl. He makes an outstanding H.G. and his prices are not too high. You can also listen to a sample of his H.G. being played. Best William -- Original message -- From: Daniel Erickson [EMAIL PROTECTED] I am about to purchase my first Hurdy Gurdy and am considering my options. I want a good quality instrument and I am willing to pay a reasonable price for it but don't want to spend a fortune if I can avoid it. I have purused the various sites online (Olympic, Chris Eaton, etc.) and then ran accross George Leverett (Altarwind Music, aroundthehearth.com[EMAIL PROTECTED]). I have exchanged a few emails with him and find him to be very quick to respond, pleasant, and helpful. His instruments are also significantly less expensive than most of the others ($1300) and there is not a long wait. I am a neophite and, lacking a chance to compare instruments in person I'm basically at the mercy of strangers. Has anyone here seen and played one of Mr. Leverett's instruments? Any thoughts on these intruments and/or other recommendations would be greatly appreciated. Thank you, Daniel From: Daniel Erickson [EMAIL PROTECTED] Date: March 5, 2008 8:59:28 PM EST To: hg@hurdygurdy.com Subject: [HG] George Leverett-Altarwind Music [EMAIL PROTECTED] I am about to purchase my first Hurdy Gurdy and am considering my options. I want a good quality instrument and I am willing to pay a reasonable price for it but don't want to spend a fortune if I can avoid it. I have purused the various sites online (Olympic, Chris Eaton, etc.) and then ran accross George Leverett (Altarwind Music, aroundthehearth.com). I have exchanged a few emails with him and find him to be very quick to respond, pleasant, and helpful. His instruments are also significantly less expensive than most of the others ($1300) and there is not a long wait. I am a neophite and, lacking a chance to compare instruments in person I'm basically at the mercy of strangers. Has anyone here seen and played one of Mr. Leverett's instruments? Any thoughts on these intruments and/or other recommendations would be greatly appreciated. Thank you, Daniel
Re: [HG] kaisatsuko
Hi Augusto, yes, there was even a thread on it for a few days a couple of years back, on the HG list...not sure exactly when tho. Pretty neat thing, eh? it acts a lot like the mandogurdyolin or whatever that is on Lark (sorry, can't remember the exact name). Only thing is, it is much smaller and amplified. best, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Mar 04 2008, at 08:31, Augusto de Ornellas Abreu wrote: Hey Has anyone seen this HG-like instrument (and I mean it in a positive way!)? http://br.youtube.com/watch?v=usG9iRgUF5Ifeature=related Interesting... Augusto
[HG] back to the curious keyless illumination of a HG...
Hi all, I finally remembered where I had seen a similar HG to the one in that illumination we had been discussing a while back, that had set off the iconography discussion. Duh--it was one of my images from my FUlbright research period! It's very similar in shape and in the disposition of soundholes (as it were) to the organistrum being played by two elders in the portico of the church in Soria, Spain: http://es.wikipedia.org/wiki/Imagen:Organistrum_Soria.jpg Takes a while for the old grey cells to activate I s'pose. cheers, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED]
Re: [HG] Alden's rant on iconography, and a challenge
Yes, the instrument they are playing is likely related to either the tambourin, also called the tambour a cordes, tambour des Basques, tunn tunn, Chicotén; there is also the Hungarian Utögardon (sp?) which is beaten. You can see a chicotén played by a 3-hole pipe player on Luis Payno's page: http://www.es-aqui.com/payno/arti/flauta3.htm Well, the proof of the proof-pudding is in the tasting thereof as my father in law says, so perhaps we should try and build one that works. If it works but isn't what was really being represented, then we have a cool 21st century drone instument, visually inspired by this illumination (and we should say so on our CD liner notes). cheers, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Feb 15 2008, at 10:24, Juan Wijngaard and Sharon Berman wrote: Maybe, there is such an instrument, a keyless hurdy gurdy, there is a photograph of one being played by Bjorn Tollin on the inside cover of the first Hedningarna CD, the stings are beaten with a stick, like you would on a string drum. So it's a droning/rhythm instrument. And as there is nothing new under the sun, Melissa's idea can not be discounted; the iconography might be correct. Juan And somebody built it and sold it on eBay? Colin Hill - Original Message - From: Jon Redpath To: hg@hurdygurdy.com Sent: Thursday, February 14, 2008 11:10 PM Subject: Re: [HG] Alden's rant on iconography, and a challenge In Britain and France a great deal of the Church carvings I have seen have been fairly old. All the instruments appear to be very stylised, I suspect that the Chinese whispers effect had a lot to do with how all these different instruments appear. A Clarsach player saw a piper playing a new bagpipe ( which was really a Shawm), who told a sac but player about it ,who passed the information on to a priest, who new someone was in town that could draw. The tramp drew the picture, in exchange for a drink, and gave it to the priest. The priest then went along to where his new abbey was being built and gave the drawing to the stone mason and told him to incorporate it in the church. The mason then gave the drawing to the apprentice, who turned the drawing upside down! This is not total fiction, a very famous chapel near where I live was added to like this over the many years of construction. See http://www.rosslynchapel.org.uk/ In my eyes, and they are pretty old, Alden is right JON Jocelyn Demuth [EMAIL PROTECTED] wrote: While Alden's question to draw a guitar is an interesting, I don't think it's an apt comparison. While very few of us on this list are graphic artists, the guy who did this little miniature was. It looks like a 14th century miniature done with a fair amount of lapiz, a very expensive paint. No patron would have given a hack this expensive material to work with. I suppose if you asked a bunch of American graphic artists to draw a stradlater and they came up with something looking more like a cello, that would prove the point admirably. In my experience, which I think is the opposite of Alden's - most people completely discount iconography. I would not suggest that iconography is completely trustworthy just that rather than dismiss it because it isn't well drawn, you have to look at many pictures to see what was drawn. I think what is depicted is probably more accurate than how well it was depicted anyway. In my medieval house experiment, I built windows with shutters. I noticed in the pictures that the shutters were full of these strange, off center hinges and nothing seemed to be straight. We didn't think much about this since perpective is always problematic in medieval pictures. My husband tried to build shutters that opened and closed in a more modern arc. It was impossible. First of all since all the windows were small and in a small structure, to get them to open, we had to add many hinges so that the window could open fully without banging into a corner or a shelf. One shutter had more hinges than the other which made them hang slightly crookedly. When we were done, we had something that without trying looked very much like many of the medieval pictures we had assumed were badly drawn. Well, that's it for me - - happy gurdy hunting. I guess the good news is that the guy in the picture is actually playing it rather than tuning and recottoning so I guess the instrument made music, which is good. - Original Message - From: Jon Redpath To: hg@hurdygurdy.com Sent: Thursday, February 14, 2008 3:40 PM Subject: Re: [HG] Alden's rant on iconography, and a challenge Colin, its a sort of Scottish Smallpipe made for Americans, with lots of knobs and switches so you can change key quickly. JON Colin [EMAIL PROTECTED] wrote: Stratocaster, is that the two door or four door model? Heard of it, wouldn't know one
Re: [HG] Can someone identify this instrument?
