[LUTE] Cantio Ruthenica CXXXIV
http://www.torban.org/ruthenicae/images/296.pdf http://www.torban.org/ruthenicae/audio/296.mp3 RT From: Roman Turovsky r.turov...@verizon.net http://www.torban.org/ruthenicae/images/295d.pdf http://www.torban.org/ruthenicae/images/294c.pdf http://www.torban.org/ruthenicae/images/293a.pdf RT For those who like forbidden intervals - http://www.torban.org/ruthenicae/images/292g.pdf http://www.torban.org/ruthenicae/audio/292gL.mp3 Enjoy. Amitiés, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: fret tying help
I replaced some of mine for the first time a couple of months ago without any problem :) , using the instructions including photos here: [1]http://www.wadsworth-lutes.co.uk/frets.htm. The soldering iron worked well for me - I don't have a lighter and matches seemed a bit scary Meg On 25 November 2010 03:39, Suzanne Angevine [2]suzanne.angev...@gmail.com wrote: Thanks to all who contributed to this thread. In quite a few places I encountered descriptions of this simple knot, and it was what I was attempting to use. My first observation is that all you who have done this a bunch don't remember how hard it was at first to get it. And my second observation is this. while none of you admitted to working the end of the gut a little to make it possible to tighten the knot well, I bet you all do it, if unconsciously while getting that first loop in there and the end burned. Our experience with burning the end of the gut into a lump was varied. We only replaced the biggest 3 frets, but those 3 pieces of gut varied in their response to the flame. Also, a soldering iron actually didn't work all that well for us. A lighter set on low, and then using mostly the (cooler?) tip of the flame seemed to work best. So now I think I have 3 new usable frets replacing the badly worn ones. That is, as long as the next time I open the case they're still attached. :-) Suzanne -- References 1. http://www.wadsworth-lutes.co.uk/frets.htm 2. mailto:suzanne.angev...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: fret tying help
I just wanted to mention that soldering irons come with different power ratings, 15 and 30 watts being most common, although they can have higher ratings than 30 watts. The lower the rating the less hot the tip of the iron gets, so maybe that explains the different results. Perhaps a 15 watt iron isn't sufficient for fret gut, especially the thicker frets. morgan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Francesco da Milano - Ness 33
Thank you for all your responses! Sorry I didn't write clearly. I know of three versions which were kindly given to me by David van Oijen: - Siena Manuscript - Intabolatura di Liuto di M. Francesco da Milano [...] Libro Terzo, Gardano 1562 - Theatrum Musicum - Petrus Phalesius, Antuerpiensi 1571 All these versions have the opening motif with a rhythm being semibreve-minima-minima I think it is strange to have an alternation of the motif as soon as in the first imitation and I was thinking of any reason of notation / printing problems. But my theory also seems not to be very convincing because they could have started the first imitation on an upbeat if they want to use bar lines. On his CD of 2008 Hopkinson Smith plays the version written in Siena, Gardano and Phalese. It is very interesting, Jean-Marie, to know about this english version with corrected opening motif. If there are any other versions or theories - it would also be interesting to know about that. Thanks to all, Susanne - Original Message - From: Jean-Marie Poirier jmpoiri...@wanadoo.fr To: Peter Martin peter.l...@gmail.com; Lute list lute@cs.dartmouth.edu Sent: Wednesday, November 24, 2010 3:49 PM Subject: [LUTE] Re: Francesco da Milano - Ness 33 Fine, Peter, but 34 is another story altogether, isn't it ? La Compagna, perfect, but not La Sosia ;-). The contrapuntal oprtions in the introductory motive are slightly, but significantly different. It seems impossible to me to adopt the same rhythmical symetry (semibreve, quarter, quarter) in the introduction and its answer in 33; I feel that Arthur's option, comforted by the English version in Cambridge Add Ms 3056, is more satisfactory and preserves the coherence in the imitation. But of course, that's only my twopence... :-) Among the recordings I could put my hands on, Paul O'Dette, Chris Wilson, Anthony Bailes, Massimo Lonardi, Hopkinson Smith share this opinion and all choose to play the rectified version (3 semi breves at the opening), perhaps it is not just a hasard ? Best, Jean-Marie = == En réponse au message du 24-11-2010, 14:25:10 == We should look also at the next piece in the Siena manuscript, La Compagna, which opens with the same theme and rhythm, suggesting that number 33 was written as intended, and doesn't need to be changed. That's what I play.. :) P On 24 November 2010 12:56, Jean-Marie Poirier [1]jmpoiri...