[LUTE] Re: Van Eyck

[Bruno Correia]

   Never mind, I found it!
   Regards.

   2014-08-01 16:58 GMT-03:00 Bruno Correia <[1]bruno.l...@gmail.com>:

   A  A Does anyone have a harmonized version of "La Bergere" from Jacob
   Van
   A  A Eyck? Or know someone who has done it.

 A  A Regards. A
 A  A --
 A  A Bruno Figueiredo
 A  A A
 A  A Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
 A  A historicamente informada no alaA-ode e teorba.
 A  A Doutor em PrA!ticas InterpretativasA pela

   A  A Universidade Federal do Estado do Rio de Janeiro.

 A  A --
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:bruno.l...@gmail.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Van Eyck

[Bruno Correia]

   Does anyone have a harmonized version of "La Bergere" from Jacob Van
   Eyck? Or know someone who has done it.
   Regards. A
   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA pela
   Universidade Federal do Estado do Rio de Janeiro.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Bare spot on soundboard.

[Bruno Correia]

   Dear Tobiah,
   You should check jazz guitarist Martin Taylor, he always rests his
   pinky on the soundboard or the tap plate many archtop guitars have.
   He plays very difficult polyphonic jazz arrangements.
   Regards. A A

   2014-07-28 14:44 GMT-03:00 Tobiah <[1]t...@tobiah.org>:

   On 07/28/2014 10:33 AM, Tobiah wrote:

 On 07/28/2014 10:23 AM, David Rastall wrote:

 We-ell, not exactly. A The pinkie-on-the-soundboard thing is
 legitimate renaissance lute technique. A It's described in treatises
 dating all the way back to the 16th century. A I once had an
 opportunity to play Jakob Lindberg's Rauolf lute that dates back to
 1590, and sure enough, there was the mark on the soundboard that
 bears the imprint of 400 years worth of pinkies! A You'll also
 notice
 that some early 19th-century guitars have a resting place glued on
 to
 the top for the player's pinkie. A Plus, I certainly wouldn't say
 that
 Merle Travis finger style playing was developed by players with
 inadequate right hand techniques. A Not to mention bluegrass banjo
 playersa|

 Fair enough. A I retract my comment!

 I still want to retain my evaluation of this usage of
 the pinky as a crutch, however popular it may have been
 throughout the centuries. A I used it as a youth and
 outgrew it, and having been on both sides of the fence,
 and experiencing the benefits and freedoms of having
 shed it, in that way I stand behind my original statement.

   Tobiah
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:t...@tobiah.org
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Lute Bridge vs Guitar Bridge Functioning

[Bruno Correia]

   Very nice question! Hope to hear some responses on this topic.

   2014-07-26 11:20 GMT-03:00 <[1]t...@heartistrymusic.com>:

 Dear List,
 A  I have always assumed that a lute bridge moves / vibrates in
 a different manner than a guitar bridge, and that this, plus the
 bracing, etc. mainly account for the difference in timbre between
 the
 two different instruments - that the strings of a lute exert force
 in
 a plane parallel to the belly, while the saddle of a guitar bridge
 creates "downbearing" or force perpendicular to the belly, causing
 more of a rocking motion. A Following this line of reasoning
 anything
 on top of a lute bridge would be primarily decorative. A But - could
 a
 luthier angle the string holes in a lute bridge at about 30 degrees
 to
 create a downbearing-like function? A Would that have any positive
 or negative impact on lute tone or projection?
 A  Am I correct in this assumption, or way out in left field?
 BTW, has anybody done vibration pattern imaging on lute bellies
 similar to the what has been done in violin research?
 A  Looking forward to your responses,
 A  A  Thanks,
 Tom Draughon
 Heartistry Music
 [2]http://www.heartistry.com
 Date sent: A  A  A  A  A  A  A Sat, 26 Jul 2014 15:27:26 +0200
 To: A  A  A  A  A  A  A  A  A  A  "[3]lute-cs.dartmouth.edu"
 <[4]lute@cs.dartmouth.edu>
 From: A  A  A  A  A  A  A  A  A  Anthony Hind
 <[5]agno3ph...@cs.dartmouth.edu>
 Subject: A  A  A  A  A  A  A  A [LUTE] Re: Lute bridge
 Dear Bruno
 Looking at the instruments of the CitA(c) de la Musique seems to
 show
 that ivory or bone on the bridge goes together with the same
 decorations on the fingerboard and elsewhere,
 [6]http://tinyurl.com/nlvpy32 Thus unlikely to be acoustic in
 intention.
 Regards Anthony
 Sent from my iPhone
     > On 26 juil. 2014, at 00:32, Bruno Correia
 <[7]bruno.l...@gmail.com>
 > wrote:
 >
 > Dear Daniel,
 > This thin slice of bone is precisely what I was referring to. I'm
 > sure you have seen many lutes with these cap. All the best.
 > 2014-07-25 18:44 GMT-03:00 Dan Winheld <[1][8]dwinh...@lmi.net>:
 >
 > A  Never had a bone on any of my lute bridges (except the guitar
 > A  saddle bone on my first guitary-semi-lute). I have never seen a
 > A  bone on any lute bridge either. A thin slice of bone, ivory, or
 > A  hard wood seems like a good idea to limit string wear on the
 top
 > A  edges of a bridge, so long as it does not increase mass to the
 > A  extent of degrading the sound. Of course, as a player & not a
 > A  luthier I'm sure I haven't all the lutes out there. Maybe some
 > A  Tielke extravaganza has bone or ivory bridge decoration. What
 > A  particular lutes have you seen with this feature? Any pictures?
 > A  Dan
 >
 > --
 > Bruno Figueiredo
 > A
 > Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
 > historicamente informada no alaA-ode e teorba.
 > Doutor em PrA!ticas InterpretativasA pela
 > Universidade Federal do Estado do Rio de Janeiro.
 >
 > --
 >
 > References
 >
 > 1. mailto:[9]dwinh...@lmi.net
 >
 >
 > To get on or off this list see list information at
 > [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 Tom Draughon
 Heartistry Music
 [11]http://www.heartistrymusic.com/artists_tom.html
 714 A 9th Avenue West
 Ashland, WI A 54806
 [12]715-682-9362

   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:t...@heartistrymusic.com
   2. http://www.heartistry.com/
   3. http://lute-cs.dartmouth.edu/
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:agno3ph...@cs.dartmouth.edu
   6. http://tinyurl.com/nlvpy32
   7. mailto:bruno.l...@gmail.com
   8. mailto:dwinh...@lmi.net
   9. mailto:dwinh...@lmi.net
  10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  11. http://www.heartistrymusic.com/artists_tom.html
  12. tel:715-682-9362

[LUTE] Re: Lute bridge

[Bruno Correia]

   Thanks for the replies, I'm not planning to build a lute, just curious
   about certain aspects of its construction.
   Regards.

   2014-07-26 15:43 GMT-03:00 Martin Shepherd <[1]mar...@luteshop.co.uk>:

 Dear All,
 As far as bridge toppings are concerned, there is no doubt that that
 they are purely decorative and/or practical.
 Acoustically I doubt that anyone knows much about how it works, but
 it is obvious that the lute bridge is a very small, low-mass
 connector of the strings to the soundboard, A and because of the
 shape of "classic" (late 16th/early 17 C) lute bridges the point
 where the string "leaves" the bridge is often somewhat nearer the
 nut than the point where the bridge joins the soundboard, presumably
 increasing the leverage of the strings in the direction of rotation.
 A Old lute bridges are often made of relatively light materials
 (e.g. pear) so are not so stiff that they "act as one", which may
 also be a factor in the design.
 Martin

   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:mar...@luteshop.co.uk
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Lute bridge

[Bruno Correia]

   Dear Daniel,
   This thin slice of bone is precisely what I was referring to. I'm sure
   you have seen many lutes with these cap.
   All the best.
   2014-07-25 18:44 GMT-03:00 Dan Winheld <[1]dwinh...@lmi.net>:

 Never had a bone on any of my lute bridges (except the guitar saddle
 bone on my first guitary-semi-lute). I have never seen a bone on any
 lute bridge either. A thin slice of bone, ivory, or hard wood seems
 like a good idea to limit string wear on the top edges of a bridge,
 so long as it does not increase mass to the extent of degrading the
 sound. Of course, as a player & not a luthier I'm sure I haven't all
 the lutes out there. Maybe some Tielke extravaganza has bone or
 ivory bridge decoration.
 What particular lutes have you seen with this feature? Any pictures?
 Dan

   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:dwinh...@lmi.net


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Lute bridge

[Bruno Correia]

   Thanks Alexander. I was curious about this little piece of bone found
   in some lutes, so according to you it's only a decorative ornament. Are
   there better types of woods for the bridge, denser materials maybe?
   I thought the saddle, being the material between the string and the
   bridge, was crucial for the transmission of energy to the top. How does
   the top receive the string's vibration?
   Best wishes. A

   2014-07-25 16:09 GMT-03:00 Alexander Batov
   <[1]alexander.ba...@vihuelademano.com>:

 A  A A bone (ivory or some other) cap on top of the bridge is merely
 there
 A  A for decorative purposes. It can only affect the sound if its
 mass is of
 A  A significant proportion to that of the bridge. In practice,
 though, it
 A  A is negligible.

   A  A > Classical guitars have a saddle on the bridge which helps not
   only to
   A  A adjust the string height but also transmit better the vibrations
   to the
   A  A top.

 A  A By the very physics of how a guitar bridge works, the saddle
 DOES NOT
 A  A transmit vibrations to the top!
 A  A ---
 A  A AB

   A  A On 25/07/2014 19:06, Bruno Correia wrote:
   A  A A question (maybe to the luthiers): What's the function (if any)
   of the
   A  A bone that is glued on the top of the bridge? Is that only
   ornamental or
   A  A it is sonically important? I noticed that some lutes and guitars
   have
   A  A these pieces of bone and others don't. Classical guitars have a
   saddle
   A  A on the bridge which helps not only to adjust the string height but
   also
   A  A transmit better the vibrations to the top.
   A  A A Any thoughts?
   A  A --
   A  A Bruno Figueiredo
   A  A A
   A  A Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   A  A historicamente informada no alaA-ode e teorba.
   A  A Doutor em PrA!ticas InterpretativasA pela
   A  A Universidade Federal do Estado do Rio de Janeiro.
   A  A --
   A  A --
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:alexander.ba...@vihuelademano.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Lute bridge

[Bruno Correia]

   A question (maybe to the luthiers): What's the function (if any) of the
   bone that is glued on the top of the bridge? Is that only ornamental or
   it is sonically important? I noticed that some lutes and guitars have
   these pieces of bone and others don't. Classical guitars have a saddle
   on the bridge which helps not only to adjust the string height but also
   transmit better the vibrations to the top.
   A Any thoughts?
   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA pela
   Universidade Federal do Estado do Rio de Janeiro.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Liuto attiorbato strings

[Bruno Correia]

   Hi Howard,
   Yes that's a very good advice.A
   Thanks.

   2014-07-12 20:10 GMT-03:00 howard posner <[1]howardpos...@ca.rr.com>:

 If you're not in a hurry to get the instrument strung, you could try
 getting two courses based on whatever criteria you think
 appropriate, put them on, and see how they work. A If they're too
 big/tense, move them down (e.g., from ninth and tenth to tenth and
 eleventh) and if they're too slack, move them up. A When you're
 satisfied with those two courses, order the other five or six
 courses accordingly.

   On Jul 12, 2014, at 3:30 PM, Bruno Correia <[2]bruno.l...@gmail.com>
   wrote:
   > A  Thanks David,
   > A  I have checked previuosly Gamut's calculator but I wasn't sure if
   I
   > A  could use the same tension as the swan-neck. It might work, maybe
   > A  something between 2.6 and 2.8 Kg.
   > A  All the Best,
   > A  Bruno.
   >
   > A  2014-07-12 19:18 GMT-03:00 David Morales
   > A  <[1][3]dmorale...@cuerdaspulsadas.com>:
   >
   > A  A A A Dear Bruno,
   > A  A A A You can try the gamut's strings calculator. It suggests the
   > A  following
   >
   > A  A  A A A setup for liuto attiorbato (aA5Hz):
   >
   > A  A A A 
   > A  A A A Thirteen Course Baroque Lute with Bass Extension
   > A  A A A String length for first courses 1 - 7 on fingerboard in cm
   (Range
   > A  A A A 68-82)
   > A  A A A String length for courses 8 - 13 on extension (Range 70-130)
   > A  A A A f-1 329.63 4Kg
   >
   > A  A  A A A d-2 277.18 3.8Kg A
   > A  A  A A A a-3 207.65 3.4KgA
   > A  A  A A A F-4 164.8 3KgA
   > A  A  A A A D-5 138.59 2.8Kg A
   > A  A  A A A A-6 103.83 2.7KgA
   > A  A  A A A a-6 207.65 2.7KgA
   > A  A  A A A G-7 92.5 2.6KgA
   > A  A  A A A g-7 185 2.6Kg
   > A  A  A A A F-8 82.4 2.6Kg A
   > A  A  A A A f-8 164.8 2.6KgA
   > A  A  A A A E-9 77.78 2.6KgA
   > A  A  A A A e-9 155.56 2.6KgA
   > A  A  A A A D-10 69.3 2.6KgA
   > A  A  A A A d-10 138.59 2.6KgA
   > A  A  A A A C-11 61.47 2.6KgA
   > A  A  A A A c-11 123.47 2.6KgA
   > A  A  A A A B-12 58.2 2.6KgA
   > A  A  A A A b-12 116.54 2.6KgA
   > A  A  A A A A-13 51.91 2.6KgA
   >
   > A  A A A a-13 103.83 2.6Kg
   > A  A A A 
   > A  A A A So, as you can see, 2.6Kg is their proper tension for these
   > A  courses.
   > A  A A A Anyway, you can play with the calculator and adjust it to
   your
   > A  A A A preferences. And, of course, you can also use their quick
   > A  calculator
   > A  A A A (for custom hz, string length and tension calculations).
   > A  A A A We use it a lot in our
   >
   > A  A  A A A store:A
   > A  A
   [1][2][4]http://www.cuerdaspulsadas.com/calculadoras-de-calibres
   > A  A  A A A Regards
   > A  A  A A A David Morales
   > A  A  A A A 2014-07-12 23:55 GMT+02:00 Bruno Correia
   > A  A  <[2][3][5]bruno.l...@gmail.com>:
   > A  A  A A A A A A A A Could someone tell the avarage tension for the
   basses
   > A  A  and
   > A  A  A A A A A octaves for a
   > A  A  A A A A A A A A liuto attiorbato (G at 415, 7 x2 = 635 cm, 7 x
   2 =
   > A  A  92cm). I
   > A  A  A A A A A need to
   > A  A  A A A A A A A A order strings and I'm pretty confused to
   calculate the
   > A  A  basses
   > A  A  A A A A A and their
   > A  A  A A A A A A A A octaves. The programs I've tried are for the
   long
   > A  A  archlute, so
   > A  A  A A A A A the
   > A  A  A A A A A A A A tension should not be the same, and there are
   also the
   > A  A  octaves.
   > A  A  A A A A A A A A Thanks.
   > A  A  A A A A A A A A --
   > A  A  A A A A A A A A Bruno Figueiredo
   > A  A  A A A A A A A A A
   > A  A  A A A A A A A A Pesquisador autA'nomo da prA!tica e
   interpretaAS:A-L-o
   > A  A  A A A A A A A A historicamente informada no alaA-ode e teorba.
   > A  A  A A A A A A A A Doutor em PrA!ticas InterpretativasA pela
   > A  A  A A A A A A A A Universidade Federal do Estado do Rio de
   Janeiro.
   > A  A  A A A A A A A A --
   >
   > A  A A A A A To get on or off this list see list information at
   >
   > A  A  A A A A A
   [3][4][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   > A  A  A A A --
   > A  A  A A A De conformidad con lo dispuesto en la Ley OrgA!nica
   15/1999 de
   > A  A  A A A ProtecciA^3n de Datos de carA!cter Personal DAVID MORALES
   DE
   > A  A  FRAAS, con
   >
   > A  A A A domicilio en Salamanca, C/ Luis Vives, 6 - cuarto, le
   informa que
   > A  los
   >
   > A  A  A A A datos de carA!cter personal que facilite forman parte de
   un
   > A  A  fichero,
   > A  A  A A A responsabilidad del mismo, para la g

[LUTE] Re: Liuto attiorbato strings

[Bruno Correia]

   Thanks David,
   I have checked previuosly Gamut's calculator but I wasn't sure if I
   could use the same tension as the swan-neck. It might work, maybe
   something between 2.6 and 2.8 Kg.
   All the Best,
   Bruno.