Hi Chris, yes, that's a gurdy. let me see if i can identify it with the Bröcker...do you have any other citation for it? th MS or codex it if from, pr a city? Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Feb 13 2008, at 16:26, Chris Nogy wrote: http://www.threeleos.com/enlum1.jpg Guy number 2 in the lower half. Is this a strange lute thing, or is it a bad depiction of a gurdy? That is either a crank or a cranked neck. Any guesses? Cause if it is some general shape of gurdy, just without details depicted, I think I have found what I am looking for in size and shape and soundholes and such. Thanks Chris
Re: Re[2]: [HG] Can someone identify this instrument?
Chris, If that size/shape is to your liking, perhaps you might like one more like the Burgos, Toro or León 1-person organistra. I am building one such at the moment. you can see photos of the 1 person organistra at: http://es.wikipedia.org/wiki/Organistrum#Galer.C3.ADa_de_im.C3.A1genes cheers, vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Feb 13 2008, at 17:24, Chris Nogy wrote: Could this be a type of sinphone, with the works inside a slightly waisted and round-ended box? Is it just a fancification based on someone who knew certain instruments but maybe didn't know anything about gurdies? I like the body shape, the figure 8 instruments like the early crwth kind of speak to me. But rant on, Alden, I am very interested to hear your take. Chris *** REPLY SEPARATOR *** On 2/13/2008 at 2:00 PM [EMAIL PROTECTED] wrote: Yup, it's a hurdy-gurdy - one of the classic illuminated depictions thereof. Nice color! I've only ever seen this in b/w. This is a good reminder not to take iconographic sources too literally. I have a nice rant prepared for this occasion if anyone is interested... Alden http://www.threeleos.com/enlum1.jpg Guy number 2 in the lower half. Is this a strange lute thing, or is it a bad depiction of a gurdy? That is either a crank or a cranked neck. Any guesses? Cause if it is some general shape of gurdy, just without details depicted, I think I have found what I am looking for in size and shape and soundholes and such. Thanks Chris
Re: [HG] Hurdy Gurdy handbook
Hi David, the book's translator, Arle Lommel, is a list member (and my neighbor in town , incidentally). You may be able to ask him directly, unless he has already written you by now... best, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Feb 12 2008, at 15:40, David Smith wrote: Hello, Would anyone know if the Hurdy Gurdy Handbook by Nagy Balazs is available for purchase anywhere in the USA? Also, if you have the book, do you have any thoughts on how good a book it is? Thanks, David Smith Michigan, USA Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now.
Re: Re[6]: [HG] purpose of my new project.
Michael, I don't know if I'd call it a foolish, pretension, but perhaps one that some may find impractical. However, if the early music movement has taught us anything, it is that it isn't foolish to try anything--just perhaps foolish to stick to something once it doesn't hold up in performance. And by that same token, we should define what the performance means. Since I am a performer who makes a living from medieval music, my criterion would be durability, reliability in tuning, a consistent sound and convincing visuals and form. For this reason, I don't mind going the way of stainless steel axles, teflon bearings and planetary pegs (the latter more for Baroque Classical instruments). They look right and are reliable consistent. However, I'd feel it's equally valid to make an instrument using any of the period-accurate materials, if not only for the chance to try out the stuff but if for example it holds up to your needs. If those are playability and you don't mind replacing a piece of horn or wood or leather as it wears, or that the tuning needs a bit more fiddling than if you had things differently, then it's great. If it jsut needs to look good in a museum case and never be played, then the options are again quite different. It's all worth a try, I think, and what you choose to keep is up to what you plan to do with it. Anyhow, I feel the project Chris is up to is great, personally--but Chris, if you're going to go the whole way with it then try the non- stainless axle. Maybe this is why the SPanish HGs had such a take- apart system--to replace parts and keep the axles greased?...who knows... cheers to all, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Feb 10 2008, at 13:10, Michael Muskett wrote: This sounds like a foolish pretension because no one can possibly know what a 13th cent instrument sounded like. Early attempts at synfonies made them very small as shown in the Luttrel psalter, not realising that mediaeval artists did not draw to scale but to relative importance. The best thing is to make one of a practical size and fit it with an internal sound board. Forty years ago there was speculation as to what was in the box - bells? Strings? - but that has now been sensibly resolved. The instruments were certainly diatonic, while the modes could be obtained by adjusting the pitch of melody and drone strings. Things were pretty simple in those days. No doubt the standard of making and playing varied greatly. The crank had been known for a long time and had a number of applications, while metal and woodwork skills were quite advanced. Many string instruments of the time had skin 'soundboards', but this seems unlikely in a box construction. MM -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Simon Wascher Sent: 10 February 2008 16:23 To: hg@hurdygurdy.com Subject: Re: Re[6]: [HG] purpose of my new project. Hello, There are already makers offering modern instruments aiming for historical correct sound of 1300s. So I thought the more intresting effort is to really go for the original methods and materials. Many aspects of these old methods and materiales cannot be known without actually having it done. So to me using bearings and axle materials that were available is central to find it out. But for sure there are more important cases like how to get blade split (cleaved?; not saw-cut) european spruce (Picea abies) and Sycamore Maple (Acer pseudoplatanus) in instrument makers quality and dimensions for the top, bracings and bridges. S. Am 10.02.2008 um 15:45 schrieb Chris Nogy: I imagine that if you keep the bearings in use regularly, you will not have a problem. But if you allow the instrument to sit for a prolonged amount of time and then try to use it, you will see problems. Especially with a regular carbon steel or iron axle. I will probably be using either a regular silver-steel machining steel, or some form of stainless stock to turn my axle from. I know it is not period, but I don't think that the material the shaft was made of (other than how round it was made) would make a difference in the sound. But then again, if you don't get a perfect polish on the shaft, maybe the surface textrue of the shaft running in the bearing would give some small but important tonal difference. _ ___ Never miss a thing. Make Yahoo your home page. http://www.yahoo.com/r/hs -- Internal Virus Database is out-of-date. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.16/1250 - Release Date: 29-1-2008 22:20 --- have a look at: http://hurdygurdywiki.wiki-site.com http://drehleierwiki.wiki-site.com --- my site: http://simonwascher.info -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database