@wanadoo.fr wrote: True, Peter. The Siena doesn't use the same rhythm in the answering statement. Arthur Ness gives the exact Siena version in tab and his transcription suggests a change to make both opening statements rhythmically identical. Moreover there is a version of this very Ricercar in an English manuscript, Cambridge Univ. Library, Add. Ms 3056, which changes the Siena version to make both statement conform, like Arthur suggested in his transcription. That's what I play, and it would be interesting to have Arthur's opinion on that... All the best, Jean-Marie = == En reponse au message du 24-11-2010, 13:21:18 == Looking at this piece in the Siena manuscript, the rhythm for the opening statement is not the same as in the answering statements. So there's certainly room for doubt. I think the opening statement may have been 'corrected' in the Ness edition (I don't have it here to check). However, since several different rhythms are used for this motif, changing one of them doesn't make the counterpoint any more uniform. Let it stand, and enjoy the diversity! P On 24 November 2010 10:33, Jean-Marie Poirier [1][2]jmpoiri...@wanadoo.fr wrote: Same argument ! Listen to the counterpoint... Best, JM = == En reponse au message du 24-11-2010, 11:27:59 == correction: Sorry, I meant the values of the second and third note of the first motif respectively the first bar in general... - Original Message - From: Susanne Herre [2][3]mandolinens...@web.de To: Lute List [3][4]l...@cs.dartmouth.edu Sent: Wednesday, November 24, 2010 10:49 AM Subject: [LUTE] Francesco da Milano - Ness 33 Dear lute lovers, What are your opinions about the beginning of Francesco da Milano - Fantasia Ness 33 regarding the note value of the first note of the first motif? My thoughts at the moment are that maybe it happened like this: Francesco wrote the piece without bar lines. When they tried to print it with bar lines it was not possible or not common to print only an upbeat / a bar of half length. So they changed the rhythm to a very common pattern so
[LUTE] season's greetings
A bit early, but my guitar kids need time to study this: http://www.youtube.com/meesterdavidgitaar#p/a/u/0/euflzZtWFpA (wait for Rudolph's nose ... ;-) David - the one with the antlers -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: season's greetings
V. Nice. Haven't I heard that tune somewhere before? Monica - Original Message - From: David van Ooijen davidvanooi...@gmail.com To: lutelist Net Lute@cs.dartmouth.edu Sent: Thursday, November 25, 2010 2:53 PM Subject: [LUTE] season's greetings A bit early, but my guitar kids need time to study this: http://www.youtube.com/meesterdavidgitaar#p/a/u/0/euflzZtWFpA (wait for Rudolph's nose ... ;-) David - the one with the antlers -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cornetto Verlag für Alte Musik catalogue
Thanks to everyone for help and suggestions Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Francesco da Milano - Ness 33
There are several issues here. The first is that the opening note may be said to have an implied coronoa, or fermata in the historical sense, creating a time free zone (TFZ) which may be played longer or shorter, or with graces appropriate to beginning a piece. The mss sources support this. In this respect, the first note is like the last note. Second is that, similar to a tonal imitative answer there is a rhythmic imitative answer: in both cases the answer may be different than the opening statement. NB The first statement is not always the real statement It is tempting to correct No 33 according to No 34, but that makes two assumptions, one, that the first note is not qualitatively different in some respect, and, second, that there is some sort of urtext, e.g. the comopser's intent. The idea of an urtext has been largely discredited--the main reason is that the sources do not support it. Even Bach's cello suites do not have an urtext. Nonetheless, the two make a great pair of pieces, and I for one am grateful that there are different versions of these and other pieces. dt At 05:23 AM 11/24/2010, you wrote: We should look also at the next piece in the Siena manuscript, La Compagna, which opens with the same theme and rhythm, suggesting that number 33 was written as intended, and doesn't need to be changed. That's what I play.. :) P On 24 November 2010 12:56, Jean-Marie Poirier [1]jmpoiri...