   2014-07-12 19:18 GMT-03:00 David Morales
   <[1]dmorale...@cuerdaspulsadas.com>:

   A  A Dear Bruno,
   A  A You can try the gamut's strings calculator. It suggests the
   following

 A  A setup for liuto attiorbato (aA5Hz):

   A  A 
   A  A Thirteen Course Baroque Lute with Bass Extension
   A  A String length for first courses 1 - 7 on fingerboard in cm (Range
   A  A 68-82)
   A  A String length for courses 8 - 13 on extension (Range 70-130)
   A  A f-1 329.63 4Kg

 A  A d-2 277.18 3.8Kg A
 A  A a-3 207.65 3.4KgA
 A  A F-4 164.8 3KgA
 A  A D-5 138.59 2.8Kg A
 A  A A-6 103.83 2.7KgA
 A  A a-6 207.65 2.7KgA
 A  A G-7 92.5 2.6KgA
 A  A g-7 185 2.6Kg
 A  A F-8 82.4 2.6Kg A
 A  A f-8 164.8 2.6KgA
 A  A E-9 77.78 2.6KgA
 A  A e-9 155.56 2.6KgA
 A  A D-10 69.3 2.6KgA
 A  A d-10 138.59 2.6KgA
 A  A C-11 61.47 2.6KgA
 A  A c-11 123.47 2.6KgA
 A  A B-12 58.2 2.6KgA
 A  A b-12 116.54 2.6KgA
 A  A A-13 51.91 2.6KgA

   A  A a-13 103.83 2.6Kg
   A  A 
   A  A So, as you can see, 2.6Kg is their proper tension for these
   courses.
   A  A Anyway, you can play with the calculator and adjust it to your
   A  A preferences. And, of course, you can also use their quick
   calculator
   A  A (for custom hz, string length and tension calculations).
   A  A We use it a lot in our

 A  A store:A
 [1][2]http://www.cuerdaspulsadas.com/calculadoras-de-calibres
 A  A Regards
 A  A David Morales
 A  A 2014-07-12 23:55 GMT+02:00 Bruno Correia
 <[2][3]bruno.l...@gmail.com>:
 A  A  A A A A Could someone tell the avarage tension for the basses
 and
 A  A  A octaves for a
 A  A  A A A A liuto attiorbato (G at 415, 7 x2 = 635 cm, 7 x 2 =
 92cm). I
 A  A  A need to
 A  A  A A A A order strings and I'm pretty confused to calculate the
 basses
 A  A  A and their
 A  A  A A A A octaves. The programs I've tried are for the long
 archlute, so
 A  A  A the
 A  A  A A A A tension should not be the same, and there are also the
 octaves.
 A  A  A A A A Thanks.
 A  A  A A A A --
 A  A  A A A A Bruno Figueiredo
 A  A  A A A A A
 A  A  A A A A Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
 A  A  A A A A historicamente informada no alaA-ode e teorba.
 A  A  A A A A Doutor em PrA!ticas InterpretativasA pela
 A  A  A A A A Universidade Federal do Estado do Rio de Janeiro.
 A  A  A A A A --

   A  A  A To get on or off this list see list information at

 A  A  A [3][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 A  A --
 A  A De conformidad con lo dispuesto en la Ley OrgA!nica 15/1999 de
 A  A ProtecciA^3n de Datos de carA!cter Personal DAVID MORALES DE
 FRAAS, con

   A  A domicilio en Salamanca, C/ Luis Vives, 6 - cuarto, le informa que
   los

 A  A datos de carA!cter personal que facilite forman parte de un
 fichero,
 A  A responsabilidad del mismo, para la gestiA^3n administrativa de
 los

   A  A clientes. En el supuesto de que desee ejercitar los derechos que
   le

 A  A asisten de acceso, rectificaciA^3n, cancelaciA^3n y oposiciA^3n
 dirija
 A  A una comunicaciA^3n por escrito a la direcciA^3n indicada
 anteriormente
 A  A o al correo electrA^3nico [4][5]h...@cuerdaspulsadas.com con la
 referencia
 A  A "ProtecciA^3n de Datos" incluyendo copia de su Documento
 Nacional de
 A  A Identidad o documento identificativo equivalente. La
 informaciA^3n
 A  A contenida en el presente mensaje de correo electrA^3nico es
 A  A confidencial y su acceso A-onicamente estA! autorizado al
 destinatario
 A  A original del mismo, quedando prohibidos cualquier
 comunicaciA^3n,
 A  A divulgaciA^3n, o reenvAo, tanto del mensaje como de su
 contenido. En el

   A  A supuesto de que usted no sea el destinatario autorizado, le
   rogamos
   A  A borre el contenido del mensaje y nos comunique dicha circunstancia
   a

 A  A travA(c)s de un mensaje de correo electrA^3nico a la
 direcciA^3n
 A  A [5][6]h...@cuerdaspulsadas.com
 A  A --
 References
 A  A 1. [7]http://www.cuerdaspulsadas.com/calculadoras-de-calibres
 A  A 2. mailto:[8]bruno.l...@gmail.com
 A  A 3. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 A  A 4. mailto:[10]h...@cuerdaspulsadas.com
 A  A 5. mailto:[11]h...@cuerdaspulsadas.com

   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA

[LUTE] Liuto attiorbato strings

[Bruno Correia]

   Could someone tell the avarage tension for the basses and octaves for a
   liuto attiorbato (G at 415, 7 x2 = 635 cm, 7 x 2 = 92cm). I need to
   order strings and I'm pretty confused to calculate the basses and their
   octaves. The programs I've tried are for the long archlute, so the
   tension should not be the same, and there are also the octaves.
   Thanks.
   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA pela
   Universidade Federal do Estado do Rio de Janeiro.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Video of Archlute by Koch

[Bruno Correia]

--001a11c1e0786e649604f997b9c8
Content-Type: text/plain; charset=UTF-8
Content-Transfer-Encoding: quoted-printable

Interesting, the petit jeu is pretty short in comparisson with the grand
jeu. Would this kind of instrument have enough power in an ensemble
situation? Is it desirable to have such a gap between both the stopped and
unstopped strings?

Thanks.


2014-05-17 5:20 GMT-03:00 Bernd Haegemann :

> Nom de l'oeuvre  ArchiluthNuméro d'inventaire  E.546Numéro
> Chouquet 1884  C.233Collection  Musée de la musiqueFacteur ou
> Auteur  Koch 
> Christoph
> Lieu
> de création  VENISEDate d'exécution  1654Historique  Collection
> Julien FauDescription  Caisse à 15 côtes de bois de violette
> (Dalbergia caerensis) séparées de filets d'ivoire * Brague en 2 parties
> avec un filet d'ivoire * Fac-similé de la table posé en 1995 * Table
> originale séparée en bois résineux en 2 lés * Chevalet en hêtre avec un
> dessus de marqueterie * Rose représentant un aigle bicéphale stylisé *
> Manche en tilleul avec placage au dos d'un fond de bois de violette *
> Touche en ébène décorée de 3 cartouches d'ivoire de forme ellipsoïde 
> gravés
> de scènes pastorales * Double cheviller en tilleul plaqué sur ses quatre
> faces de bois de violette *Marques et inscriptions  Etiquette
> manuscrite collée au fond de la caisse : ″Christoforo Cochs all insegna /
> Dall'Aquila d'Oro in Venetia / 1654″ * Inscription gravée dans un 
> médaillon
> d'ivoire sur la crosse du chevillier : ″Cristofero / Cocko fecit / in
> Vinetia″Décor  Face du cheviller incrustés de 11 médaillons d'ivoire
> comportant des décors gravés (scènes pastorales, paysages...) * Dos 
> décoré
> d'une marqueterie d'ivoire à d″écor de rinceaux et entrelacs * Manche
> décoré d'une marqueterie d'ivoire aux motifs de rinceaux
>
> Longueur totale  1713 mmLongueur vibrante  petit jeu : 1x1,5x2 =
> c.618 mmLongueur vibrante 2  grand jeu : 8x1 = c.1429 mmOeuvre
> exposée  NonMode d'acquisition  AchatDate d'acquisition  12/1873
> Photographie(s)
> *
>  Archiluth,
> Koch (Christoph), Venise, 1654, E.546, vue de 3/4 face / Jean-Marc 
> Anglès
> 
>  Archiluth,
> Koch (Christoph), Venise, 1654, E.546, vue de face / Jean-Marc 
> Anglès
> 
>  Archiluth,
> Koch (Christoph), Venise, 1654, E.546, vue de dos / Jean-Marc 
> Anglès
> 
>  Archiluth,
> Koch (Christoph), Venise, 1654, E.546, vue de profil / Jean-Marc 
> Anglès
> 
>  Archiluth,
> Koch (Christoph), Venise, 1654, E.546, table d'origine, vue de face /
> Jean-Marc 
> Anglès
> 
>  Archiluth,
> Koch (Christoph), Venise, 1654, E.546, table d'origine, vue de l'intérieur
> / Jean-Marc 
> Anglès
> 
>  Archiluth,
> Koch (Christoph), Venise, 1654, E.546, détail rose table d'origine /
> Jean-Marc 
> Anglès
> 
>  Archiluth,
> Koch (Christoph), Venise, 1654, E.546, détail caisse, vue de profil /
> Jean-Marc 
> Anglès
> 

[LUTE] Re: Video of Archlute by Koch

[Bruno Correia]

   Very nice indeed! Lovely playing and great instrument. Is it possible
   to know the string lenght (stopped and unstopped)? I couldn't read that
   in the website.
   Thanks for sharing,
   Bruno.

   2014-05-16 17:39 GMT-03:00 BENJAMIN NARVEY <[1]luthi...@gmail.com>:

 A  A Dear lute-listers,
 A  A I came across this remarkable video of Pascale Boquet playing
 the
 A  A lovely Koch theorbo in the CitA(c) de la musique. I had never
 seen this
 A  A video before and I thought I would share it with the list.
 A
 A [1][2]http://mediatheque.cite-musique.fr/masc/?INSTANCE=CITEMUSIQU
 E&URL=/M
 A  A ediaComposite/CMFM/CMFM04800/default.htm
 A  A I must say, it is the first time I've heard an archlute.
 and
 A  A actually really liked it! I usually find the gap between the
 stopped
 A  A double courses and the open single strings rather off-putting
 for solo
 A  A music, but this lute has so much oomph that it really overcomes
 this.
 A  A Indeed, while I am not generally a big fan of archlute continuo
 either
 A  A - while the background tinkling is pleasant, I have never
 played/heard
 A  A "real" archlutes (I am *not* speaking here of the
 single-strung,
 A  A reduced-size modern inventions one sees everywhere ) that could
 truly
 A  A match the sonority of say an Italian theorbo or a French double
 lute,
 A  A but this instrument is giving me food for thought.
 A  A Bravo to Pascale for her wonderful playing!
 A  A Best wishes,
 A  A Benjamin
 A  A --
 A  A [2][3]www.luthiste.com
 A  A t [4]+33 (0) 1 44 27 03 44
 A  A p/m [5]+33 (0) 6 71 79 98 98
 A  A --
 References
 A  A 1.
 [6]http://mediatheque.cite-musique.fr/masc/?INSTANCE=CITEMUSIQUE&URL
 =/MediaComposite/CMFM/CMFM04800/default.htm
 A  A 2. [7]http://www.luthiste.com/
 To get on or off this list see list information at
 [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:luthi...@gmail.com
   2. http://mediatheque.cite-musique.fr/masc/?INSTANCE=CITEMUSIQUE&URL=/M
   3. http://www.luthiste.com/
   4. tel:%2B33%20%280%29%201%2044%2027%2003%2044
   5. tel:%2B33%20%280%29%206%2071%2079%2098%2098
   6. 
http://mediatheque.cite-musique.fr/masc/?INSTANCE=CITEMUSIQUE&URL=/MediaComposite/CMFM/CMFM04800/default.htm
   7. http://www.luthiste.com/
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Kapsperger

[Bruno Correia]

   Yes, there was an 11 course in that tuning (theorbated - neck with
   small extension), check Mersenne there is a drawing of the instrument,
   also check Lynda Sayce's article on Grove under archlute. I think he
   had an 11 course just like Mersenne's drawing. He might have used the
   more traditional 13 or 14 course on his later books for lute,
   unfortunately they are still lost...

   2014-02-10 22:16 GMT-02:00 sterling price <[1]spiffys84...@yahoo.com>:

I was playing through the 1611 Kapsperge book and I came across
 the
Corrente 7. Toward the end of the piece there is an 11 marked in
 the
bass for the eleventh course B flat. This I think is the only
 instance
of an eleventh course in the book. I was under the impression
 that
Kapsperger wrote for the 10 course lute, and there was perhaps no
 such
thing and an 11 course lute in that tuning at the time. Could he
 have
been implying an Archlute? What is going on here?
Sterling
--
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:spiffys84...@yahoo.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Happy New Year!!!

[Bruno Correia]

   Really good, thanks for the present!
   All the best,
   Bruno.

   2014/1/1 David Tayler <[1]vidan...@sbcglobal.net>

 Happy New Year!!!
 Laissez les bons luths rouler!
 [2]http://www.youtube.com/watch?v=OKgLEWv9imE&hd=1
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:vidan...@sbcglobal.net
   2. http://www.youtube.com/watch?v=OKgLEWv9imE&hd=1
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Bream Collection... I just noticed we got so far away from the [LUTE]-forum

[Bruno Correia]

   Bruce Haines is a must read regarding this issue (romantic, modern and
   the Hip approach).

   2013/12/19 Christopher Wilke <[1]chriswi...@yahoo.com>

This also fits in nicely with Richard Taruskin's often stated
 thesis
that early music performance practice today is really a modern
fabrication that seeks to apply 20th (now 21st) century aesthetic
preferences to past music. Indeed, the technically clean,
 vibrato-less,
metronomic, inexpressive character of many performances of early
 music
nowadays seems to be an artistic reflection of mechanized
industrialization, assembly lines, and the repeatable,
 homogenized
regularity of product made possible by the use of computers.
It would be too much of a stretch to suggest that the approach of
Segovia and contemporaries provides a model of early
 interpretation
today, but one might be able to argue that, being older, some
 aspects
of those aesthetic priorities were (un/subconsciously) closer to
 the
spirit of earlier times than the modern performance dogma.
"Ah ha!" says the HIP Police Person, "But the Basel crew has
 something
those bloated philistines of Segovia's generation never deigned
 to
consider: we base every choice upon..."
(At this point the HIP Police Person raises eyes and hands to the
heavens. A ray of golden light shines down and a snippet of the
scholarly edition of Josquin's Missa "Di Dadi," sung by an
 angelic
choir, is heard. Apollo on his chariot begins to descend but he
suddenly gets a call on his iPhone reminding him that he is
 needed for
a baroque opera rehearsal in Stockholm.)
"...the SOURCES! Ahh..." the HIP person sighs with
quasi-orgasmic relish.
To which I say: Read all the 19th century treatises you can.
 Absorb
them. Many are written so clearly, you'll have be able to form a
perfect aural picture of how the music sounded. Then listen to
 period
recordings. Suddenly no one is doing they're "supposed" to be
 doing,
according to their own sources! The picture you formed was
 filtered
through your own time, not theirs. How great must the gulf
 between our
current intellectual comprehension and their actual practice be
 for
music created in a pre-industrialized age, from which no recorded
artifact survives?
Chris
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
[2]www.christopherwilke.com
On Wednesday, December 18, 2013 6:46 PM, JarosAAaw Lipski
<[3]jaroslawlip...@wp.pl> wrote:
WiadomoAAAe napisana przez howard posner w dniu 18 gru 2013, o
 godz.
23:10:
>
> On Dec 18, 2013, at 1:47 PM, Dan Winheld
 <[1][4]dwinh...@lmi.net> wrote:
>
>> Is it just me, or is there not something ironic about a
 serious
minded 21st century LUTE-list member finding a great 20th century
musical icon (think of him what one will otherwise) "outdated"?
>
> Not at all.  Implicit in the whole early music movement is the
assumption that the mainstream classical approach to early music
 was
outdated, including icons like Karajan, Stokowski, and yes,
 Segovia.
Their approach was an early-to-mid-twentieth-century approach
 that
became outdated when we learned better.
>
Sure, but we're not talking about Segovia's early music
interpretations.
To get on or off this list see list information at
[2][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
 References
1. mailto:[6]dwinh...@lmi.net
2. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:chriswi...@yahoo.com
   2. http://www.christopherwilke.com/
   3. mailto:jaroslawlip...@wp.pl
   4. mailto:dwinh...@lmi.net
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. mailto:dwinh...@lmi.net
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Bream Collection... I just noticed