Re: Re[2]: [HG] my current project
Dear Chris, Marc, and any other interested: You can find the book I am referring to on Worldcat, from where you can get interlibrary loan information: http://www.worldcat.org/oclc/33968883 Sadly, you can't purchase it from the foundation, since the book (2 vols) is out of print (here's a link to the cover photo: http:// www.fbarrie.org/fundacion/jsp/catalogo/080700.jpg The great thing is that articles that were originally in Spanish have been translated to English, and those originally in French or English to Spanish also, so the volumes are trilingual. Let me know if you need any help with any of the articles. Right now, the article on wood and its selection, by Luciano Perez, might be of special interest... Cheers, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Feb 03 2008, at 17:39, Chris Nogy wrote: I'd LOVE some information from them. I read technical German (my first love is the medieval crossbow, and all the best information is in German), I don't read any Spanish. BTW, do you know Ain Haas? He has been a wealth of information in our building of baltic and Russian lyres and psaltery. Just wondered, as I have heard that Indiana has a really tight bunch of ethnic musicologists, music and instrument historians, and a well rounded community of players of more unusual instruments and music styles, and he has been active there in many roles. Chris Nogy *** REPLY SEPARATOR *** On 2/3/2008 at 11:01 AM Wolodymyr Smishkewych wrote: Chris, I don't know if you read Spanish, but are you familiar with the books written about the reconstruction of the Portico de la Gloria instruments and all manner of topics surrounding them? In it, Luciano Perez of Lugo's CADG discusses some of the very interesting topics that went into the whole process--in even more detail than in Rault's organistrum book. Let me know if you;d like some info from them. Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Feb 03 2008, at 10:36, Chris Nogy wrote: OK, the 5 thick plank of black walnut has finally satbilized at around 9%, so I can start cutting. This is my build a gurdy that COULD have been built at the time of the first trompettes project, and by various iconographic evidence that was somewhere in the 1300's to 1400's. I have borrowed from what I know of instrument design in the period for shape, size, all that other rot, but I have only 1 question left. I have asked this before, but I got so many answers I am hoping this time around the responses will be simpler. I am not looking to build a modern instrument that looks like a period piece. I am looking to build a period piece to learn what it might have sounded like, and to play with a gregorian group that is local to our area. (Yes, I know, my sinphone should be what I use for that, or an organistrum, but I want to try this thing). The instrument will be a carved body, not rib-built. Is there any evidence from this early that curved soundboards were common (not carved yet, but simply curved), or should I stick to a flat top which I KNOW I can document to the period, at least on a whole lot of other stringed instruments. Again, I am not trying to build a modern instrument in disguise, I am trying to build a really first-class period instrument. But one that is significantly pre-Bosch, an instrument with a trompette that could be set down in any great hall of the time and a local builder would not have any reason to question if it is proper. Chris Nogy
Re: [HG] Colson for sale
Dear all, as some folks were having trouble getting to see the photo, I have uploaded it to my storage site: https://www.slashtmp.iu.edu/public/download.php?FILE=wjsmishk/ 50896bA6o07 If it doesn't work as a link, please cut and paste. cheers, Vlad [EMAIL PROTECTED]: Como algunos (especialmente en la lista zanfona EEUU) no han podido ver bien la foto, la he cargado a mi server. https://www.slashtmp.iu.edu/public/download.php?FILE=wjsmishk/ 50896bA6o07 Jesús, espero que no te importe que lo haya hecho, si prefieres que no lo tenga ahi me lo dices y lo saco inmediatamente. un abrazo, Bloyu Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Jan 29 2008, at 19:48, Debra Dawson wrote: 1825 Colson hurdy gurdy for sale, good condition, just little adjustments needed. For more information and pictures please contact Jesus Reolid, jreolid_ at _ wanadoo.es Regards. Hello, I am interested but the address you give for pictures does not take me anywhere. It is not a complete address. Can you be more precise? Thank you, Debra Dawson
Re: [HG] Colson for sale
Hi all, here's the rest of the info from Jesus: Colson a Mirecourt 1825. 3600 Euros. maple body, spruce top, wheel cover, tailpiece and keybox cover are ebony. String length 335mm. Jesus says that if anyone needs more photos to let him know (or send to the list and I can post them to my server). cheers, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Jan 29 2008, at 20:48, sylvain gagnon mini moteur 2000 inc wrote: hi vlad . price ? thanks sylvain - Original Message - From: Wolodymyr Smishkewych To: hg@hurdygurdy.com Cc: [EMAIL PROTECTED] Sent: Tuesday, January 29, 2008 3:03 PM Subject: Re: [HG] Colson for sale Dear all, as some folks were having trouble getting to see the photo, I have uploaded it to my storage site: https://www.slashtmp.iu.edu/public/download.php?FILE=wjsmishk/ 50896bA6o07 If it doesn't work as a link, please cut and paste. cheers, Vlad [EMAIL PROTECTED]: Como algunos (especialmente en la lista zanfona EEUU) no han podido ver bien la foto, la he cargado a mi server. https://www.slashtmp.iu.edu/public/download.php?FILE=wjsmishk/ 50896bA6o07 Jesús, espero que no te importe que lo haya hecho, si prefieres que no lo tenga ahi me lo dices y lo saco inmediatamente. un abrazo, Bloyu Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Jan 29 2008, at 19:48, Debra Dawson wrote: 1825 Colson hurdy gurdy for sale, good condition, just little adjustments needed. For more information and pictures please contact Jesus Reolid, jreolid_ at _ wanadoo.es Regards. Hello, I am interested but the address you give for pictures does not take me anywhere. It is not a complete address. Can you be more precise? Thank you, Debra Dawson No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.15/1248 - Release Date: 2008-01-28 21:32
Re: [HG] string tension help