@wanadoo.fr wrote: True, Peter. The Siena doesn't use the same rhythm in the answering statement. Arthur Ness gives the exact Siena version in tab and his transcription suggests a change to make both opening statements rhythmically identical. Moreover there is a version of this very Ricercar in an English manuscript, Cambridge Univ. Library, Add. Ms 3056, which changes the Siena version to make both statement conform, like Arthur suggested in his transcription. That's what I play, and it would be interesting to have Arthur's opinion on that... All the best, Jean-Marie = == En reponse au message du 24-11-2010, 13:21:18 == Looking at this piece in the Siena manuscript, the rhythm for the opening statement is not the same as in the answering statements. So there's certainly room for doubt. I think the opening statement may have been 'corrected' in the Ness edition (I don't have it here to check). However, since several different rhythms are used for this motif, changing one of them doesn't make the counterpoint any more uniform. Let it stand, and enjoy the diversity! P On 24 November 2010 10:33, Jean-Marie Poirier [1][2]jmpoiri...@wanadoo.fr wrote: Same argument ! Listen to the counterpoint... Best, JM = == En reponse au message du 24-11-2010, 11:27:59 == correction: Sorry, I meant the values of the second and third note of the first motif respectively the first bar in general... - Original Message - From: Susanne Herre [2][3]mandolinens...@web.de To: Lute List [3][4]l...@cs.dartmouth.edu Sent: Wednesday, November 24, 2010 10:49 AM Subject: [LUTE] Francesco da Milano - Ness 33 Dear lute lovers, What are your opinions about the beginning of Francesco da Milano - Fantasia Ness 33 regarding the note value of the first note of the first motif? My thoughts at the moment are that maybe it happened like this: Francesco wrote the piece without bar lines. When they tried to print it with bar lines it was not possible or not common to print only an upbeat / a bar of half length. So they changed the rhythm to a very common pattern so the motif could now fit into one bar. Could that be possible? Maybe that happened with other pieces as well? Or maybe Francesco had to compose it like this because no piece like a fantasia or ricercar would start with an upbeat? Best wishes, Susanne -- To get on or off this list see list information at [4][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- - Orange vous informe que cet e-mail a ete controle par l'anti-virus mail. Aucun virus connu a ce jour par nos services n'a
[LUTE] Gilbert Isbin's 10 compositions for solo lute
They are published by the Lute Society (UK). They are not easy! And they have a sort of indirect, at once or twice removed, contemporary jazz flavour. No IV,Reminiscence, starts off a bit like - what jazzers call - a ballad. Here's a go at it: http://www.youtube.com/watch?v=cylt3lcbIJE Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Gilbert Isbin's 10 compositions for solo lute
Thanks for playing and posting, Stuart. They don't sound easy at all. But you are inspiring me to buy and try some of them. And I like the video you show with the music. Of course, a big thanks to Gilbert Isbin for writing these works. Best, Ned On Nov 25, 2010, at 5:38 PM, Stuart Walsh wrote: They are published by the Lute Society (UK). They are not easy! And they have a sort of indirect, at once or twice removed, contemporary jazz flavour. No IV,Reminiscence, starts off a bit like - what jazzers call - a ballad. Here's a go at it: http://www.youtube.com/watch?v=cylt3lcbIJE Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE-BUILDER]
Does anyone have experience using western red cedar for the lute sound board? (I'm building a 10-cs Ren. Dieffopruchar.) I'm guessing it would need to be thicker than a spruce top. However, I'm not sure how much thicker I should expect it to be. Thanks, Paul -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE-BUILDER] Re:
Paul, Having built several western red tops I can at least comment. For your renaissance Dieff varying from 1.4mm to 1.8mm across the board should work. If it is properly dried it is hard enough to support those thicknesses. You must, however, have VERY sharp scrapers and mind the grain. Rob Dorsey -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Paul Daverman Sent: Thursday, November 25, 2010 8:22 PM To: lute-buil...@cs.dartmouth.edu Subject: [LUTE-BUILDER] Does anyone have experience using western red cedar for the lute sound board? (I'm building a 10-cs Ren. Dieffopruchar.) I'm guessing it would need to be thicker than a spruce top. However, I'm not sure how much thicker I should expect it to be. Thanks, Paul -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