[Bruno Correia]

   Which doesn't mean his decisions were right...
   2013/12/18 gary <[1]magg...@sonic.net>

 I'm sure from Segovia's point of view in promoting his own tastes he
 was protecting the integrity of the guitar and the music.
 Gary

   On 2013-12-17 13:13, Braig, Eugene wrote:

 . . . Not to mention a huge body of dedicated baroque- and
 romantic-era repertoire for guitar that was forgotten for
 generations
 because Segovia didn't like it and instead opted to create a body of
 repertoire through transcription.  I don't think Segovia can be
 blamed
 for his tremendous popularity, but there is a danger in allowing the
 tastes of one person shape the state of an art.
 Respectfully,
 Eugene

   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:magg...@sonic.net


To get on or off this list see list information at
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[LUTE] Segovia and masterclass

[Bruno Correia]

   "The respect of the master towards the scholar will cause respect from
   the scholar to the master. A master should not be too old nor too
   young. The
   young one is foolish and hath little experience; the old one is
   peevish,
   distasteful, knows not or slights the new manner of playing and the
   new lessons, hath a bad hand, and hath neither a good voice nor a
   good action in playing, which is very dangerous for young scholars.
   Scholars are like apes, or like wax: they take any impression by
   imitating
   their masters."
   Burwell tutor.
   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Segovia and Pujol (was Bream Collection…)

[Bruno Correia]

   Funny, if I'm not mistaken, O'Dette said in interview that he was
   deeply inspired by Julian Bream's lute performances (records?). This
   seems more logical: Dowland played on a lute shaped instrument.
   2013/12/16 <[1]terli...@aol.com>

 As far as his influence on the lute: I heard Paul O'dette say that
 it was the "Six Lute Pieces from the Renaissance" based on
 Chilesotti (and made famous by Segovia) that inspired O'dette to
 seek out a lute. He was studying them on the guitar and he took the
 title of the piece seriously enough to find a lute.
 --
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:terli...@aol.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Nails addendum

[Bruno Correia]

   Sorry, I couldn't resist.
   I have no need to express the hands must be kept white and clean. It is
   the mark of a gentleman and a lady,and it were better never to play of
   the lute than to play with nasty hands. For the nails, they must be
   short and smoothly cut (which some do with a little file).
   ...But take heed that you never lay the little finger upon the bridge
   or behind the bridge, neither strike the strings with the nails, nor so
   hard as if you would tear them in pieces.
   Mary Burwell tutor.
   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Segovia and Pujol (was Bream Collection…)

[Bruno Correia]

   They were right, the guitar is soft compared to the orchestral
   instruments. Segovia made fame because of the new technology of
   recording, something paralel to the exposure given by youtube
   nowadays.
   2013/12/15 howard posner <[1]howardpos...@ca.rr.com>

 Segovia's "Autobiography of the Years 1893-1920" says Llobet  and
 Tarrega never played concert halls because they were convinced that
 the guitar wouldn't be heard in one.

   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:howardpos...@ca.rr.com


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Segovia: the early years

[Bruno Correia]

   If anyone would like to know more about Segovia's early years, just
   contact Thomas Garcia (Miami University - OH). He has contributed to
   the Lute Society journal for many years.
   2013/12/15 howard posner <[1]howardpos...@ca.rr.com>

 On Dec 15, 2013, at 1:47 AM, William Samson
 <[2]willsam...@yahoo.co.uk> wrote:
 >   Segovia's early years seem to be unclear.  Does anybody know
 where he
 >   learned to play?  Did he study with a master?
 I just happen to own a copy of Segovia: an Autobiography of the
 Years 1893-1920, translated by W.F. O'Brien (McMillan 1976).  I may
 be the only living person who does.  Odd little book, full of all
 sorts of descriptions of people's faces and clothes, and painfully
 obvious as an attempt to bolster the Segovia Legend, which often
 involves denigrating the contributions of other guitarists.

   --

References

   1. mailto:howardpos...@ca.rr.com
   2. mailto:willsam...@yahoo.co.uk


To get on or off this list see list information at
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[LUTE] Re: Bream Collection... I just noticed

[Bruno Correia]

   Really? What about the others? What about Tarrega's disciples
   (specially Pujol), Barrios, and all the other latin american
   guitarists? They wouldn't exist without Segovia? I don't think so.

   There are so many forgotten names...


   2013/12/15 Chris Barker <[1]csbarker...@att.net>

 Sir,
 Respectfully I must remind you that Segovia's early 20th Century
 work made the classical guitar and related plucked instruments the
 popular things that they have become today.  We all owe him
 reverence for that.  Andres Segovia has been at rest for twenty six
 years.  Please help to make that rest peaceful.
 Chris Barker

   -Original Message-
   From: [2]lute-...@cs.dartmouth.edu
   [mailto:[3]lute-...@cs.dartmouth.edu] On Behalf Of Tobiah
   Sent: Sunday, December 15, 2013 11:27 AM
   To: 'lutelist'
   Subject: [LUTE] Re: Bream Collection... I just noticed
   On 12/14/2013 5:45 AM, Chris Barker wrote:
   > Re:  Gary's comments on Segovia...  If it were not for Segovia's
   > efforts, the guitar, lute, and kindred instruments would not occupy
   > the places they have today.  I was at a dinner put on by the old
   > Dallas Classical Guitar society almost a decade ago when the young
   > guitarist seated to my left referred to Andres Segovia "as just an
   > uninformed old man with poor performance practice who could be only
   be
   > heard on a bunch of scratchy LP"s.  I took my first guitar lessons in
   > 1958.  We all considered Andres Segovia a saint.  And now, much older
   > and wiser, are still of the same opinion, and we hold his critics in
   > great disdain.
   Are you referring to what his contributions to, and passion for the
   music did for its advancement?  I know little of that - only what I see
   on YouTube of his performances.  Allowing for possibly lesser recording
   engineering capability at the time, I find his tone anemic, his rhythm
   unmusically erratic, and his redeemable heart and passion as though it
   may be, fails to reach my heart through my admittedly unpolished ear.
   *Cringes and braces for the inevitable and surgically incisive
   dissection of his point of view*
   Tobiah
   To get on or off this list see list information at
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   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:csbarker...@att.net
   2. mailto:lute-...@cs.dartmouth.edu
   3. mailto:lute-...@cs.dartmouth.edu
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Mace

[Bruno Correia]

   The reason, why the nails are not so good to draw sounds with, as the
   flesh.

   But on doing of this, take notice, that you strike not your strings
   with your nails, as some do, who maintain it the best way to play, but
   I do not; and for this reason; because the nail cannot draw so sweet a
   sound from a lute, as the nibble end of the flesh can do.

   I confess in a consort, it might do well enough, where the mellowness
   (which is the most excellent satisfaction from a lute) is lost in the
   crowd; but alone, I could never receive so good content from the nail,
   as from the flesh; (however, this being my opinion) let others do, what
   seems best to themselves.

   Thomas Mace (London, 1676).

   Pretty good advice from the English master.
   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Bream Collection... I just noticed

[Bruno Correia]

   I've just listened to his Kellner recording and for my taste, honestly,
   it has an unpleasant sound (even with his great playing). I don't know
   if he is playing with nails, but as the sound is so metallic it
   confirms your statement. Now, that is a true silvery tone, no sweetness
   around.

   I don't care if people play with nails on carbon strings with
   amplification, there are always those who will be very pleased. That's
   fine. But the object of the discussion (as it is a lute list) is the
   info derived from the sources not each one's taste. We know Piccinini
   advocated the use of nails, who else?

   2013/12/12 Ron Andrico <[1]praelu...@hotmail.com>

   I'm surprised there has been no mention of Stephen Stubbs in this
   conversation.  Stubbs did not come to the lute from the typical
   classical guitar background and thus has no reason to justify his
   technique.  He has played lute with nails for many years and has
   recorded some of the most utterly musical interpretations of the
   baroque lute repertory I have heard to date.  The thing about his
   playing is that you don't pay attention to his technique because you
   are distracted by his sensitive and intelligent musical choices.
   RA

   --

References

   1. mailto:praelu...@hotmail.com


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Bream Collection... I just noticed

[Bruno Correia]

   2013/12/11 Mayes, Joseph <[1]ma...@rowan.edu>
   Well, browse the recordings since mid seventies.

 Well, I was sort of fearing some push-back from the "tap-dancing
 barefoot" crowd. I don't know how you can speak for most of the
 lutenists out there. I certainly only meant to speak for me.


   No it doesn't. Lamentable only for those who didn't have the trouble to
   learn how to do it. Ask Hoppy, O'Dette, North, Herringman, Lislevand,
   Ferre, Barto (the list is too big...) and many others how to do it.
   It's not that difficult and the result is pure joy.

 Sweetness requires nails. The sound - sort of a "thub, thub" one
 achieves without them is so unsatisfying as to be lamentable.

   Fungus? That's pure speculation. About Sor, check his method, no
   research needed it's there.

 Tarrega played with nails until he lost them due to fungus - He
 convinced his late-in-life student Pujol that flesh was the way to
 go. Sor hated nails? I'd like to see that research.


   Rubish, Dolmetsch didn't study enough lute praxis and Bream wasn't a
   lutenist in the first place (actually he never assumed he was - this is
   documented in an interview). The stars do not agree entirely with
   themselves, but the important points remain the same.

 As for "asking Hoppy," I think that illustrates part of the problem
 with the HIP folks. Because the stars do it one way - that's the
 right way. Bear in mind that Dolmetch and Bream, et al thought they
 had it right, too.

   I thought this list was supposedly a place to discuss lute performance
   practice and not each ones taste. Some people may prefer to play with
   nails on carbon single strings and with amplification. What does it
   have to do with HIP?

 But, as I say, I'm not trying to convince anyone of anything. Play
 any way you want to, just leave the dogma on the porch.
 Joseph Mayes
 ____
 From: [2]lute-...@cs.dartmouth.edu [[3]lute-...@cs.dartmouth.edu] On
 Behalf Of Bruno Correia [[4]bruno.l...@gmail.com]
 Sent: Tuesday, December 10, 2013 8:29 PM
 To: List LUTELIST

   Subject: [LUTE] Re: Bream Collection... I just noticed

  It may sound good to you, but not for most of the lutenists out
   there.
  Ask Hoppy about this issue? Ok, you don't need to ask him, after all
  you don't ride a horse to the gig... Hey, I'd like to do that, the
  traffic has been so bad nowadays.
  The most frequent word to describe the lute's sound is sweetness!
   How
  can you have achieve it with nails? Double strings also require that
  both strings be pressed at once and not one after the other. The
   lute
  is after all a sweet instrument (specially with gut). Even in
   classical
  guitar tutors (19th-20th century) the issue of nails was still
   rolling
  on. Sor hated it and only tolerated Aguado because of his great
   skill.
  That's why Tarrega and Pujol also avoided it (even if it was a
  requirement due to the high tension of the Torres guitar).
  Going back: The sources were just saying that many people were
   careless
  about their sound production. In order to avoid it, what about
   cutting
  your nails once and a while, washing your hands (daily if you can)?
  2013/12/10 Mayes, Joseph <[1][5]ma...@rowan.edu>

I play the lute, archlute and vihuela with nails for the same
   reason
that I
play the classical guitar with nails: because it sounds better!
Of course, by that I mean it sounds better to me. Nails give the
attack a
precision that flesh does not. It also comes closer, IMHO to the
sound
usually described in historical sources as desirable on lute -
silvery,
tinkling, etc.
Many sources tell us not to use nails - which they wouldn't have
bothered to
do if people were not doing it that way.
I don't play with flesh, I don't ride my horse to the gig, and I
don't
attend any bear-bating.
My $.02
Joseph mayes

  --
   References
  1. mailto:[6]ma...@rowan.edu

   To get on or off this list see list information at

 [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:ma...@rowan.edu
   2. mailto:lute-...@cs.dartmouth.edu
   3. mailto:lute-...@cs.dartmouth.edu
   4. mailto:bruno.l...@gmail.com
   5. mailto:ma...@rowan.edu
   6. mailto:ma...@rowan.edu
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Bream Collection... I just noticed

[Bruno Correia]

   Do you think he needed it?
   2013/12/10 Tom Draughon <[1]t...@heartistrymusic.com>

 With Viagra he may have had more!

   --

References

   1. mailto:t...@heartistrymusic.com


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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Bream Collection... I just noticed

[Bruno Correia]

   Well, with our lifestyle they wouldn't have produced any lute music at
   all. With a big screen tv and an internet connection, Bach would have
   had far less kids around too...


   2013/12/10 <[1]guitarandl...@earthlink.net>

 I like nails, the sound of nails. I like nylon strings.
 Who knows what they would have used if they had modern strings, 600
 sandpaper, and diamond files, not to mention super glue.
 I always think the point is to make pleasing music and have fun.
 It doesn't matter to me how anyone plays. Do what makes you happy
 and have fun.
 Allan

   -Original Message-
   >From: "Mayes, Joseph" <[2]ma...@rowan.edu>
   >Sent: Dec 10, 2013 11:23 AM
   >To: Bruno Correia <[3]bruno.l...@gmail.com>, List LUTELIST
   <[4]lute@cs.dartmouth.edu>

   >Subject: [LUTE] Re: Bream Collection... I just noticed
   >

   >I play the lute, archlute and vihuela with nails for the same reason
   that I
   >play the classical guitar with nails: because it sounds better!

   >Of course, by that I mean it sounds better to me. Nails give the
   attack a
   >precision that flesh does not. It also comes closer, IMHO to the sound
   >usually described in historical sources as desirable on lute -
   silvery,
   >tinkling, etc.
   >Many sources tell us not to use nails - which they wouldn't have
   bothered to
   >do if people were not doing it that way.
   >I don't play with flesh, I don't ride my horse to the gig, and I don't
   >attend any bear-bating.
   >
   >
   >My $.02
   >
   >Joseph mayes
   >
   >
   >On 12/10/13 11:05 AM, "Bruno Correia" <[5]bruno.l...@gmail.com> wrote:
   >
   >>Here we go again with the nails issue. There are many sources
   >>describing the use of flesh as the best way to sound upon the
   lute,
   >>however, the use of nails was certainly a possibility. But only
   because
   >>three cats used it doesn't mean it was the general taste of those
   >>times. Just because Jimi Hendrix played with his teeth doesn't
   >>mean that everyone does it today. I could only justify the nails
   if I
   >>still played the classical guitar, otherwise what benefit would
   it
   >>bring?
   >>2013/12/10 Martin Shepherd <[1][6]mar...@luteshop.co.uk>
   >>
   >>  Well, there's Piccinini, who recommends playing with nails, and
   >>  Mace, who says that some people do it and think it's the best
   way,
   >>  but he says it might be OK in an ensemble but doesn't like it
   for
   >>  solo playing.  There may be others - Weiss?  Vihuela
   references? I'm
   >>  sure others can help.
   >>  Martin
   >>
   >>--
   >>
   >> References
   >>
   >>1. mailto:[7]mar...@luteshop.co.uk
   >>
   >>

   >> To get on or off this list see list information at
   >> [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   >
   >
   >

   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:guitarandl...@earthlink.net
   2. mailto:ma...@rowan.edu
   3. mailto:bruno.l...@gmail.com
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:bruno.l...@gmail.com
   6. mailto:mar...@luteshop.co.uk
   7. mailto:mar...@luteshop.co.uk
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Bream Collection... I just noticed

[Bruno Correia]

   It may sound good to you, but not for most of the lutenists out there.
   Ask Hoppy about this issue? Ok, you don't need to ask him, after all
   you don't ride a horse to the gig... Hey, I'd like to do that, the
   traffic has been so bad nowadays.

   The most frequent word to describe the lute's sound is sweetness! How
   can you have achieve it with nails? Double strings also require that
   both strings be pressed at once and not one after the other. The lute
   is after all a sweet instrument (specially with gut). Even in classical
   guitar tutors (19th-20th century) the issue of nails was still rolling
   on. Sor hated it and only tolerated Aguado because of his great skill.
   That's why Tarrega and Pujol also avoided it (even if it was a
   requirement due to the high tension of the Torres guitar).