I also forgot, the plucked gusli is related to the finnish/estonian/ latvian kannele, kannel altri varii. hic finiscet sermo... ciao thanks again, vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Jan 05 2008, at 12:30, Wolodymyr Smishkewych wrote: Thank you Michael and Ernic (and Arle off-list), Actually, gusli is accurate for both plucked and bowed string instruments depending on where it is being used. The old Slavonic word gosl refers to string, and so gusli refers to a plucked zither/lyre-like instrument in Russia, Ukraine and other northern locations. More to the south--namely, Bulgaria, Crete, the former Yugoslavia--the name gusli, guslice etc refers to the bowed variant. I am here referring to the Northern, plucked version, which is what I have. This is the second of Roland's instruments I have owned, and the first was larger and steel-strung. Therefore, the tension was rather high. In the end, right after I wrote that message last night, I went to the germanic lyre I built back in 2004, and calculated the tension on that instrument. I found that it was on average at 4.16kg--more than a harp but lighter than a HG (I somehow figured a HG was on average not so much tension, but you're right, Ernic--the HG has heavier tension, it is a bit stockier.) So, I have already ordered my strings; many thanks to all, and as Ernic has opinted out, this is the HG lsit and not the lyre list (though it does discuss liras---tee hee!), so I'll close the thread now with many thanks to all. Two curiosities before eI sign it off though--does anyone know of anywhere the HG referred to as a variant of the name gusli? And does anyone know the actual average tension on a HG? 6 or more like 8kg, as Ernic suggests?) cheers, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Jan 05 2008, at 11:47, Michael Muskett wrote: It may be that some people are giving he name gusli to a plucked instrument, but it is the standard name (gusla, gusle) for a bowed string instrument, shaped like half a pear, and one string played with a bow, used in mediaeval times ( 3-4 strings) and still played in Bulgaria, Yugoslavia and Crete. ( And see Marcuse. Musical Instruments Michael t -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Ernic Kamerich Sent: 05 January 2008 08:49 To: hg@hurdygurdy.com Subject: Re: [HG] string tension help A gusli is a plucked instrument, so it is not to be compared with a hurdy gurdy: it may have a much lower string tension, say about 3 kg instead of 6 to 8 kg. Nylgut will work fine, I suppose: it works fine on many early plucked instruments. A short time ago I heard Sequentia (in this case Benjamin Bagby + another fine player/singer) play two reconstructions of a medieval lyre with nylgut, with a fine sound. You might try to contact Sequentia directly or go to the early music list ( [EMAIL PROTECTED]). The hg is not a list to discuss other instruments. I have tried nylgut on my hurdy gurdies, it works, but I prefer gut. By the way, nylgut has a somewhat lower density as gut. Good luck. Ernic - 2008/1/5, Wolodymyr Smishkewych [EMAIL PROTECTED]: Cali and Alden, and anyone else: I am trying to calculate strings I need for an instrument (not a HG), and am at a loss. Just for comparison's sake, what is the string tension and usual vibrating length on a HG that you folks make, and what string gauges of gut would you use for stringing chanterelles, if the customer so desired? I think the instrument I have would withstand about the same tension as a HG, so it would certainly help me figure it out. I am using Arto's string calculator for my calculations ( http://www.cs.helsinki.fi/u/wikla/ mus/Calcs/wwwscalc.html ) but if anyone has any other suggestions they'd be very welcome. The instrument I am stringing up, by the way, can be viewed at: http://www.rolandinstrument.com/ind/index.php?page=8lang=2 I'll be using Nylgut, which has similar density to regular gut, but is very reliable. Anyone tried it for HGs yet? Thanks so much! Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED]
Re: [HG] string tension help--moving on to: Bernard Ellis symphonies
Hi Chris, thanks for the note. Just quickly, you're absolutely on target for the wire; all the remnants we have found to date and usage we know of point to metals trings. I am trying a nylgut stringing as an experiment, but it will end up in metal, I am pretty sure. Thanks again, and to all for putting up with the non-HG topic. and now to go back to HG land: Has anyone ever played or owned/owns a symphony by Bernard Ellis? http://www.ellisium.cwc.net/symphonies.htm I would very much liek to get dimensions for one if possible. thanks, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Jan 05 2008, at 16:14, Chris Nogy wrote: I guess I am not going to be much helt here, but I string my Kantele and Gusli with wire only. From all my research I have found no instances of the Gusli or Kantele being strung with anything else. Granted, I am not the be- all or end-all of the subject, and there is so much I haven't learned on these instruments, but I have gone pretty deep into the subject and would be surprised if stringing with gut or non-wire would have been anything close to common practice. The counding surfaces of these instruments are small, the sound cavities are not optimum, and to get performance volume and brightness out of one wire seems to be optimum. Now with the Anglo-Saxon-Germanic Lyre (rote), wire or gut or horsehair. And with the Jouhiko, horsehair was pretty much standard. I build all of these intsruments for folks, and both research and practical application show these results to be good ones (perhaps not the only good ones, but good ones nonetheless) And with the medieval European Psaltery, wire strung. Since the Kantele and Gusli are members of the pslatery family, it is not surprising that a very common theory is that they were wire strung. If fact, I am helping one of my students finish up a 10 string kantele today, and I am going to be starting a replica of the 'nightingale' Gusli from the Novgorod dig. I know it only brings up more questions, and that it doesn't answer any of the questions asked, but maybe this information will be of help anyway Chris *** REPLY SEPARATOR *** On 1/4/2008 at 10:24 PM Wolodymyr Smishkewych wrote: Cali and Alden, and anyone else: I am trying to calculate strings I need for an instrument (not a HG), and am at a loss. Just for comparison's sake, what is the string tension and usual vibrating length on a HG that you folks make, and what string gauges of gut would you use for stringing chanterelles, if the customer so desired? I think the instrument I have would withstand about the same tension as a HG, so it would certainly help me figure it out. I am using Arto's string calculator for my calculations (http://www.cs.helsinki.fi/u/wikla/ mus/Calcs/wwwscalc.html) but if anyone has any other suggestions they'd be very welcome. The instrument I am stringing up, by the way, can be viewed at: http://www.rolandinstrument.com/ind/index.php?page=8lang=2 I'll be using Nylgut, which has similar density to regular gut, but is very reliable. Anyone tried it for HGs yet? Thanks so much! Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED]
Re: [HG] Vertical Wheel Bow?!
Very interesting Nathan! In theory, it's a bit like the finger going 'round the wine glass, or the glass harmonica, except some of the roles in that are switched, especially the idea that the rotating, part is not the vibrating part (normal for a HG) but rather its actuator. In theory it could work, but you have a problem if the wheel is completely perpendicular: it will contact the string in two locations, one at each outer rim track (as you described it) on the diameter of the wheel. A way to solve this, though, would be to offset the wheel's axle at a slight axle down towards the tail of the instrument, and make the track bevelled to match the offset angle and hence parallel with the string. THen, it would be possible to just have the string contacted at one point. Also, shimming and pressure adjustments could then easily be achieved with a sliding track that goes forward and back along the length of the axis of the crankshaft, and can be locked in place (like with set screws or something, a type of trim control). All of this works only if the instrument in question is intended to play only one string at a time as chanterelle, otherwise you'd have a problem, which you could solve (also in theory) by having a series of gears or belts that allow for multiple wheels, one for each string), however this brings us back to the very issue you were, I think, intending to address. Bur for a kind of gurdy-rebab (is that gurdybab? or would that be edible, like a skewered, droning dish?) it should work fine. interesting concept, Nathan!--Great to keep the old grey matter functioning, and fun to think about our dearly beloved in new ways and incarnations. cheers, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Jan 03 2008, at 18:18, Nathan Roy wrote: Okay, this is going to be an impetuously written message. I hope I don't make a fool of myself, but running across this concept has got me excited. My main hobby is sitting around theorizing about different experimental musical instruments, or innovative variations on existing forms. Most of them are probably pointless and naive, since I am neither a fine craftsman, nor an accomplished player in need of daring new challenges. Anyway... please bear with me while I attempt to describe my latest flight of fancy. The recent thread on the ninera got me thinking about how to use a fingerboard on a HG without messing up the tangential contact between string and wheel rim. Then I checked out the French site with the vielloncelle, and that reminded me of Lark in the Morning's bassgurdy, which is also a keyless, vertical wheel- bowed instrument. Now, both of these instruments appear to use gears to two separate the crank and wheel shafts at a ninety degree angle. Of course, this allows such an instrument to be held upright like a 'cello, cranked in the ordinary fashion, and bowed perpendicular to the strings. The drawback to this is that the gears would have to be machined very precisely to allow for sensitive cranking techniques, like tremolo or coups de poignet. Okay, so here's my modification of this: Imagine a long instrument with a single string, and a crank set in the side as in the vertical HG-like objects I just mentioned. However, the wheel bow is mounted directly on this one shaft, so that it rotates parallel to the string, rather than across it as expected. The obvious problem is that this bow cannot contact the string from below, against its circular rim, since that would be a dreadfully inefficient way to impart perpendicular vibration. Instead, the string runs beside it, down at a level toward the axle so as to approach forming a diameter. The bow then makes contact from the side, bowing upward against a raised track running along the outer edge of its flat surface. In theory, this bow orientation should work, since friction is still being applied at right angles to the string's long axis. But why would anyone want such a setup, since the historical HG design with a horizontal keyboard works as well or better than a vertical orientation. My serendipitous conclusion is that this would allow a fingerboard to be used without upsetting string pressure against the bow! Since this pressure is applied from the side, and adjusted by horizontal shims, bending the string downward should have little effect! Okay, I know the situation is much more complicated than this. The string would have to meet its bridge and be deflected toward the tail-piece before passing the wheel's opposite edge, or it would be bowed a second time, downward. Only two chanters could be bowed by a single disk (one to each side), and additional strings would require a series of parallel wheels mounted on the same axle. Drones could be stacked on top of each other, but this brings the bow direction out or perpendicular
Re: [HG] Hurdy Gurdy Ninera
There's Praetorius' Strohfiddel again... I wonder, does anyone know who the maker is? Presumably the Czech translation of Lazarus Farmer, if my Latin is right. Anyone know how to say that in Czech? Also, I am guessing the person who is describing it has never seen the pegbox of a lute (or a viol, which is what it looks more like). Doesn't this look like the mandogurdycello that is sold through Lark in the MOrning? Maybe someone already mentioned that and I missed it. cheers, and happy gregorian new year 2008! Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Jan 01 2008, at 13:50, Don V. Lax wrote: How the heck would you play it, is what I'd like to know... as a violinist it looks like an interesting but daunting challenge aloha- don On Jan 1, 2008, at 7:15 AM, Seth wrote: http://cgi.ebay.com/Hurdy-Gurdy- Ninera_W0QQitemZ150200811295QQihZ005QQcategoryZ623QQrdZ1QQssPageNameZ WD2VQQcmdZViewItem?_trksid=p1638.m122 This thing look's kinda neat Seth
Re: [HG] Galicia
Hi all, and happy gregorian new year 2008 to y'all, bon ano novo to luso-galicians... Just to clarify/add to the confusion, since the original question asked about the Galicia of Poland/Ukraine: yes, there is a Galicia in Eastern Poland/Western Ukraine. Yes, too, to Galicia being the NW- most region of Spain. (For those needing a celtic fix, the Celtiberian tribes were those that roamed throughout Hispania; the Scythians were Ukraine/Russia/Moldavia's local Celt colour.) since terms do get confusing, and since HG is played in both Galicias, here are some points that might help along the way: Galicia=either NW Spain or S Poland/W Ukraine Galizia=Poland/Ukraine Galiza=NW Spain Galego=from NW SPain Galizianer=from Poland /Ukraine, usually as said in Yiddish Halych, Halychyna=Ukrainian usually Zanfona, zanfoña, zamfoña, cinfonia and any corruption that looks like this=HG in NW Spain at least, lots of other areas in Spain Lira, Lyra, Relia, kolesnaya lira, kolyesnaya lira, relira, or any of these kind of variants=HG in Poland/Ukraine (as well as Russia and more) blind HG player guilds= Spain and Ukraine. A really neat point, one that I hope to explore in future research. Wolodymyr Smishkewych Rey = Spain and Ukraine :^) I have the dubious honour of being 100% Galician, despite being half-n-half Ukrainian and Spanish, plus a smattering of Polish and who-knows-what else. best of everything to everyone in the new year, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Jan 01 2008, at 18:07, Augusto de Ornellas Abreu wrote: (please forgive me - I will answer in a language that is not English, but I will just explain what I did on this same thread, just so Ivan understand what we are talking here) Olá Ivan, Escreverei-te em português porque meu galego não é muito bom. Creio que não haverá problemas de entendimento, já que o galego e o português são línguas irmãs. O colega perguntou sobre a Galícia, se nos referíamos à tua Galiza ou à Galicia que fica na Polônia. Expliquei-lhe sobre a Galiza, sobre a tradição da zanfona, e sobre o organistrum do Portico da Gloria na Catedral de Santiago de Compostela, como forma de demonstrar quão antiga é essa tradição em vosso país. Apenas isso, colega. Espero que entenda bem o meu português - estarei na Galiza em julho de 2008 e espero aprender um pouco de galego, que penso ser uma lingua muito bela. Apertas brasileiras dende Xerusalén, Augusto Ornellas On Jan 2, 2008 12:51 AM, ivan ad [EMAIL PROTECTED] wrote: Hello, i'm from Galicia, in Spain, i don't understand english very well, this is why i don't read all the messages... Did it have any messages about the organistrum or what about...? thanks - Mensaje original De: Gabriel Orgrease [EMAIL PROTECTED] Para: hg@hurdygurdy.com Enviado: martes, 1 de enero, 2008 21:22:54 Asunto: Re: [HG] Galicia Augusto, Thank you so very much. Best, Gabriel ¿Chef por primera vez? - Sé un mejor Cocinillas. Entra en Yahoo! Respuestas.