   Going back: The sources were just saying that many people were careless
   about their sound production. In order to avoid it, what about cutting
   your nails once and a while, washing your hands (daily if you can)?

   2013/12/10 Mayes, Joseph <[1]ma...@rowan.edu>

 I play the lute, archlute and vihuela with nails for the same reason
 that I
 play the classical guitar with nails: because it sounds better!
 Of course, by that I mean it sounds better to me. Nails give the
 attack a
 precision that flesh does not. It also comes closer, IMHO to the
 sound
 usually described in historical sources as desirable on lute -
 silvery,
 tinkling, etc.
 Many sources tell us not to use nails - which they wouldn't have
 bothered to
 do if people were not doing it that way.
 I don't play with flesh, I don't ride my horse to the gig, and I
 don't
 attend any bear-bating.
 My $.02
 Joseph mayes


   --

References

   1. mailto:ma...@rowan.edu


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Bream Collection... I just noticed

[Bruno Correia]

   Here we go again with the nails issue. There are many sources
   describing the use of flesh as the best way to sound upon the lute,
   however, the use of nails was certainly a possibility. But only because
   three cats used it doesn't mean it was the general taste of those
   times. Just because Jimi Hendrix played with his teeth doesn't
   mean that everyone does it today. I could only justify the nails if I
   still played the classical guitar, otherwise what benefit would it
   bring?
   2013/12/10 Martin Shepherd <[1]mar...@luteshop.co.uk>

 Well, there's Piccinini, who recommends playing with nails, and
 Mace, who says that some people do it and think it's the best way,
 but he says it might be OK in an ensemble but doesn't like it for
 solo playing.  There may be others - Weiss?  Vihuela references? I'm
 sure others can help.
 Martin

   --

References

   1. mailto:mar...@luteshop.co.uk


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Pass

[Bruno Correia]

   As we are becoming more jazzier these days, I've just bumped into this
   programme with Joe Pass:

   [1]http://www.youtube.com/watch?v=2HAZP7nWo6A
   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. http://www.youtube.com/watch?v=2HAZP7nWo6A


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Liuto forte

[Bruno Correia]

   But, do they sound lute like? The samples feature guitarrists playing
   with nails and single strings...

   2013/8/22 [1]r.turov...@gmail.com <[2]r.turov...@gmail.com>

 There are rather poorly designed from the standpoint of visual
 aesthetics. maybe with the exception of theorbo forte.
 The swan neck forte is a particularly funny looking contraption.
 RT

   On 8/22/2013 6:30 PM, John Lenti wrote:

 Don't own one but have borrowed and gigged on. Funny sound, like a
 Steinway classical guitar, but really responsive and loud. I think
 there is a place for them in this world.
 Sent from my Ouija board
 On Aug 22, 2013, at 6:05 PM, "David Tayler"
 <[3]vidan...@sbcglobal.net> wrote:

If they called it a fake lute, it would not sell as well.

 ______
From: Bruno Correia <[4]bruno.l...@gmail.com>
To: List LUTELIST <[5]lute@cs.dartmouth.edu>
Sent: Thursday, August 22, 2013 1:41 PM
Subject: [LUTE] Liuto forte
  Would anybody be willing to share his own experience with liuto
 forte
  instruments?
  --
  Bruno Figueiredo
  Pesquisador autonomo da pratica e interpretac,ao
  historicamente informada no alaude e teorba.
  Doutor em Praticas Interpretativas pela
  Universidade Federal do Estado do Rio de Janeiro.
  --
To get on or off this list see list information at
[1][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
 References
1. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:r.turov...@gmail.com
   2. mailto:r.turov...@gmail.com
   3. mailto:vidan...@sbcglobal.net
   4. mailto:bruno.l...@gmail.com
   5. mailto:lute@cs.dartmouth.edu
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Liuto forte

[Bruno Correia]

   Would anybody be willing to share his own experience with liuto forte
   instruments?
   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Time to work on how we look?

[Bruno Correia]

   That's crazy! The audience is laughing...

   2013/8/20 Leonard Williams <[1]arc...@verizon.net>

 Sprezzatura!!
 Leonard
 On 8/20/13 4:22 AM, "William Samson" <[2]willsam...@yahoo.co.uk>
 wrote:
 >   Interesting new study showing that visual cues are more
 important that
 >   the sound of a performance in how people judge it:
 >
 >   [1][3]http://dash.harvard.edu/handle/1/10288440
 >
 >   To hell with practicing - Better to start working on your image
 >   and soulful gurning in front of a mirror!
 >
 >   Bill
 >
 >   --
 >
 >References
 >
 >   1. [4]http://dash.harvard.edu/handle/1/10288440

   >
   >
   >To get on or off this list see list information at
   >[5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:arc...@verizon.net
   2. mailto:willsam...@yahoo.co.uk
   3. http://dash.harvard.edu/handle/1/10288440
   4. http://dash.harvard.edu/handle/1/10288440
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: strategies to acquire more general public Lute awareness

[Bruno Correia]

   I have been searching the possibility of giving home concerts. Perhaps
   Ron could give us more insight into this topic.

   2013/8/13 <[1]t...@heartistrymusic.com>

 Thanks Ernesto,
   I think you just organized it!
 At least, it's a good start.
 I'll see what I can do with these ideas soon,
 but won't have any time 'til next week.
 I'll re-visit it then.
   Thanks again,
 Tom

   I agree to the out-reach being needed.
   Would someone organize the thread-suggested strategies?
   The thread has put forth:
   Playing in town outskirts to raise attendance for a central concert.
   Doing house concerts with CD sales. Using internet and e-mail tools
   such as fanbridge. Joining period-interested people and their
   activities (role-playing-, theater, food and other events). Calling
   concert series organizers and agents. Selling CDs, DVDs, (and why not
   t-shirts and books) whenever you play somewhere.
   All these are common tools and ways to make one's music heard,
   and are based on hard work and organic growth.
   Nothing new under the sun, then?
   Ernesto Ett
   11-99 242120 4
   11-28376692
   On 12.08.2013, at 22:30, [2]t...@heartistrymusic.com wrote:
   > The lute world needs to reach out to the non-traditional audience.
 Thanks Stephen.  I agree.
   Tom
   [Stephen]
   There is an interesting book by Phyllis Tickle entitled The Great
   Emergence.  It deals with modern Christianity and how it is evolving.
   I think her main theme applies to the lute world as well.  The
   'traditionalist' or 'fundamentalist' lute group will decline, and a
   rise of a 'hybrid' (Phyllis had another term for this, but I've
   forgotten what it was) lute group will occur.  If not, the lute will
   slowly fade away.
   The lute world needs to reach out to the non-traditional audience. The
   SCA and the followers of Sting are a prime resource that should be
   cultivated and encouraged.
   For What It's Worth
   "The Other" Stephen Stubbs
   Champaign, IL   USA
   "Those who desire to give up freedom in order to gain security will
   not have, nor do they deserve, either one." Benjamin Franklin
   (American Statesman, Scientist, Philosopher, Printer, Writer, and
   Inventor. 1706-1790)
   -Original Message-
   [Tom]   Are we trying creatively to increase general audience for lute
   music here, or are we practicing exclusivity? I'm looking at SCA and
   Ren Faires solely as a group of potential music buyers. Why not
   encourage the interest and point it in the right direction?
   Tom Draughon
   Heartistry Music
   [3]http://www.heartistrymusic.com/artists/tom.html
   714  9th Avenue West
   Ashland, WI  54806
   [4]715-682-9362
   To get on or off this list see list information at
   [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   Tom Draughon
   Heartistry Music

 [6]http://www.heartistrymusic.com/artists_tom.html

   714  9th Avenue West
   Ashland, WI  54806
   [7]715-682-9362

   --
   Bruno Figueiredo

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:t...@heartistrymusic.com
   2. mailto:t...@heartistrymusic.com
   3. http://www.heartistrymusic.com/artists/tom.html
   4. tel:715-682-9362
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. http://www.heartistrymusic.com/artists_tom.html
   7. tel:715-682-9362

[LUTE] Re: general public Lute awareness

[Bruno Correia]

   Chris,

   It seems that the lute world revolve exclusively around these figures.
   Any performer below these names are simply non-existent,  very unfair I
   believe.
   2013/8/12 Christopher Wilke <[1]chriswi...@yahoo.com>

 Stephen,
  I think you are correct. This is essentially what I was getting
 at about the concert fee for less-than-established artists. Paul
 O'Dette, Hoppy Smith, Nigel North and Bob Barto are all about the
 same age. When they were my age, they were already well regarded.
 Looking around, however, I know of no lute players in my age group
 who have comparably established reputations. Make no mistake: all of
 these guys are still making interesting, vital music of the highest
 caliber. I hope and expect they will continue to do so for many
 years to come.
  But there has to be fertile ground to nourish a new guard, too.
 The big guys may not be getting all they're worth, but, at the fees
 offered to the second string players, concertizing can be downright
 unfeasible. If players can't get out in front of people, it is hard
 to build a following. Once the four players mentioned at the top of
 this message become less active, will there be players to take their
 places?
 Chris

   --

References

   1. mailto:chriswi...@yahoo.com


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[LUTE] Re: general public Lute awareness

[Bruno Correia]

   Bravo!!

   Being able to play figures off a baritone clef and transpose down a
   third while doing so has nothing to do with playing musically,
   collaboratively and with appropriate ornaments and affect. The
   stultifying performances of many a conservatory graduate can attest to
   that. I suggest a good reason for smart talented lute players NOT to
   have the same skill sets of these "top musicians" is that in fact they
   are smart and talented and have more fruitful things to do with their
   time (like tune and change frets).

   2013/8/9 Daniel Shoskes <[1]kidneykut...@gmail.com>

 I don't know who is living in the bigger bubble. I know lots of
 Early Music performers from diverse countries and backgrounds not to
 mention all the exposure from being on the Board of Directors of 3
 music organizations (EMA, Apollo's Fire, LSA). I have never heard
 the laughably ridiculous characterizations you quote. I guess those
 lute players really are bottom of the barrel, directing BEMF,
 Tempesta di Mari and such. Really should replace O'Dette and Stubbs
 in Boston with a couple of cornetto players, that will finally raise
 the bar.
 This "no short cuts" business reminds me of what my Medical School
 anatomy professor told us about the good ol days. When he was a
 student, your anatomy exam included sticking your hand in a closed
 bag containing several small bones of the foot which you had to
 identify by feel. Fundamental skill? You could identify those bones
 by smell and still be unable to cut your way out of a paper bag in
 the operating room. It also reminds me of the life story of the
 great German baritone Thomas Quasthoff who was denied entrance to
 his local conservatory because all singers had to be able to play
 the piano.
 What deep brand of stupid does it take to make a comment like "they
 played the wrong chord and didn't even know"? I guess in their
 conservatory, they were taught to telegraph facially to the audience
 whenever they played parallel fifths or a wrong figure because of
 course that's the only way anyone in the audience would know.
 Being able to play figures off a baritone clef and transpose down a
 third while doing so has nothing to do with playing musically,
 collaboratively and with appropriate ornaments and affect. The
 stultifying performances of many a conservatory graduate can attest
 to that. I suggest a good reason for smart talented lute players NOT
 to have the same skill sets of these "top musicians" is that in fact
 they are smart and talented and have more fruitful things to do with
 their time (like tune and change frets).
 Danny

   On Aug 8, 2013, at 7:57 PM, David Tayler <[2]vidan...@sbcglobal.net>
   wrote:
   >   I think this is an interesting question, and I will risk posting an
   >   honest answer. The answer depends on who is "The General Public". I
   >   divide the groups as: the 200 countries of YouTube distribution,
   >   Academics, other lute players, people in the Early Music scene, and
   >   modern musicians, as these are the groups frequently mentioned
   here.
   >   First off, however, I must note that at a good conservatory or
   college
   >   offering a real music major, you are expected to play the piano,
   read
   >   figured bass and pass a score reading exam using multiple staves of
   an
   >   orchestra work and transposing clefs.
   >   I mention this because of the puzzling stories about people who can
   >   play the keyboard and transpose and so on. That is an entry level
   >   skill, and a requirement. I had to take two years of piano to pass
   the
   >   exam, along with all the other students, and that was to get just a
   >   basic BA in music. Hours of piano lab, hours of practice, and
   everyone
   >   had to do it, no exceptions. I had to take an even harder exam to
   be
   >   admitted for the MA, which included a test in Fugue writing and
   >   counterpoint. Basic training, basic training for just the BA.
   However,
   >   in many European systems, the requirements are more strict.
   >   So although I think it is cool that there are these stories, I
   think
   >   the very fact that we tell these stories sends the message to the
   >   General Public that, unfortunately, we didn't finish basic
   training.
   >   And what kind of a message is that? Most professional musicians on
   the
   >   violin, cello, piano, harpsichord, and so on, had to work to get
   these
   >   skills just to get into the Conservatory. They expect everyone to
   do
   >   these things fluently. This explains some of the "attitude" from
   modern
   >   players. Rightly or wrongly, they look at the basic training. And
   they
   >   had teachers who said, in a unified voice "no shortcuts."
   >   And that in no way means that the people in the lute stories are
   not
   >   good musicians, because th

[LUTE] Re: general public Lute awareness

[Bruno Correia]

   Dear David,

   Didn't get your point. As you say, the general public is
   pretty diverse, ok that's fine. Then, you change the focus to the lack
   of skill of today's lutenists...  What does it mean exactly? We are so
   bad that we don't deserve to be listened? That's probably why people
   play the archlute in orquestras, so they cannot be heard?
   Furthermore, is youtube a reliable performance test? What about those
   who didn't post videos there, they must be really bad players...

   Does the audience know if we have completed the basic training, how
   could that be? Did the 14 years old girl complete the basic training?
   Btw, nice video, unfortunately there are milions of kids of this age
   and even under who can play at this level. Why there are no lutenists
   playing Vivaldi at such speed... Humm, I need to go back to the
   basics.

   Now seriously, how many Universities offer a lute course with the said
   expected level of proficiency? How long has the lute being around in
   recent history compared to the piano? Is it a fair comparison?

   Lute players being regarded as the worst musicians in the early music
   scene? (I hope North and O'Dette are not listed there otherwise we are
   doomed). I was unaware of this dowgrading attitude among early
   musicians (sad I think...). The guitar world also suffered from this
   (maybe not anymore), I'm pretty sure most of them cannot play the
   piano, read so many clefs at sight, realize a figured bass at either
   the keyboard or the guitar, ornament, improvise. I'm not sure not sure
   Dowland played the piano too, actually his music was dowgraded by some
   critics, so you see that it is not only our fault. Do we really need
   all this to deliver a good concert? Maybe some people need...

   Keep trying and never give up!

   2013/8/8 David Tayler <[1]vidan...@sbcglobal.net>

I think this is an interesting question, and I will risk posting
 an
honest answer. The answer depends on who is "The General Public".
 I
divide the groups as: the 200 countries of YouTube distribution,
Academics, other lute players, people in the Early Music scene,
 and
modern musicians, as these are the groups frequently mentioned
 here.
First off, however, I must note that at a good conservatory or
 college
offering a real music major, you are expected to play the piano,
 read
figured bass and pass a score reading exam using multiple staves
 of an
orchestra work and transposing clefs.
I mention this because of the puzzling stories about people who
 can
play the keyboard and transpose and so on. That is an entry level
skill, and a requirement. I had to take two years of piano to
 pass the
exam, along with all the other students, and that was to get just
 a
basic BA in music. Hours of piano lab, hours of practice, and
 everyone
had to do it, no exceptions. I had to take an even harder exam to
 be
admitted for the MA, which included a test in Fugue writing and
counterpoint. Basic training, basic training for just the BA.
 However,
in many European systems, the requirements are more strict.
So although I think it is cool that there are these stories, I
 think
the very fact that we tell these stories sends the message to the
General Public that, unfortunately, we didn't finish basic
 training.
And what kind of a message is that? Most professional musicians
 on the
violin, cello, piano, harpsichord, and so on, had to work to get
 these
skills just to get into the Conservatory. They expect everyone to
 do
these things fluently. This explains some of the "attitude" from
 modern
players. Rightly or wrongly, they look at the basic training. And
 they
had teachers who said, in a unified voice "no shortcuts."
And that in no way means that the people in the lute stories are
 not
good musicians, because they often are, but think for a moment if
 you
played in any original, historical French baroque opera what you
 would
have to do. You would have to read multiple clefs, including
 double
figured (figures on both sides of the staff) baritone clef with
 the F
on the middle line, and short score the other parts, none of
 which line
up with anything familiar.
Way harder than playing the piano. Most harpsichordists and
 organists
who play opera can do this, most lute players cannot do this.
 Yes, it
is harder on the lute. But the musical skills are the same and no
harder.
As far as the General Population of the Planet, the vast majority
 have
no idea what a lute is, and lute players would be regarded as an
historical oddity from movies and TV

[LUTE] Re: general public Lute awareness

[Bruno Correia]

ministrator THE LUTE SOCIETY OF AMERICA
 [6]http://LuteSocietyofAmerica.org
 PO Box 6499
 Concord, CA 94524
 USA
 [7]925 / 686-5800
     [8]www.groundsanddivisions.info
 [9]www.nancycarlinassociates.com

   --
   Bruno Correia

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:na...@nancycarlinassociates.com
   2. mailto:theoj89...@aol.com
   3. mailto:theoj89...@aol.com
   4. mailto:lute@cs.dartmouth.edu
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. http://LuteSocietyofAmerica.org/
   7. tel:925%20%2F%20686-5800
   8. http://www.groundsanddivisions.info/
   9. http://www.nancycarlinassociates.com/

[LUTE] Re: general public Lute awareness

[Bruno Correia]

   Yes, sounds good!

   How does one get others interested in lute? Marketing.
   All lute players should contribute to a hollywood lobbyist fund where a
   lute 'product placement' could be made in the next historical film that
   utilizes swords and corsets. Better yet,let the hero seduce the heroine
   with a lute song, and re-establish the lute in popular culture as the
   seduction tool that it was meant to be.

   2013/8/6 <[1]theoj89...@aol.com>

 How does one get others interested in lute? Marketing.
 All lute players should contribute to a hollywood lobbyist fund
 where a lute 'product placement' could be made in the next
 historical film that utilizes swords and corsets. Better yet,let the
 hero seduce the heroine with a lute song, and re-establish the lute
 in popular culture as the seduction tool that it was meant to be.
  Look at what the movie "Doctor Zhivago" did for the  popularity of
 the Balalika (seriously).   Maybe a lute tax could be tacked on to
 every lute purchase and lute string purchase to pay for such a
 lobbyist. Marketing takes money.
 --

   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Correia

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:theoj89...@aol.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: general public Lute awareness

[Bruno Correia]

Cc:
   Sent: Saturday, August 3, 2013 4:06 AM
   Subject: [LUTE] Re: general public Lute awareness
   I got into early music 'cause I hate crowds. My jazz
 performances
   were attracting too many people. Of course, you heard about
 the
   lutenist who won the lottery. When asked what he was going to
 do
   with his winnings, he said, "I'm going to work 'til they run
 out."
   Early music, like jazz and chamber music, is a niche market.
 Upon
   being asked how one can make money in music, Henry Mancini
 said,
   "If you want to make money in music, go into band uniforms."
 Gary
   On 2013-08-02 05:17, [1][6]erne...@aquila.mus.br wrote: > I
 have done
   the same for a small baroque orchestra at the University > of
 Sao
   Paulo, USP, > with little gain as well. The  group has a lute
 and a
   theorbo in it. > Any hints are welcome. > We have thought
   everything from flash-mobs to pairing music with food, >
 theater,
   baroque dance, text, whatever... > So far our biggest hits
     have
   been opera and baroque dance, costly > events which we cannot
 do on
   a regular basis > due to budget size. > Ernesto Ett > 11-99
 242120
   4 > 11-28376692 > > > > On 31.07.2013, at 22:46, Bruno Correia
   <[2][7]bruno.l...@gmail.com> wrote: > >  Dear members of the
 list, > >
I have been at pains trying to raise interest in our beloved
 >
   instrument down here in Brazil. I've given speeches, played
 solo
   and >  chamber concerts... but despite all efforts the general
   public and > also >  the musicians (professionals or amateurs)
   simply don't get turned on. >  It is a sad fact that the lute
 and
   the early music performance >  practice did not reach the
   University here. So we don't exist >  academically speaking. >
 >
   Would anybody be willing to list some strategies that could be
 used
   > to >  help disseminate the lute and its repertoire? >  -- >
   Bruno Correia > >  Pesquisador autonomo da pratica e
 interpretac,ao
   >  historicamente informada no alaude e teorba. >  Doutor em
   Praticas Interpretativas pela >  Universidade Federal do
 Estado do
   Rio de Janeiro. > >  -- > > > To get on or off this list see
 list
   information at >
   [3][8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --
References
   1. mailto:[9]erne...@aquila.mus.br
   2. mailto:[10]bruno.l...@gmail.com
   3. [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Tom Draughon
Heartistry Music
[12]http://www.heartistrymusic.com/artists/tom.html
714  9th Avenue West
Ashland, WI  54806
[13]715-682-9362
--
 To get on or off this list see list information at
 [14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Correia

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:t...@heartistrymusic.com
   2. http://www.heartistry.com/
   3. http://www.christopherwilke.com/
   4. mailto:magg...@sonic.net
   5. mailto:lute@cs.dartmouth.edu
   6. mailto:erne...@aquila.mus.br
   7. mailto:bruno.l...@gmail.com
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. mailto:erne...@aquila.mus.br
  10. mailto:bruno.l...@gmail.com
  11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  12. http://www.heartistrymusic.com/artists/tom.html
  13. tel:715-682-9362
  14. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: general public Lute awareness

[Bruno Correia]

   Dear Chistopher,

In America, I haven't found any lack of interest in lute or early
 music
from the broader public. Many people who are intimidated by
 perceived
ritual and stuffy atmosphere of standard classical concerts are
 drawn
in by the look and sound of early instruments.

   Good to hear about this.

The problem is lack of support - if not outright hostility - from
 the
"mainstream" classical music establishment.

   That's precisely what I have been experiencing here. In my case I feel
   I've been completed ignored by the mainstream players inside and
   outside the Academy.




   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE]

[Bruno Correia]

   Dear members of the list,

   I have been at pains trying to raise interest in our beloved
   instrument down here in Brazil. I've given speeches, played solo and
   chamber concerts... but despite all efforts the general public and also
   the musicians (professionals or amateurs) simply don't get turned on.
   It is a sad fact that the lute and the early music performance
   practice did not reach the University here. So we don't exist
   academically speaking.

   Would anybody be willing to list some strategies that could be used to
   help disseminate the lute and its repertoire?
   --
   Bruno Correia

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Tempo, magnitude and precision.

[Bruno Correia]

   Dear Howard,

   Who were "they"?

   Absolute strict time was certainly unknown to them (musicians), we take
   this idea for granted nowadays because of the mechanical age we live
   in. Absolute precision is our game not theirs...

   If "they" were dancers, they probably valued musicians who kept strict
   time.

   Sure, when playing together we must be together. The example given is
   of a solo performance by Mr. North. Solo music by nature allows us to
   be freer in time.

I imagine a group of amateurs playing or singing multi-part music
   would keep fairly strict time just in the interest of staying together,
   unless there were good reason (in the words, for example) to alter the
   tactus.

   Exactly, not just amateurs but professional too.

 These were musical activities far more important than solo lute
   music, and lute players participated in them.

   Well, by the sheer number of 16th century solo publications for lute, I
   wouldn't be so sure of such statement.

  Nobody spent the bulk of their musical time practicing solo lute
   music, which is something we can easily forget if solo music is the
   biggest part of our own musical efforts.

   Oh yes, who is nobody? Amateurs or professionals? Well, the duties of a
   professional included to compose, arrange, teach, play solos, acompany
   singers, play continuo and much more. But did the amateurs have the
   same duties? Maybe playing solos was indeed very common, and
   people spent a good deal of time on it.

   It seems that Lully paid a high price trying to keep musicians playing
   in absolute strict time...

   2013/4/9 howard posner <[1]howardpos...@ca.rr.com>

     On Apr 8, 2013, at 7:26 PM, Bruno Correia <[2]bruno.l...@gmail.com>
 wrote:
 >   How absolute metric time could have been acheived in the
 Renaissance?
 >   The tactus was a constant pulse behind the rhythm, but it was an
 >   organic motion not a strict measured time like a metronome.
 >   Actually, the only genre of music (which comes to my mind) that
 really
 >   plays in time is pop music... How do we know they valued
 absolute
 >   strict time in the Renaissance?
 Who were "they"?
 If "they" were dancers, they probably valued musicians who kept
 strict time.  I imagine a group of amateurs playing or singing
 multi-part music would keep fairly strict time just in the interest
 of staying together, unless there were good reason (in the words,
 for example) to alter the tactus.  These were musical activities far
 more important than solo lute music, and lute players participated
 in them.   Nobody spent the bulk of their musical time practicing
 solo lute music, which is something we can easily forget if solo
 music is the biggest part of our own musical efforts.
 I don't mean to suggest that you should set your metronome at the
 beginning of a polyphonic fantasy and stick doggedly with it.  I
 think that variation in tempo would have been part of an approach
 that relied heavily on understanding music in the rhetorical terms
 that were part of an educated person's vocabulary.   You might, for
 example, vary the tempo if you perceive a phrase as an anadiplosis
 or an anaphora, and two players might have differing views about
 such things.
 So there might not actually have been a "they."  Is there any reason
 to think there weren't just as many views about how to play
 something as there are now?  This was, after all, an age utterly
 without the homogenizing influence of recordings and radio.

   --
   To get on or off this list see list information at
   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Correia

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:howardpos...@ca.rr.com
   2. mailto:bruno.l...@gmail.com
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Tempo, magnitude and precision.

[Bruno Correia]

   Hello Tobiah,

   How absolute metric time could have been acheived in the Renaissance?
   The tactus was a constant pulse behind the rhythm, but it was an
   organic motion not a strict measured time like a metronome.
   Actually, the only genre of music (which comes to my mind) that really
   plays in time is pop music... How do we know they valued absolute
   strict time in the Renaissance?

   I've heard it expressed by one professor, that
   absolute metric time was desired during the Renaissance.

   2013/4/8 Tobiah <[1]t...@tobiah.org>

 I sometimes struggle with the desire to warp the
 tempo of a lute piece, to accentuate a beautiful
 or pivotal phrase, or to keep myself interested
 during a more mundane passage.
 I've heard it expressed by one professor, that
 absolute metric time was desired during the Renaissance.
 I also remember the notion that rubato, in the romantic
 period, was just a way of lending or borrowing time
 in such a way that the same piece played straight through
 at a constant tempo would end at the same time as the
 performance where rubato was performed.
 All of this is bait for discussion, but also a precursor
 to a main query.  I attempted to play along with a youtube
 video of a fellow playing Francesco, and found that it
 was impossible to do; he took wild liberties with the
 tempo at every whim (either that or I can't play in time!).
 I wanted to hear some comment on that aspect of the performance,
 as well as on any other point I have raised.
 Thanks!
 Tobiah
 [2]http://www.youtube.com/watch?v=y837TG7FgFM
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Correia

   Pesquisador autonomo da pratica e interpretac,ao
   historicamente informada no alaude e teorba.
   Doutor em Praticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:t...@tobiah.org
   2. http://www.youtube.com/watch?v=y837TG7FgFM
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Dowland broadcast

[Bruno Correia]

   Thanks for posting!

   2013/1/3 Martyn Hodgson <[1]hodgsonmar...@yahoo.co.uk>

Dowland is a subject on BBC Radio 3 (Music Matters 12.15pm)
 tomorrow. I
believe Peter Holman (amogst others) contributes - insights from
 a
non-lute player but a leading historical musicologist. And, of
 course,
director of The Parley of Instruments and of Opera Restor'd.
MH
--
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:hodgsonmar...@yahoo.co.uk
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: What is the point of synthetics?

[Bruno Correia]

   Funny, I was thinking about the same thing today. My instruments are
   never in tune when taken out of the case for the first time everyday
   day. I'm on sinthetics (Aquila), but I believe on gut the result would
   be much worse, the weather in Rio is very close to Singapore...





   2012/10/5 Benjamin Narvey <[1]luthi...@gmail.com>

 Dear Luters,
 I know that much has been made about tuning issues pertaining to gut
 strings, but it strikes me now how little has been said about the
 same difficulty with synthetics/modern strings.
 For the first time in ages I am playing on a modern-strung theorbo
 belonging to a student of mine for rehearsals of a "Fairy Queen"
 while I impatiently await the arrival of my new "double luth" in
 some weeks (more on this giraffe anon). I am simply aghast at how
 badly carbon strings go out of tune, even though they are "not
 supposed to". (Nylon/nylgut fares better.) Indeed, the (ugh)
 overwound Savarez "guitar" bass strings are the worst offenders of
 all, going madly out of tune sometimes: not surprising they are so
 sensitive given how metal is such a superb conducting material. The
 tuning got so sticky I actually took the instrument to a lutemaker
 since I thought it had to be peg slippage, but no. And of course,
 with all these different modern materials, the different string
 types are going out if tune differently. Superb.
 I just can't believe I forgot about how difficult tuning synthetics
 can be. But more importantly, it leads me to question what the point
 of playing on synthetics is: after all, the reason why players use
 them is since they are supposed to bally well stay in tune... and I
 am really not so sure given my current experience that they do this
 better than gut.
 Thoughts?
 Benjamin
 Sent from my iPhone
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:luthi...@gmail.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Tuner

[Bruno Correia]

   Has anybody experienced the Turbo tuner ST 122?



   [1]http://www.turbo-tuner.com/st122-index.htm



   I've been thinking about the Peterson SC1, but it has only 1/6
   meantone...



   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. http://www.turbo-tuner.com/st122-index.htm


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Lutes and social classes historically.

[Bruno Correia]

   Dear Herbert,

   2012/7/23 Herbert Ward <[1]wa...@physics.utexas.edu>

 I have heard that the high cost of the lute and its strings
 ensured that the lute historically was limited to the upper classes.

   Perhaps not only but mostly to the upperclass.

 How can we know this?


   The high cost of instruments, strings and editions might be a good
   indicative. The printed sources of lute music are not only very
   demanding to play but in many cases are also dificult to understand if
   you didn't have enough music culture (exposure to vocal polyphony). I
   imagine that the lower class had little time to study such pieces and
   perhaps not enough taste to appreciate it.

  Do we know how many loaves of bread cost the
 same as a set of strings in Renaissance Europe?

   We don't. Just remember, breads were made at home (cheaper), strings by
   the string maker (expensive).

 Are surviving documents or iconography definitive on this issue?

   I don't think so. They may be misleading as well.

 Were all the composers either patronized by the upper
 class or upper class themselves?


   In fact many were. Kapsperger for instance, inherited a noble title but
   was't wealthy, he was patronized by Italian academies and did get a
   job during the Barberini papacy.

  What instruments did the lower classes
 have?

   The guitar!!

   Best wishes.

 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:wa...@physics.utexas.edu
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Meantone

[Bruno Correia]

   A question to the theorbo experts: does meantone tuning works fine for
   theorbo's solo repertoire? I'm refering mostly to 17th century Italian
   composers.  For continuo it seems to be fine as you can manage the
   fingerings for a better intonation.



   Any advice will be welcomed.
   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Not so much off-topic

[Bruno Correia]

   Has anyone read this interview? Maestro Domenico Bartolucci, who has
   performed for no less than six Popes, aims to restore the practice of
   singing plainchaint (not like Solesmes) and the polyphonic repertoire.
   He is against the strumming of guitars and pop church music (bravo
   maestro!),



[1]http://chiesa.espresso.repubblica.it/articolo/72901?eng=y
   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. http://chiesa.espresso.repubblica.it/articolo/72901?eng=y


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: how to make a good tone

[Bruno Correia]

   David, how dare you to reveal the inner secrets of lute playing? The
   french masters were wise to keep it to themselves...



   (:

   2012/5/13 David van Ooijen <[1]davidvanooi...@gmail.com>

 I made a video of an exercise I like: just making a good tone. Not
 as
 in focus as it should be, but I think the point does get across:
 [2]http://youtu.be/eAiLytW3Dzs
 David
 --
 ***
 David van Ooijen
 [3]davidvanooi...@gmail.com
 [4]www.davidvanooijen.nl
 ***
 To get on or off this list see list information at
 [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:davidvanooi...@gmail.com
   2. http://youtu.be/eAiLytW3Dzs
   3. mailto:davidvanooi...@gmail.com
   4. http://www.davidvanooijen.nl/
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Holborne

[Bruno Correia]

   Does anybody has Holborne's Pavan 2. I have a pdf version from
   Gerbode's site but I'd love to check the original tablature.