Re: [HG] Position of octave chanters
Hi all, not because of any logic that I can think of but rather because of tradition or custom amongst Spanish luthiers, the octave chanter/voix humane seems to end up on what would be the trompette (facing the player) side. cheers, Vlad Wolodymyr Smishkewych wolodymyrsmishkewych.com [EMAIL PROTECTED] On Dec 16 2007, at 19:35, Tony Vincent wrote: At 07:12 PM 12/16/2007 EST, you wrote: I am not sure if there is a reason today. Although as a note, there are some earlier instruments that have a main bridge that is heavier (thicker) on the bass side to help transfer more sound to the sound board. It is not all that common but it does appear on the instruments from time to time. Hi Scott I just wondered if the increased sting-to-wheel pressure inflicted on the furthest string at the dusty end of the box was kinder, soundwise, on the heavy or lighter strings? Which string is usually in which position? Why? A matter of choice or chance? Regards, Tony
[HG] Question for Helmut
Hi all! I seem to haunt the list rather patchily these days...note my absence during the now-defunct Asturias-Galicia-Celtic thread...but I have a question for Helmut and misplaced his personal email... Helmut, do you recall what model of yours it was that was purchased by Indiana University last year? I know it is lute body flat back, but I am sure there is a model name to go with it. Thanks! Vlad
[HG] HG players in Israel?
Hello friends, Someone just wrote in to the spanish HG list asking if there are any HG players in Israel. If anyone has any contacts there that play or are even interested, this person will be moving there soon for two years, and they have a HG by Jaime Rebollo that they play, and would like to meet up with anyone in the area, of whatever gurdic persuasion they may be (vielle, zanfona, tekerö, lira...) Thanks! Vlad
Re: [HG] HG players in Israel?
Doh! Whoops! My US HG list emails all go to my computer¹s onboard inbox, whereas the ones from the zanfona list go to my server-side one...didn¹t think to check the HG messages first, did I? :^P (insert sheepish grin here) Well, sorry for the cross-postings! Cheers, Vlad On 08/28/2007 22:52, Augusto de Ornellas Abreu [EMAIL PROTECTED] wrote: Hey Vlad, I posted here as well the same question - didn't you get it? :-) Augusto P.S. I will only have my Rebollo HG next year when I go to Spain to collect it. I'm so looking forward to it! On 8/28/07, Wolodymyr Smishkewych [EMAIL PROTECTED] wrote: Hello friends, Someone just wrote in to the spanish HG list asking if there are any HG players in Israel. If anyone has any contacts there that play or are even interested, this person will be moving there soon for two years, and they have a HG by Jaime Rebollo that they play, and would like to meet up with anyone in the area, of whatever gurdic persuasion they may be (vielle, zanfona, tekerö, lira...) Thanks! Vlad
[HG] Material for HG in Spain
Dear friends, I am going to be making a documentary based on my research on the zanfona, from my Fulbright year in Spain, for a local TV station. Since the station is non-budget, not for profit, and all expenses will be my own, I cannot return to Spain to supplement my footage. I wanted to make an open call for any material any one of you may have of Spanish hurdy-gurdies or related material. If you have anything you would like to have included, I would be most grateful, and would happily reimburse any cost incurred in copying, materials (media, etc) and shipping. I will also try and get a copy of the program for you to keep, and of course, credits for all material and work as appropriate. If you have material, please contact me off-list ([EMAIL PROTECTED]). Thank you all so much! Vlad
[HG] More free downloadables
Dear all, Another great download--endorsed and forwarded to the Spanish HG list by the artist--is Xurxo Romaní's Mandranugalla: http://www.aregueifa.net/xurxoromani.htm You can download all including disc art! The site itself, www.aregueifa.net, has lots of great, accessible and downloadable music art. Enjoy, Vlad
Re: [HG] http://www.blackboardcreations.com/hurdygurdy.htm
The originals look interesting...do you know, does the varquain guitar body look good as far as the plan goes? Best, Vlad On 02/17/2007 15:06, John Steels [EMAIL PROTECTED] wrote: Hi Seth Yes I bought plans from him no problem at all, am presently trying to build one John Seth Hamon [EMAIL PROTECTED] wrote: Anybody ever get plans from this guy http://www.blackboardcreations.com/hurdygurdy.htm Seth Hamon [EMAIL PROTECTED] wrote: Thanks , I'll do some more fooling around and put on my thinking cap Seth Roy Trotter [EMAIL PROTECTED] wrote: The book also says the distance between the wheel and the tuning box is 343mm,,, Shouldn't that be the distance between the main bridge and the two smaller bridges at the end of the key box 343 is to the bridge, not the wheel. That's another thing, like pegwall height that needs to be worked around. I know that wheel placement is critical, but I don't have the figures (anywhere). One of those brainy guys (Simon?, Arle?, Graham?) reported on some experiments on wheel placement, you could probably dig it out of the archives. But that's just wrong in the Dewitt book. We were hoping for translator errors, but that doesn't appear to be wrong there. Since I can't find the calculator on this PC at work, and didn't bring my work book. Divide 343 ( 17.15, I think.) then you can measure from the Octave with impunity. I also make pencil marks on the nut end to give an idea of generally where the nut should start out. I always have to move it forward (toward the bridge). --- Seth Hamon wrote: I've come to the conclusion by reading the book and looking a Aldens supp. plans that the vibrating length is 343mm between bridges no the wheel... The plans say the vibrating length is determined by the wheel which I know is wrong thanks to the supp. plans... With that said... Where does the wheel go? In relationship to the front of the key/tangent box and the main bridge, I cannot find a dimention in the book for this spot.. I think it may have been left out since the author listed the wheel as the vibrating length at 343mm... The book also says the distance between the wheel and the tuning box is 343mm,,, Shouldn't that be the distance between the main bridge and the two smaller bridges at the end of the key box This is confusing... Seth Yep. Later, Roy New Yahoo! Mail is the ultimate force in competitive emailing. Find out more at the Yahoo! Mail Championships http://uk.rd.yahoo.com/mail/uk/taglines/default/championships/games/*http://u k.rd.yahoo.com/evt=44106/*http://mail.yahoo.net/uk/ . Plus: play games and win prizes.