   Best wishes.
   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Vimeo: Monica Pustilnik playing Piccinini

[Bruno Correia]

   Piccinini's preface is not only vague but also very curious. He advises
   the player to do a gruppo with only the index finger (like a dedillo)
   and when the gruppo is joined by another part (with the thumb) it is
   called Arpegiare! Go figure...





   2012/3/27 David Tayler <[1]vidan...@sbcglobal.net>

   Piccinini's works are vague on the subject of nails, and his
 remarks
   have been widely mistranslated. It would appear that he used the
 nail
   for an effect, but that is of course a can of worms owing to the
 nails
   lobby. And rightly so! Tthere should be a lively discussion on
 this
   issue since the economic implications are so important.
   However, since there are no nails players today (that I know of,
 please
   point me there!) that play on gut strings, we can safely assume
 that it
   is neither practical nor desirable, and that there must be other
   factors at work such as volume and stability--20th century issues.
   It would be interesting to see a reconstruction of a Piccinini
   technique, using the nail in a supporting role, with a double
 strung,
   all gut strings archlute for example, but it would be very
 different
   than anything I have heard so far. I think it would make a great
 video
   project.
   dt

 __
   From: howard posner <[2]howardpos...@ca.rr.com>
   To: Lute List <[3]lute@cs.dartmouth.edu>
   Sent: Tue, March 27, 2012 3:36:18 PM
   Subject: [LUTE] Re: Vimeo: Monica Pustilnik playing Piccinini

 On Mar 27, 2012, at 3:40 AM, Mathias Roesel wrote:
 > What I was referring to is the position of her right hand close
 > to the bridge, her playing with nails, and the initial movements of
 her
 > index and middle fingers from the root joints. That's how I was
 taught to
 > play the classical guitar.
 Piccinini's 1623 foreword specifically instructs players to use
   nails.
 Of course, he may have been influenced by modern classical guitar
 technique.
 --
 To get on or off this list see list information at

 [1][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
   References
 1. [5]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:vidan...@sbcglobal.net
   2. mailto:howardpos...@ca.rr.com
   3. mailto:lute@cs.dartmouth.edu
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   5. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Re: !Danças Tradicionais Europeias - Alaúde: Fernando Mattos

[Bruno Correia]

   Thanks Roman, I wish I could go. Rio de Janeiro is still far from Porto
   Alegre...



   Regards.

   Em 27 de marc,o de 2012 09:30, Roman Turovsky
   <[1]r.turov...@verizon.net> escreveu:

 For those of you who are in the vicinity of Porto Alegre, Brazil!
 Be there, or be square!
 RT
 ***
 *MUSICA NA UFCSPA *
 *APRESENTA*
 *
 *
 *DANC,AS TRADICIONAIS EUROPEIAS*
 *Fernando Lewis de Mattos, alaude*
 *O LOCAL*
 SALAO NOBRE DA UFCSPA
 Rua Sarmento LEITE, n-o 245
 Dia 28 de marc,o de 2012, `as 19h
 Entrada Franca
 *
 *
 *AS MUSICAS*
 Pierre ATTAINGNANT
 1.   Prelude
 2.   Pavane & Gaillarde
 3.   Basse Danse: Sanserre
 4.   La Brosse: I. Basse Danse, II. Recoupe, III. Tourdion
 5.   Basse Danse: La Roque
 Giulio Cesare BARBETTA
 1.   Baletto de Rusia, deto L'Orso
 2.   Baletto d'Inghilterra, deto Il Bufon
 3.   Saltarello 3, detto Rauanello
 4.   Moresca Prima, deta Le Canarie
 5.   Moresca Terza, deta Il Mattacino
 Adrien SMOUT "Thysius"
 1.   Passamezzo
 2.   Passamezzo Antico
 3.   Passamezzo Moderno
 4.   Galliarda del Passamezzo Moderno
 Roman TUROVSKY-SAVCHUK, dito Ioannes Leopolita
 1.   Ballo Sarmatico V: Metelytsja
 2.   Ballo Sarmatico IX: Grechanyky
 3.   Ballo Sarmatico XIII: Kolomyjka
 4.   Ballo Sarmatico XVII: Arkan
 *
 *
 *
 *
 *AS FONTES*
 Pierre ATTAINGNANT (Paris, Franc,a, 1494-1552)
 *TRES BREVE ET FAMILIERE INTRODUCTION  *(Paris, 1929)
 *DANSES REDUICTES EN TABLATURE *(Paris, 1531)
 Giulio Cesare BARBETTA (Padua, Italia, 1540-1603)
 *INTABOLATURA DI LIUTO *(Veneza, 1585)
 Adriaen SMOUT (Rotterdam, Holanda, 1578-1646)
 *HET LUITBOEK VAN THYSIUS *(Leiden, 1600 ca.)
 Roman TUROVSKY-SAVCHUK (Kiev, Ucrania, 1961)
 *MIKROKOSMOS IV *(Nova Iorque, 2011)
 *
 *
 *
 *
 *O INSTRUMENTO*
 Alaude Renascentista de oito ordens construido pelo *luthier* Marcos
 Kaiser
 Mori (Sao Paulo, 2006) a partir de um modelo de Giovanni Hieber
 (Veneza,
 1570).
 * *
 *O MUSICO*
 Fernando Lewis de Mattos (Porto Alegre, 1963) dedica-se ao ensino de
 musica, `a composic,ao e `a execuc,ao instrumental. Como professor,
 atua na
 Arena - Associac,ao de Arte e Cultura e no Instituto de Artes da
 UFRGS, onde
 atua nas disciplinas Harmonia, Analise Musical, Estetica da Musica e
 Historia da Musica. De suas atividades como compositor, constam
 pec,as para
 instrumento solo, musica de camara, vocal e orquestral, pec,as
 didaticas,
 transcric,oes e arranjos, participac,ao em trilhas para teatro,
 video e
 cinema, alem da produc,ao de material sonoro para exposic,oes. Como
 instrumentista, dedica-se `a pesquisa e interpretac,ao de musica
 antiga
 europeia (alaude), musica tradicional brasileira (viola) e musica
 contemporanea (violao). Alem de atuac,oes como solista, participa
 ativamente
 em duos, trios e grupos de camara. Na decada de 1990, participou do
 premiado Conjunto de Camara de Porto Alegre, grupo escolhido para
 representar o Brasil no concerto de inaugurac,ao da Primeira Casa de
 Cultura
 do Mercosul, em Colonia de Sacramento (Uruguai). Como musico e
 diretor
 artistico, Fernando Mattos tem participac,ao em diversos trabalhos
 premiados, destacando-se o Premio Ac,orianos na categoria Melhor
 Compositor
 Erudito.
 --
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:r.turov...@verizon.net
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Announcement of lute for sale

[Bruno Correia]

   Ok, final shot, 300 Euros. Btw, is it broken??





   2012/2/18 Sean Smith <[1]lutesm...@mac.com>

 No, not really. Don't want to stick my neck out.

   On Feb 17, 2012, at 7:03 PM, Edward Martin wrote:
   Don't you have the guts to bid on it?
   At 07:15 PM 2/17/2012, Sean Smith wrote:

 Surely you can make a case for it.
 Sean
 On Feb 17, 2012, at 5:11 PM, Edward Mast wrote:
 No bid for this instrument from me . . . too many strings attached.
 On Feb 17, 2012, at 6:10 PM, David Smith wrote:

 200
 Sent from my iPhone
 On Feb 17, 2012, at 3:03 PM, wikla <[2]wi...@cs.helsinki.fi> wrote:

 My bid is 120 euros! ;-)
 Arto
 On Fri, 17 Feb 2012 14:34:46 -0800 (PST), David Tayler
 <[3]vidan...@sbcglobal.net> wrote:

 I think since it is posted to the list (and I mean posted) we should
 auction the lute. I will bid 100 Euros just to start the ball
 rolling.
 dt
  __
 From: Anthony Hind <[4]agno3ph...@yahoo.com>
 To: "[5]lute@cs.dartmouth.edu" <[6]lute@cs.dartmouth.edu>
 Sent: Thu, February 16, 2012 8:00:13 AM
 Subject: [LUTE] Re: Announcement of lute for sale
  Miguel confirms what I thought, he is experimenting with different
  lutes. However, I must state that I am not myself selling this
 lute,
 I
  only agreed to send Miguel's message on to the list for
 information.
  Any queries about seeing and trying out the lute
  must therefore be addressed directly to Miguel.
  Regards
  Anthony
 __
  De : Edward Martin <[1][7]e...@gamutstrings.com>
  A : Anthony Hind <[2][8]agno3ph...@yahoo.com>
  Envoye le : Jeudi 16 fevrier 2012 15h37
  Objet : Re: [LUTE] Re: Announcement of lute for sale
  That is an astonishing, gorgeous lute.  Who built it, and why is
  Miguel selling it?
  ed
  At 08:23 AM 2/16/2012, you wrote:

 Following a problem for reading a symbol, here goes,
 The following 11C lute is for sale in Paris:
 [15.2.2012]
 After Johan Christian Hoffman, Leipzig 1730 (Brussels
 Museum). Description : Table : Spruce from the Dolomites /

  Resonance

 case : Curly maple / Marquetry : Pear tree and Amboyna burl.

 To get on or off this list see list information at
 [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   Edward Martin
   2817 East 2nd Street
   Duluth, Minnesota  55812
   e-mail:  [10]e...@gamutstrings.com
   voice:  [11](218) 728-1202
   [12]http://www.facebook.com/profile.php?id60298871&ref=name
   [13]http://www.myspace.com/edslute
   [14]http://magnatune.com/artists/edward_martin

   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:lutesm...@mac.com
   2. mailto:wi...@cs.helsinki.fi
   3. mailto:vidan...@sbcglobal.net
   4. mailto:agno3ph...@yahoo.com
   5. mailto:lute@cs.dartmouth.edu
   6. mailto:lute@cs.dartmouth.edu
   7. mailto:e...@gamutstrings.com
   8. mailto:agno3ph...@yahoo.com
   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  10. mailto:e...@gamutstrings.com
  11. tel:%28218%29%20728-1202
  12. http://www.facebook.com/profile.php?id60298871&ref=name
  13. http://www.myspace.com/edslute
  14. http://magnatune.com/artists/edward_martin

[LUTE] Re: Kapsberger

[Bruno Correia]

   Congratulations David, excellent performance!



   That's what I call a very personal view of this beautiful toccata,
   unlike anything I've heard before. Would you mind to tell how this
   interpretation developed? Do you have the tab in front just as a
   guideline to improvise figurations over it, or you've done a new
   intabulation?

   Regards.





   2012/2/11 David Tayler <[1]vidan...@sbcglobal.net>

 Yet another Kapsberger video :)
 enjoy
 [2]http://youtu.be/CpQw0UH-YV4
 dt
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:vidan...@sbcglobal.net
   2. http://youtu.be/CpQw0UH-YV4
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: flash mob

[Bruno Correia]

   Fan-tas-tic, loved it!



   Thanks for sharing.

   2012/1/23 <[1]cyndi...@netscape.net>

 Flash mob in Copenhagen
 What if lutenists did this would have to be a more quiet
 place
 [2]http://www.classicalarchives.com/feature/dont_miss_this.html
 --
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

   Bruno Correia



   Pesquisador autonomo da pratica e interpretac,ao

   historicamente informada no alaude e teorba.

   Doutor em Praticas Interpretativas pela

   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:cyndi...@netscape.net
   2. http://www.classicalarchives.com/feature/dont_miss_this.html
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Palindrome alert

[Bruno Correia]

   My mother's birthday btw...





   2011/11/10 Sean Smith <[1]lutesm...@mac.com>

 Haha - And it's an anniversary day as I (very carefully) proposed at
 11:11.  ...11 + 11 years ago!
 s

   On Nov 10, 2011, at 4:57 PM, G.R. Crona wrote:
   11-11-11
   ;)
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

   Bruno Correia.



   Alaudista e Doutor em "Praticas Interpretativas" pela Universidade
   Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:lutesm...@mac.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Capirola!

[Bruno Correia]

   Fan-tas-tic!!



   Thanks to everyone invloved in this project.



   2011/11/8 Leonard Williams <[1]arc...@verizon.net>

 At last!!   Vincenzo's student decorated this book so beautifully so
 that
 the maestro's music might live on despite changes in musical tastes.
  How
 appropriate that our new technologies should be used to further that
 cause.
 Imagine:  only one copy in the world!
 Leonard

   On 11/8/11 8:17 AM, "[2]heiman.dan...@juno.com"
   <[3]heiman.dan...@juno.com> wrote:
   > As of today, there is a digital facsimile of the Capirola lutebook on
   line in
   > a marvelous presentation, full color!
   >
   >
   [4]http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actua
   lites.asp
   >
   > Regards,
   >
   > Daniel
   >
   >
   >
   >
   > To get on or off this list see list information at
   > [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

   Bruno Correia.



   Alaudista e Doutor em "Praticas Interpretativas" pela Universidade
   Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:arc...@verizon.net
   2. mailto:heiman.dan...@juno.com
   3. mailto:heiman.dan...@juno.com
   4. 
http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actualites.asp
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: lute notation

[Bruno Correia]

   Not easy to do... I'll try and see what happens.



   Thanks a lot.





   2011/10/22 Rockford Mjos <[1]rm...@comcast.net>

 I'm not quite convinced by this form of transcription, myself. I
 have seen editions using a similar technique in decades past,
 including an early use of a computer program to convert tab to staff
 (perhaps it was German tab and used black noteheads).
 But Finale can recreate this style. I use Finale for tablature and
 regular notation. (Samples on my Ning EG&V and Lute member pages.)
 Gilberts notes are evenly spaced no matter what the the speed of of
 the above-staff rhythms, and half-note noteheads (they are angled
 more than whole notes) were used. So all notes would be entered as
 half-notes and each measure may require a different time signature
 (which will be hidden). In the Staff Attributes window, uncheck
 Stems and Time Signatures. I would probably turn them off after
 entering all notes and before final spacing and layout.
 Here's how this could be done in Finale using the sample of Toccata
 I:
 Count each note entry in your measure. so measure 1 would be set to
 1/2. Enter the notes. Set the meter for measure to 4/2 and enter
 notes. Set meter of measure 3 to 7/2 and enter notes, etc. I would
 enter the above staff notes as Lyrics. At this point I would turn
 off Stem and Time SIgnature display.
 -- R

   On Oct 22, 2011, at 12:24 PM, Bruno Correia wrote:

   Does anyone know how to use Finale or any similar program to edit
 a
   lute transcription similar to what Ken Gilbert did on Kapsperger?
 In
   fact it is not called a transcription but rather a
 transliteration. It
   can be seen here:

 [1][2]http://www.utorpheus.com/utorpheus/product_info.php?products_i
 d=73
   It seems to be a great idea to aply this concept to lute
   transcriptions!
   --
 References
   1.
 [3]http://www.utorpheus.com/utorpheus/product_info.php?products_id=7
 3
 To get on or off this list see list information at
 [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:rm...@comcast.net
   2. http://www.utorpheus.com/utorpheus/product_info.php?products_id=73
   3. http://www.utorpheus.com/utorpheus/product_info.php?products_id=73
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] lute notation

[Bruno Correia]

   Does anyone know how to use Finale or any similar program to edit a
   lute transcription similar to what Ken Gilbert did on Kapsperger? In
   fact it is not called a transcription but rather a transliteration. It
   can be seen here:
   [1]http://www.utorpheus.com/utorpheus/product_info.php?products_id=73



   It seems to be a great idea to aply this concept to lute
   transcriptions!





   --

References

   1. http://www.utorpheus.com/utorpheus/product_info.php?products_id=73


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Problem opening CD Libros de Musica Para Vihuela

[Bruno Correia]

   Franz,



   Same problem with my cd too. It used to open on an earlier windows
   version, but it doesn't on the Vista plataform... You can still open
   de images manually though. I copied it into the HD and access the files
   through the "imagenes" icon. I'd be glad If someone knows how to fix
   it.



   Regards.




   2011/10/10 Franz Mechsner <[1]franz.mechs...@northumbria.ac.uk>

   Dear All,
   Many apologies, I've come across an odd problem: I have bought the
 CD
   Libros de Musica Para Vihuela 1536-1576 (which contains pdfs of
   faksimiles) from Opera Tres.
   If I put the CD into my computer (Windows7) the cover shows up,
 then on
   click a page listing the composers but more cannot be opened. An
 error
   message says:
   Error '339' en tiempo de ejecucion: El componente 'PrntPRO2.dll' o
 uno
   de sus archivos dependientes no esta registrado correctamente:
 falta un
   archivo o no es valido.
   Does anybody know what I have to do here or how to fix the
 problem? Or
   has anybody got Opera Tres' email?
   I would be extremely thankful for any kind of help.
   Best
   Franz
   --
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:franz.mechs...@northumbria.ac.uk
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Renaissance lute & string length

[Bruno Correia]

   Good question. I prefer bigger lutes, more than 60 cm. Actually,
   browsing the beautiful iconography posted recently here, I noticed a
   great incidence of large instruments. Some, almost too large for modern
   standards.