[HG] New arrival - Nueva llegada - Nouvellement arrivé
Dear all, We are happy to announce the arrival of Talya and Mitzi's little brother, Ilani Tikva Smishkewych Kosovske On 1 February 2007. The family is doing well and big sisters are VERY excited! Please visit his website for photos, updates, meaning of his name... http://web.mac.com/wolodymyrsmishkewych/iWeb/bambulinki/Welcome.html Hugs to all, Yonit, Vlad, Talya, Mitzi and Ilani -- [EMAIL PROTECTED] [EMAIL PROTECTED], Nos alegra compartir con [EMAIL PROTECTED] las noticias de la llegada del hermanito de Talya y Mitzi, Ilani Tikva Smishkewych Kosovske Nacido el 1 de febrero 2007. La familia esta bien ¡y las hermanas mayores MUY emocionadas y felices! Pinchad aquí para acceder a su pagina webpodréis ver fotos, actualizaciones, significado de su nombre, etc. http://web.mac.com/wolodymyrsmishkewych/iWeb/bambulinki/Welcome.html Abrazos para todo el mundo, Yonit, Bloyu, Talya, Mitzi e Ilani Chers amis, Nous sommes très heureux d'annoncer la naissance du petit frère de Talya et Mitzi, Ilani Tikva Smishkewych Kosovske Il est né le 1 fevrier 2007. Tout la famille se trouve en bons esprits et les soeurs sont très contentes! SVP cliquez ici pour voir le site web ou vous trouverais des photos, des nouvelles, le signification de son nom, etc. http://web.mac.com/wolodymyrsmishkewych/iWeb/bambulinki/Welcome.html Nous vous embrassons tous, Yonit, Vlad, Talya, Mitzi et Ilani
Re: [HG] Sympathetic string tuning pegs
Note: the pins I described earlier, made by D Jenson for harpsichords, are also referred to as zither pins. Cheers, Vlad On 2/2/07 10:42 AM, Barbara Currier [EMAIL PROTECTED] wrote: Does anyone know of a resource for the traditional narrow tapered pegs (and probably a tapered reamer as well!) used for mounting and tuning sympathetic strings on old-style French hurdy-gurdies? ~ Matt Would zither pins do? That was my husband's first response this morning when I asked him. Barbara
Re: [HG] Sympathetic string tuning pegs
My brother's master teacher and the tech person for harpsichords here at IU, David Jensen, makes his own pins with 10-penny nails. You clip off the head with a bolt cutter, stick it into an electric hand drill and sand the tip round and tapered by running the drill against a belt sander. You then heat the head-end with a brazing torch, and strike it to flatten it into the desired shape, then dip in oil to cool. While 10-penny nails might be too large for the sympathetic strings, you should be able to use any other steel nail of the desired gauge. The string is held by friction, like harpsichords. You then can make a tuning wrench by taking a length of steel rod with a diameter greater than the flat head of the pin is wide, then slot it (kind of like a Tinkertoy rod, remember those?) with a hacksaw or cutting wheel so that the end of the pin will fit into it, then cover that slotted end with a length of steel tubing that will fit the outside of the rod exactly. It's not a functional part so superglue will be just fine to hold the sleeve in place. Then add a handle to the other end of the rod, or even bend it into an L shape, and voili voila, you have a tuning wrench. (Same one and same pins work well for medieval and folk harps too.) Jensen's webpage has his contact info on it: http://www.harpsichord-man.com/ And though they're not listed on his page, he has made single pins before, at around $5 each. He also will sell the tuning wrench for $40. The pins are also great for sinfonias, which is where I just used them. They're very stable, too. Cheers, Vlad On 1/31/07 8:46 PM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: I have seen something similar on harpsichords. You might start there. Scott
Re: [HG] A gurdy?
I just went to his own page: http://torigoya.main.jp/en_index.html the Kaisatsuko, or rotation-rub-oriental fiddle, has some detailed pictures os itself displayed in his photo galelry. the crank mechanism is sidemounted so it jsut has a 45º gear mechanism there under the strings... that wheel is tiny, though! the itty bitty volume is apparently amplified by the pickups. pretty crafty fellow! Vlad On 09 Dec 2006, at 22h04, Arle Lommel wrote: Check this instrument out: http://www.youtube.com/watch?v=p-CZpjbxGhQ It uses a very small wheel to sound its strings, with some very interesting results. I want to make myself one of these things... -Arle
[HG] lyrics assistance: breton song
Hello all, I am looking for the lyrics (and if you have the whole shebang, music words, great!) of the Breton Xmas tune 'Peh trouz ou ar en douar', which I think is in the big green books. Does anybody have it, or is anyone a brezhoneg speaker and can write it down for me? It's on the Cheiftain's CD 'Celtic Wedding'. PDF, doc, all good... thanks a million! Vlad
Re: [HG] lyrics assistance: breton song
Trugarez! Thanks so much Michel! a très bientôt, Vlad On 02 Dec 2006, at 11h07, Bro wrote: Hello , The lyrics of this Breton Christmas tune Pe trouz war an douar Pe trouz war an douar, pe gan a glevan-me ? Na kaer eo ar mouezhioù a zeu eus lein an neñv ? Aeled, lavarit deomp perak ho kanaouenn ? Er bed petra nevez zo erru a laouen ? Kanit ivez ganeomp, kanit, pobl an douar Ni deu da lâret deoc'h un neventi hep par : Ur Mabig benniget, Roue Jeruzalem, A zo ganet 'vidoc'h e kêr a Vethleem En un taol 'kreiz an noz eo ganet war ar maez En ur c'hozh kraou disto, 'kreiz an dristidigezh, C'hwi her c'havo eno, dister etre daou loen 'Vit tommañ e vemproù n'en deus 'met o alan Eno e vo gwelet Mestr bras an holl er bed War un dornadig plouz en un nev astennet Eñ zeu da vezañ paour 'vit hor pinvidikaat 'Vit distag ho kalon diouzh ar bed evit mat Erru eo an termen eus ar profesioù O noz mil gwech eürus a dorr hol liammoù ! Kanit gloar hag enor da Jezuz, da Vari, Deut eo Doue da zen, erru eo ar Mesi The score is here http://perso.orange.fr/per.kentel/kantikou/pe_trouz_war_an_douar1.htm Michel Lemeu, breton hurdy-gurdy player (vielle à roue, vielleux in French) - Original Message - From: Wolodymyr Smishkewych [EMAIL PROTECTED] To: hg@hurdygurdy.com Sent: Saturday, December 02, 2006 4:23 PM Subject: [HG] lyrics assistance: breton song Hello all, I am looking for the lyrics (and if you have the whole shebang, music words, great!) of the Breton Xmas tune 'Peh trouz ou ar en douar', which I think is in the big green books. Does anybody have it, or is anyone a brezhoneg speaker and can write it down for me? It's on the Cheiftain's CD 'Celtic Wedding'. PDF, doc, all good... thanks a million! Vlad
Re: [HG] An Intro, and a HG for sale.
Hi Ted!good to see you on the list. Thanks again for the photos of the duda!cheers,VladOn 24 Oct 2006, at 18h32, Theodore Ceplina wrote: This is an akward introduction, it's best to look at my myspace http://www.myspace.com/naadbrahma, but here goes... I am new to playing the hurdy gurdy, but have know about it for quite a while. I play and study many kinds of music, in particular Hindustani music, Korean court music, and Latin American music. But for quite a while I have been into the bagpipes, and especially the many kinds of gaita found throughout Spain in particular Galicia. It was through Galego music that I heard the hurdy gurdy for the first time, and after a few years determined I needed to get one. Last summer I decided to attend Saint Chartier, what a better chance to get one. So now I have a wonderful instrument, only that I cannot afford to keep it at the moment do to many financial obligations that keep getting in my way, so that brings me to the selling part. The instrument I am selling is nicest hurdy gurdy I could afford at Saint Chartier, and I am extremely happy with it. It's a guitar body model by Neil Brook, currently strung up in G/C, but I had it in D/G for a while, and it was amazing. If anyone is interested in it please contact me off the list and I can email you pics and more details about it. I know once I am better off I am going to get another hurdy gurdy, most probably a lute backed one from Neil, I like his work, and the sound of his instruments. Once I get up and running in the future with another instrument, I hope to use it to perform tango music, as it has a tone simular to bandoneon, and would accompany singers well. Anyways, enough rambling. Ted
Re: [HG] More Hurdy-Gurdies coming to Georgia (was: Re: [HG] Celticness and Arts funding...)
Hi Alden, they had started out with Carlos Beceiro, back in the beginning, and for a while had no HG, then Rafa Martin had joined for a while. Now Carlos is back! cheers, vlad On 14 Oct 2006, at 0h54, Alden Cali Hackmann wrote: Cool, Tracie! I had heard somewhere that La Musgana's HG player had left the group, so I'm happy to hear otherwise. Afraid it's a little far to come from the upper lefthand corner over here. ;-( Alden But speaking of the University of Georgia, we'll be presenting La Musgana (sorry about the lack of tilde), complete with hurdy- gurdy Friday, January 26, 2007. http://uga.edu/pac/traditions.html
Re: [HG] Ensemble La Rota
Bravi tutti Tobie and friends!!VladOn 13 Oct 2006, at 9h28, [EMAIL PROTECTED] wrote: Ensemble La Rota won the Early Music America Medieval/Renaissance competition on Wednesday night! Rebecca Arkenberg Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more.
Re: [HG] a melissa sighting on youtube
this actually brings up some questions--historically speaking-- as to the reason for the direction we crank. if the trompette were located on the opposite side from standard, then CCW cranking owuld be required. our threading of screws, which usually runs so that righty=tighty, is also something that in modern construction has created a convention. is there always documented evidence about the direction of cranking? the position of the trompette gives us indications for instruments with a buzzing bridge, but how about those without? i documented several stone carvings in spain that showed crank handles being held 'underhand', and also saw photos taken by Tom Kafka of Antonio Poves, an organistrum reconstructor, where he played his organistra in a similar fashion. Tom, do you recall what direction he cranked? I am remembering the photo right, yes?thanks all,vladOn 03 Sep 2006, at 0h20, [EMAIL PROTECTED] wrote: I have seen him live and listened to him play and although it is painful to those of us that have been drilled repeatedly to never-ever-ever play backwards. It works for him because that is the way that he learned to play and without a buzzing bridge it really makes no difference which way he chooses to play it. He really isn't playing it to do French dance nor is working on playing with the buzz so it is not a matter of whether he is developing bad habits either. Actually the part I like the most is when he uses his cymbal playing monkey (on his left in the video) as a back up percussion player. It is eclectic and fun and the HG is just another element of his gig. So that you are all clear, the HG is a part time instrument not his main focus or his main instrument in the show. Just to clear it up. Even though I enjoy him it is painful to watch him play but that is a function of my learning and not his playing, which is slow, but still matches the melody well. This is not meant to chastise but rather to give you a different view of the man as a player. Scott
[HG] a melissa sighting on youtube
Hello all! i noticed there was a Melissa sighting on youtube! http://www.youtube.com/watch?v=YPFeSnIJfT0 someone didn\'t know your name, Melissa, then another someone posted your first name. they are now searching for your surname... there are quite a few HG entries on youtube, but as expeced most of them have donovan or butthole surfers as authors... cheers vlad