   Bruno Correia.




   2011/8/10 Edward Mast <[1]nedma...@aol.com>

 The more I read about the lute during the 16th century, the more it
 seems to me that the norm for string length then was closer to 65 cm
 than the 60 cm which seems more favored and common today.  Are we
 (myself included) - who choose the shorter mensur - wimps?  If
 classical guitarists of all shapes and sizes can manage a 64 cm
 mensur, should we lutenists not be able to do likewise?  Just
 wondering . . .
 -Ned
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:nedma...@aol.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: OT: Lute spotting

[Bruno Correia]

   Fascinating interview!





   2011/7/25 Edward Mast <[1]nedma...@aol.com>

 Thanks, Ed.  This was indeed a fascinating look at a creative
 thinker.
 -Ned
 On Jul 24, 2011, at 9:34 PM, Ed Durbrow wrote:
 > Thinking outside the box
 > A fascinating clip on Melodyne inventor Peter Neubaecker.
 (overdubbed in English)
 >
 > [2]http://www.celemony.com/cms/index.php?id=interview_peter&L=0
 >
 > He touches on Pythagorism, Kepler, philosophy, monotones, fractals
 and computer programing. I spotted some gambas and what looks like
 an archlute or theorbo at around 11 minutes.
 >
 >
 > To get on or off this list see list information at
 > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:nedma...@aol.com
   2. http://www.celemony.com/cms/index.php?id=interview_peter&L=0
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Lute, Harp and Voice in Umbria (Italy)

[Bruno Correia]

   True... with 1.500 plus a 1.200 air ticket I could buy another lute
   or have fun with my family in Buenos Aires, tasting the best meat and
   wine of South America, not a bad idea!!



   Regards from Rio de Janeiro (Brazil).

   2011/6/27 Laura Maschi <[1]lmas...@gmail.com>

   Hi Caroline,...I thought about attending when it was
 announced...It
   will be certainly wonderful!
   ...but in addition to the course fees there is also the travel
 cost,
   and Italy is no less than 1500 usd apart (at least from here)...so
   total would be around 3K...
   Perhaps that's the reason!
   Laura
   2011/6/24 Caroline Usher <[1][2]c...@duke.edu>

 Friends, Crawford Young et al. are giving a workshop in Spello,
   Italy
 July 25th through 30th.

   [1][2][3]http://www.centrostudiadolfobroegg.it/archives/1274

 For some reason the workshop has had difficulty attracting
 participants, even though it is
 a) given by a FABULOUS group of people;
 b) in a FABULOUSLY beautiful part of the world;
 c) where they eat FABULOUS food;
 d) you get to stay in a FABULOUS medieval hilltop town;
 d) there will be bus trips to neighboring cities to study
   FABULOUS
 medieval art works depicting music;
 e) the whole week, room, board AND tuition is offered for the
 FABULOUSLY low price of US $1600!!
 !
 Not to mention that you will have the oppurtunity to rub
   shoulders
   with
 some of the most FABULOUS Glitterati of the Known Lute World, Her
 Imperial Highnessness *ME* as well as El Ex-Presidente (US
   Province)
 Dick Hoban.
 How can any lutenist in their right mind pass this opportunity
 up?!?!?!?  Hie thee to the website and register, post-haste!
 (It says you have to sign up by the end of May, but I'm sure they
   will
 welcome you with open arms.)
 Ciao!
 Caroline
 Caroline Usher
 Admin. Coordinator / Biology Dept.
 613-8155 / fax 660-7293
 Box 90338
 --
   References

   1. [3][4]http://www.centrostudiadolfobroegg.it/archives/1274

   To get on or off this list see list information at

 [4][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --
 References
   1. mailto:[6]c...@duke.edu
   2. [7]http://www.centrostudiadolfobroegg.it/archives/1274
   3. [8]http://www.centrostudiadolfobroegg.it/archives/1274
   4. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:lmas...@gmail.com
   2. mailto:c...@duke.edu
   3. http://www.centrostudiadolfobroegg.it/archives/1274
   4. http://www.centrostudiadolfobroegg.it/archives/1274
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. mailto:c...@duke.edu
   7. http://www.centrostudiadolfobroegg.it/archives/1274
   8. http://www.centrostudiadolfobroegg.it/archives/1274
   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Double stringed on a theorbo?

[Bruno Correia]

   Interesting to hear that someone plays a double string theorbo. I've
   never heard or seen it. Does it sound louder or maybe with more
   refinement than the single strung version? Does it have octaves on 5th
   and 6th courses?



   Could it be possible that the double course was used for solo music and
   the single only for continuo practice? Than we could argue that for
   solo music a small double strung instrument is enough, while
   continuo requires just the opposite.



   Regards.





   2011/6/1 Christopher Wilke <[1]chriswi...@yahoo.com>

 Jorg,
I can only partially answer your question from experience.  At
 one time I owned a huge theorbo (single strung) with a 99cm string
 length.  Now I have thankfully gotten rid of the beast and play on a
 double strung "toy" with a 76cm fingerboard length.  I usually use
 synthetic strings, but have used gut in the past and I feel that
 there is no sacrifice in terms of volume with the small instrument.
  If anything it is much louder, but this has something to do with
 the player.
   I play close to the bridge, which I can only do on the small
 theorbo.  With my giant lute, if I tried to pluck by the bridge it
 was physically impossible for me to fret notes in low positions.
 (I'm six feet tall) By stretching my arms out I could only just
 manage to pluck over the rose.  This gave a pleasant tone, but one
 that was easily covered in virtually any ensemble. If the piece gave
 me enough time and I could alter my posture and position so that I
 could pluck a bass note closer to the bridge, it sounded fantastic.
  Unfortunately, I found rarity with which I had time to manage this
 to be musically unsatisfying.  And then there were the mistakes from
 the ungainly lunge back to "regular" position!  I never had double
 stringing on this instrument, but I imagine that the strings would
 easily jar together because of plucking closer to mid-point of the
 string length
   As for slurring and what not, I find this no more difficult with
 double stringing over single, but again I'm doing this on a smaller
 instrument.  I find it very effective for strumming, which sounds,
 fittingly enough, like a big guitar.
 Chris
 Christopher Wilke
 Lutenist, Guitarist and Composer
 [2]www.christopherwilke.com
 --- On Wed, 6/1/11, Hilbert Joerg <[3]hilbert.jo...@t-online.de>
 wrote:
 > From: Hilbert Joerg <[4]hilbert.jo...@t-online.de>
 > Subject: [LUTE] Double stringed on a theorbo?
 > To: "lute List" <[5]lute@cs.dartmouth.edu>
 > Date: Wednesday, June 1, 2011, 3:27 AM

   > Dear collected wisdom,
   >
   > as the old italian theorbos seemed to be quite huge and
   > double stringed (for 1-6), I am not aware of anyone to play
   > such an instrument in my neighborhood. I recently had the
   > possibility to test an instrument of about 90 cm, which was
   > amazing but single stringed. Does anybody know such a double
   > stringed instrument? Does it really make sense for continuo?
   > Are there other experiences in terms of power, playability,
   > slurs, comfort etc.?
   >
   > Thank you very much,
   > Joerg
   >
   >
   >
   > To get on or off this list see list information at
   > [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >

   --

References

   1. mailto:chriswi...@yahoo.com
   2. http://www.christopherwilke.com/
   3. mailto:hilbert.jo...@t-online.de
   4. mailto:hilbert.jo...@t-online.de
   5. mailto:lute@cs.dartmouth.edu
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: arciliuto sighting

[Bruno Correia]

   Wow! From now on I'll be more careful playing my archlute outside
   home...



   Very, very funny!



   Thanks.





   2011/5/31 Bernd Haegemann <[1]b...@symbol4.de>

 (Little Britain USA)
 [2]http://www.youtube.com/watch?v=gM7O8PMNdtA
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:b...@symbol4.de
   2. http://www.youtube.com/watch?v=gM7O8PMNdtA
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Italian word

[Bruno Correia]

   Thanks, I'll check the links.



   Best wishes to all.

   2011/4/27 Bernd Haegemann <[1]b...@symbol4.de>

   a good ressource (link collection) is
   [2]www.lexilogos.com
   in your case especially
   [3]http://www.lexilogos.com/italien_langue_dictionnaires.htm
   best regards
   Bernd
   - Original Message ----- From: "Bruno Correia"
   <[4]bruno.l...@gmail.com>
   To: "List LUTELIST" <[5]lute@cs.dartmouth.edu>
   Sent: Wednesday, April 27, 2011 5:48 AM
   Subject: [LUTE] Italian word

  Could anybody help me with the Italian word "corde or "cordi". Does
 it
  mean string/s or chord/s?
  --
 To get on or off this list see list information at
 [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:b...@symbol4.de
   2. http://www.lexilogos.com/
   3. http://www.lexilogos.com/italien_langue_dictionnaires.htm
   4. mailto:bruno.l...@gmail.com
   5. mailto:lute@cs.dartmouth.edu
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Italian word

[Bruno Correia]

   Could anybody help me with the Italian word "corde or "cordi". Does it
   mean string/s or chord/s?







   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Sesquialtera

[Bruno Correia]

   Hi David,



   Can the sesquialtera be performed as triplets? In Spinacino there are 6
   notes in a bar (duple time).



   Thanks for the info.

   2011/4/9 David Tayler <[1]vidan...@sbcglobal.net>

 Sesqui means one and one half. So a sesquipedalian likes words that
 are a foot and a half long.
 In a sesquialtera proportion, you want, according to Morley
 '"three notes are sung to two of the same kinde'" and "Sesquitertia
 is when four notes are sung to three of the same kinde"
 And 3/2 is one and one half
 See also
 [2]http://www.freefictionbooks.org/books/s/20662-shakespeare-and-mus
 ic-by-edward-w-naylor?start=14
 Now, having said that, there are many exceptions. The direct
 mathematical proportion is contradicted in sources dating back to
 the
 time of Josquin;
 understandably, musicians wanted leeway in their proportions, and in
 Mass music proportions were varied to create musical effects.
 Towards the end of the renaissance you see a blurring of the
 proportions coinciding with an interest in the theme of
 transformation in music.
 But, basically, three notes are sung to two of the same kind, which
 means those notes will be faster.
 dt

   At 09:40 AM 4/8/2011, you wrote:
   >Could anybody share any information about the execution of the
   >sesquialtera? I've been working on a recercare by Spinacino p.40,
   and
   >I'm still not sure if the execution is correct.
   >
   >
   >
   >
   >
   >--
   >
   >
   >To get on or off this list see list information at
   >[3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:vidan...@sbcglobal.net
   2. 
http://www.freefictionbooks.org/books/s/20662-shakespeare-and-music-by-edward-w-naylor?start=14
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Wax (traces are good!)

[Bruno Correia]

hoo.com>
 Envoye le : Jeu 24 mars 2011, 14h 48min 48s
 Objet : Re: Re : [LUTE] Re: Wax
 Not really,
 The Stand Oil does not significantly penetrate into the wood (it's
 much too
 thick/viscous to transmit throught the pores) - it acts like a
 sirface coat
 (much as your wax). So it does not change the tone and is nothing
 like the
 treatment of wood that the Old Ones may, or may not, have used.
 It's advantage is many centuries of experience and knowledge (used
 in ancient
 Greece), known use for various purposes in early instrument makers
 workshops and
 absolutel inertness and ability to easily recoat (if required).  I
 wonder about
 Renaissance wax using, as it does, distllation products from crude
 oil and
 whether or not it will remain inert over many centuries/decades.
 There are many
 examples of conservation practice once thought cutting edge now
 utterly
 disredited. My advice - if you use anything use stand oil or leave
 it alone -
 the wood will darken in a decade or two.
 Incidentally to make Stand Oil simply pour raw linseed oil into a
 dish and leave
 to.. stand. You can occasionaly test it. I reckon a few months
 will oxidise
 is to good thick treacle.
 Martyn
 --- On Thu, 24/3/11, Anthony Hind<[5]agno3ph...@yahoo.com>  wrote:

 From: Anthony Hind<[6]agno3ph...@yahoo.com>
 Subject: Re : [LUTE] Re: Wax
 To: "Martyn Hodgson"<[7]hodgsonmar...@yahoo.co.uk>
 Date: Thursday, 24 March, 2011, 12:58
 Dear Martyn
 I have tried linseed oil with a fixing or drying agent on wood
 work; but
 this is clearly not the same, as it does not have the treacle
 quality you
 mention.
 I take it this is more for "varnishing" a completed new lute, rather
 than to be

 added to a lute that has already been polished by the lute maker
 (French polish

 or other).
 I imagine the resulting "varnish" would make to table hard and so
 give
 carbon-like properties (greater speed of propogation), rather like
 treating the

 wood with Borax, or other salts.
 Regards
 Anthony

 
 De : Martyn Hodgson<[8]hodgsonmar...@yahoo.co.uk>

 A : Anthony Hind<[9]agno3ph...@yahoo.com>
 Envoye le : Jeu 24 mars 2011, 11h 08min 37s
 Objet : Re: [LUTE] Re: Wax
 Dear Anthony,
 Have you tried 'Stand Oil'? - Linseed oil allowed to stand until it
 starts to
 oxidise to the consistency of treacle. It needs to be put on with a
 rubber since
 it's far too viscous to paint on - hence does not pentrate into the
 wood but
 leaves a very thin coat which oxidises hard in a few days. NB NOT
 modern
 commercial so called stand oil which is usually just boiledlinseed
 oil with
 chemical driers.
 I believe Stand Oil is what was used originally - certainly an
 opiled finish was
 very common on furniture before the advent of 'French' polishing.
 rgds
 Martyn
 PS Did you eventualy get the pic of the lute player holding his
     instrument with

 tapes?
 '
 --- On Thu, 24/3/11, Anthony Hind<[10]agno3ph...@yahoo.com>  wrote:

 From: Anthony Hind<[11]agno3ph...@yahoo.com>
 Subject: [LUTE] Re: Wax
 To: "Bruno Correia"<[12]bruno.l...@gmail.com>,
 [13]lute@cs.dartmouth.edu
 Date: Thursday, 24 March, 2011, 9:44
   Dear Bruno
Thanks for reminding me, I try to use Renaissance wax fairly
   regularly; it does seem to protect my Baroque lute. I did not
 treat my
   Renaissance lute at the outset, and it is quite marked by my
 little
   finger (due to acidity, no doubt).
   Of course the difference might also be due to the difference in
   "varnish" that the two lute makers used; but Stephen Gottlieb was
 quite
   surprised by the unmarked quality of my Barouqe lute's table; and
 he
   wondered if it was because I was careful, or if I didn't play all
 that
   often.
   I thought I might have lost the tin, but I have just found it; but
   there are no details about the formula on the tin. It just  says
   micro-crystaline wax polish, as used by the British museum. I
 notice
   Miguel Serdoura suggests not only using Renaissance wax, but also
   gently washing the table at the point of contact with weak soapy
 water.
   I haven't tried that.
   Regards
   Anthony

 __
   De : Bruno Correia<[14]bruno.l...@gmail.com>
   A : Edward Mast<[15]nedma...@aol.com>
   Cc : List LUTELIST<[16]lute@cs.dartmouth.edu>
   Envoye le : Jeu 24 mars 2011, 3h 47min 16s
  

[LUTE] Re: Wax

[Bruno Correia]

   What about applying beeswax? I've tried this before, but I am not sure
   it if I did it correctly. Didn't hurt the top...



   Thanks to all that replied to my enquiry!

   2011/3/24 Martyn Hodgson <[1]hodgsonmar...@yahoo.co.uk>

 Use stand 'oil'. but eschew modern 'stand oil' which is just boiled
 linseed oil with chemical driers added and far too thin and will
 penetrate the wood.
 Proper Stand oil has the consistency of very thick treacle, does not
 penetrate into the wood but forms a very thin coating which dries
   hard
 in a few days to a completely natural look (ie no obvious sheen or
 coating). If you can't buy the real thing get some good raw linseed
 oil, pour into a dish and leave it to ..stand.   A few months
 will result in the required consistency. It's far too thick to paint
   on
 with a brush and must be applied with a rubber.
 Linseed oil was a very common medium from the earliest times and has
   a
 tried and trusted track record (unlike perhaps this modern wax made
 from crude oil distallation products)
 MH
 --- On Thu, 24/3/11, Edward Mast <[2]nedma...@aol.com> wrote:
   From: Edward Mast <[3]nedma...@aol.com>
   Subject: [LUTE] Re: Wax
   To: "Bruno Correia" <[4]bruno.l...@gmail.com>
   Cc: "List LUTELIST" <[5]lute@cs.dartmouth.edu>
   Date: Thursday, 24 March, 2011, 12:50
 Hi Bruno,
 Good question, and since I don't know the answer (Lundberg doesn't
   give
 mixing instructions in his book) I simply went to the hardware store
 where I found a carnauba wax in turpentine (no bees wax, though)
 already mixed and used that.  Seems to work fine to protect the top
   in
 the area where there's a bit of wear from the right hand of the
 previous owner (I bought my instrument used).  It does add some
   gloss,
 but I don't mind that.  Perhaps the addition of beeswax would give a
 more matte finish.
 On Mar 23, 2011, at 10:47 PM, Bruno Correia wrote:
 > Hi Edward,
 >
 > Interesting, I'll check the formula, if there is one...
 >
 > Just for curiosity, how do you mix these waxes?
 >
 >
 >
 >

   > 2011/3/23 Edward Mast <[1][6]nedma...@aol.com>

 > Bruno,
 >
 > I'm not familiar with this wax.  But Robert Lundberg - in his book
 "Historical Lute Construction" - gives two formulas for a wax to use
   on
 the top.  The simplest one is: 2 parts beeswax, 1 part carnauba wax,
   6
 parts turpentine.  Perhaps before buying, you can find what the
   formula
 of the Renaissance wax is.
 >
 >
 > On Mar 23, 2011, at 5:32 PM, Bruno Correia wrote:
 >
 > >   Is this product (Ranaissance wax) advisable to use on the top
   of
 the
 > >   lute? I think somebody mentioned it in the list...
 > >
 > >
 > >
 >

   >
 [1][2][7]http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-
 Cr

 ystalli
 > >   ne/dp/B001DSZWEM/ref=sr_1_1?ie=UTF8&qid=1300899218&sr=8-1
 > >
 > >   --
 > >
 > > References
 > >
 > >   1.


 [3][8]http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Cry
 stalli

 ne/dp/B001DSZWEM/ref=sr_1_1?ie=UTF8&qid=1300899218&sr=8-1
 > >
 > >

 > > To get on or off this list see list information at

   > > [4][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   >
   --
   --
 References
   1.
 [10]http://uk.mc263.mail.yahoo.com/mc/compose?to=nedma...@aol.com
   2.
 [11]http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Cryst
 alli

 3.
   [12]http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crystall
   ine/dp/B001DSZWEM/ref=sr_1_1?ie=UTF8&qid=1300899218&sr=8-1

   4. [13]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:hodgsonmar...@yahoo.co.uk
   2. mailto:nedma...@aol.com
   3. mailto:nedma...@aol.com
   4. mailto:bruno.l...@gmail.com
   5. mailto:lute@cs.dartmouth.edu
   6. mailto:nedma...@aol.com
   7. http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Cr
   8. http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crystalli
   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  10. http://uk.mc263.mail.yahoo.com/mc/compose?to=nedma...@aol.com
  11. http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crystalli
  12. 
http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crystalline/dp/B001DSZWEM/ref=sr_1_1?ie=UTF8&qid=1300899218&sr=8-1
  13. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Wax

[Bruno Correia]

   Hi Edward,



   Interesting, I'll check the formula, if there is one...



   Just for curiosity, how do you mix these waxes?





   2011/3/23 Edward Mast <[1]nedma...@aol.com>

 Bruno,
 I'm not familiar with this wax.  But Robert Lundberg - in his book
 "Historical Lute Construction" - gives two formulas for a wax to use
 on the top.  The simplest one is: 2 parts beeswax, 1 part carnauba
 wax, 6 parts turpentine.  Perhaps before buying, you can find what
 the formula of the Renaissance wax is.

   On Mar 23, 2011, at 5:32 PM, Bruno Correia wrote:
   >   Is this product (Ranaissance wax) advisable to use on the top of
   the
   >   lute? I think somebody mentioned it in the list...
   >
   >
   >
   >
   [1][2]http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crysta
   lli
   >   ne/dp/B001DSZWEM/ref=sr_1_1?ie=UTF8&qid=1300899218&sr=8-1
   >
   >   --
   >
   > References
   >
   >   1.
   [3]http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crystalli
   ne/dp/B001DSZWEM/ref=sr_1_1?ie=UTF8&qid=1300899218&sr=8-1
   >
   >
   > To get on or off this list see list information at
   > [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:nedma...@aol.com
   2. http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crystalli
   3. 
http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crystalline/dp/B001DSZWEM/ref=sr_1_1?ie=UTF8&qid=1300899218&sr=8-1
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Wax

[Bruno Correia]

   Is this product (Ranaissance wax) advisable to use on the top of the
   lute? I think somebody mentioned it in the list...



   [1]http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crystalli
   ne/dp/B001DSZWEM/ref=sr_1_1?ie=UTF8&qid=1300899218&sr=8-1

   --

References

   1. 
http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crystalline/dp/B001DSZWEM/ref=sr_1_1?ie=UTF8&qid=1300899218&sr=8-1


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Weiss

[Bruno Correia]

   Does anybody know of any transcription of Weiss for archlute? I've just
   received my 14 courses (very nice instrument) and became interested to
   try a suite or a sonata by this great composer.



   Best wishes.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Agazzari

[Bruno Correia]

   To me, it seems that he is reffering to the left hand...



   Best wishes.





   2011/1/9 Bernd Haegemann <[1...@symbol4.de>

 writes:
 La Tiorba poi, co le sue piene, e dolci consonanze, accresce molto
 la melodia, ripercotendo,
 e passeggiando leggiadramente i suoi bordoni, particolar eccellenza
 di quello stromento, con
 trilli, et accenti muti, fatti con la mano di sotto.
 (Del Sonare Sopra'l Basso
 Con Tutti Li Stromenti
 E Dell' Uso Loro Nel Conserto)
 What could he mean with "fatti con la mano di sotto"?
 I have a translation that makes it "left hand", a second one speaks
 of "the right hand".
 And wouldn't it help to know what are accenti muti?
 best wishes
 Bernd
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:b...@symbol4.de
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Kapsperger's temperament

[Bruno Correia]

   A question for those who play Kapsperger lute pieces: what temperament
   fits best his music? I find 1/4 mesotonic quite good, but there are a
   few spots that are not that sweet. I just started using a tastino on
   the 1st fret and that creates some problems too. For example, when
   there is a barre on the first position (Db major chord), the d flat on
   the 3rd course (4rth fret) is really out of tune...



   Any advice is welcomed.











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[LUTE] Kapsperger preface

[Bruno Correia]

   Does anybody have a good translation from the preface of Kapsperger
   1640 (4th chitarrone book)? It looks really interesting, however very
   hard to understand. I'm afraid that my rough italian could lead me to a
   complete different meaning...









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[LUTE] Terzi

[Bruno Correia]

   Does anyone has the II lute book by Giovanni Antonio Terzi (1599)? I
   have a pdf in french tab, but for academic purposes It is better to use
   the original source as an example. I just need the 2 toccatas included
   in this book...



   Regards.

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[LUTE] Siena lute book

[Bruno Correia]

   Does anybody has the facsimile of the Siena lute book? I need some
   information about the 14 toccatas included in this edition.



   Any help is welcomed.





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[LUTE] Re: Restricted thesis

[Bruno Correia]

   Restricted access...



   I'd be interested in this thesis as well.



   Regards.





   2010/11/20 G. Crona <[1]kalei...@gmail.com>

 Dear List
 has anyone of you managed to download this thesis and is willing to
 pass it on to me?
 [2]http://digital.library.unt.edu/ark:/67531/metadc4652/?q=lute
 Kind regards
 G.
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. mailto:kalei...@gmail.com
   2. http://digital.library.unt.edu/ark:/67531/metadc4652/?q=lute
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] NGE strings

[Bruno Correia]

   Does anyone has experienced Aquila's NGE strings? I have been trying to
   contact Mimmo to ask about string gauges...





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[LUTE] Re: OT: 19th C guitar

[Bruno Correia]

   Christopher,



   I agree entirely with your coments. Classical guitars are very tense
   instruments, nails are required if you want to play with good volume.
   Btw they never fill a big hall (soundwise)...







   2010/11/1 Christopher Wilke <[1]chriswi...@yahoo.com>

 There are a lot of myths in the guitar community about how and why
 the modern instrument came about.  The thought that the modern
 guitar is to the 19th century guitar what the modern piano is to a
 fortepiano has been repeated so often that people believe it.
 A modern classical guitar is not at all loud.  Try comparing the
 sound of a 19th century guitar without nails to a modern guitar
 played without nails.  The 19th century guitar will not only sound
 louder, but balanced (assuming the guitar is decent).  The modern
 guitar will sound weak and muddy with a very boomy bass and
 virtually no treble definition.  The 19th century guitar is
 therefore actually the louder of the two instruments.
 The key ingredient to the modern guitar's sound is fingernails.  I
 believe that in order to get more volume, performers started playing
 "standard" 19th century guitars with nails, but found the sound
 unpleasantly strident.  (Aguado, for example, used nails.  His duo
 partner, Sor, however, did not.)  The solution came in making a
 bigger body, which did not add volume in itself - it merely mellowed
 out the tone to allow for nail playing.  Fan bracing was also used
 to make the timbre less pingy, but this was nothing new; it had been
 used on baroque lutes long before.  All of these developments took
 place with gut strings.  Nylon strings came about post-WWII and
 allowed for greater string tension and more forceful playing.
 I personally enjoy the sound of a modern classical.  It makes a
 beautiful and effective solo instrument.
 Chris
 Christopher Wilke
 Lutenist, Guitarist and Composer
 [2]www.christopherwilke.com

   --- On Mon, 11/1/10, Jelma van Amersfoort <[3]jel...@gmail.com> wrote:
   > From: Jelma van Amersfoort <[4]jel...@gmail.com>
   > Subject: [LUTE] Re: OT: 19th C guitar
   > To: "Suzanne Angevine" <[5]suzanne.angev...@gmail.com>
   > Cc: "Lute List" <[6]l...@cs.dartmouth.edu>

 > Date: Monday, November 1, 2010, 4:28 AM

   > I think making the body bigger
   > doesn't automatically make the guitar
   > louder. It mostly emphasizes the lower
   > harmonics/fundamentals and the
   > bass side of the guitar. I think they were after a
   > different (darker,
   > more homogenous) timbre rather than a louder sound, in the
   > late 19th
   > and early 20th century. Is a very interesting question, but
   > also hard
   > because there are so many different styles of guitar making
   > in that
   > time.
   >
   > Early 19th century guitars work as well in halls as modern
   > classical
   > guitars, I find, but by different means: they (most of
   > them) seem to
   > be more treble-like, and more 'piercing' compared to (most)
   > modern
   > classical guitars.
   >
   > Hartelijke groeten, Jelma van Amersfoort
   >
   >
   >
   >
   >
   > On Sun, Oct 31, 2010 at 5:24 PM, Suzanne Angevine

   > <[7]suzanne.angev...@gmail.com>
   > wrote:
   > > In that same excellent concert the second half was
   > played on a replica of a
   > > 19th century guitar, the kind with a smaller body and
   > simple lute-like
   > > barring.  I'm struck by how beautiful, bright, and
   > clear the sound of these
   > > instruments is, especially when playing music from
   > that period. (I heard a
   > > fine Carulli  sonata.)
   > >
   > > So what were builders and players after that they made
   > the body bigger and
   > > the barring stronger on modern classical guitars?
   > >
   > > Suzanne
   > >
   > >
   > >
   > > To get on or off this list see list information at

   > > [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   > >
   >
   >
   >

   --

References

   1. mailto:chriswi...@yahoo.com
   2. http://www.christopherwilke.com/
   3. mailto:jel...@gmail.com
   4. mailto:jel...@gmail.com
   5. mailto:suzanne.angev...@gmail.com
   6. mailto:lute@cs.dartmouth.edu
   7. mailto:suzanne.angev...@gmail.com
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Toccata

[Bruno Correia]

   Hi Christopher,



 Bruno,
You're correct.  The author advises not to use the 'a' finger.
 The reason behind this and other arcane mysteries will be explained
 in Kapsperger's new book "Kapsperger della musica."  Coming soon to
 a bookseller near you!


   True, unfortunately the book is lost or maybe never came out of print.

 HK only gives p-i-m-i and Picinnini advises the same way except in
 very quick passages where you can strum the chords "in a single blow
 as on the lute."  I personally don't think they cared about always
 going from low to high, but who knows?

   It's interesting that both Kaps. and Piccinini give very similar
   examples of arpeggios, and both exclude the use of the (a) finger. The
   direction of the pattern is a controversial subject, but I think you
   are right about this. Musicologist, Victor Coelho, also points in this
   direction in his article "Frescobaldi and the lute and chitarrone
   toccatas of 'Il tedesco della tiorba' ".

   Bruno.


 Chris
 Christopher Wilke
 Lutenist, Guitarist and Composer
     [1]www.christopherwilke.com
 --- On Mon, 10/18/10, Bruno Correia <[2]bruno.l...@gmail.com> wrote:
 > From: Bruno Correia <[3]bruno.l...@gmail.com>
 > Subject: [LUTE] Re: Toccata
 > To: "Lute List" <[4]l...@cs.dartmouth.edu>
 > Date: Monday, October 18, 2010, 7:27 PM

   >Howard,
   >
   >
   >
   >Exactly the way I'm doing. No (a) finger
   > (the author adverts against
   >its use!) and always following the
   > pattern you describe. Not easy to do
   >in certain chords...
   >
   >
   >
   >Thanks.
   >
   >
   >
   >
   >
   >2010/10/18 howard posner <[1][5]howardpos...@ca.rr.com>
   >
   >On Oct 18, 2010, at 1:54 PM, Thomas
   > Schall wrote:
   >> Hoppy plays it p-i-m-i-a-i-m-i (if I
   > recall correctly)
   >
   >  I hope not.  I think you
   > p-i-m-i-p-i-m-i.  Kapsberger's instruction
   >  in the front of the book are
   > pretty clear, if I recall: keep the
   >  same pattern, rather than
   > arpeggiating bottom to top all the time.
   >
   >To get on or off this list see list
   > information at
   >[2][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   >--
   >
   > References
   >
   >1. mailto:[7]howardpos...@ca.rr.com
   >2. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   >

   --

References

   1. http://www.christopherwilke.com/
   2. mailto:bruno.l...@gmail.com
   3. mailto:bruno.l...@gmail.com
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:howardpos...@ca.rr.com
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. mailto:howardpos...@ca.rr.com
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


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[LUTE] Re: Toccata

[Bruno Correia]

   Howard,



   Exactly the way I'm doing. No (a) finger (the author adverts against
   its use!) and always following the pattern you describe. Not easy to do
   in certain chords...



   Thanks.





   2010/10/18 howard posner <[1]howardpos...@ca.rr.com>

   On Oct 18, 2010, at 1:54 PM, Thomas Schall wrote:
   > Hoppy plays it p-i-m-i-a-i-m-i (if I recall correctly)

 I hope not.  I think you p-i-m-i-p-i-m-i.  Kapsberger's instruction
 in the front of the book are pretty clear, if I recall: keep the
 same pattern, rather than arpeggiating bottom to top all the time.

   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. mailto:howardpos...@ca.rr.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Flute and lute

[Bruno Correia]

   Thanks Thomas.



   Regards.

   2010/8/30 Thomas Schall <[1]lauten...@lautenist.de>

   I would have a few pieces on
   [2]http://lautenist.de/downloads#kammermusik
   plus
   [3]http://www.lautenist.de/LiutoD.pdf (Daube)
   and [4]http://www.lautenist.de/LiutoH.pdf (Haydn)
   Best wishes
   Thomas
   Bruno Correia schrieb:

   I'm interested on this site too!
   2010/8/29 Fabio Rizza <[1][5]fabio_ri...@alice.it>
  Dear friends,
 one or two years ago someone posted here a link to a website
 with
 tenths of pieces for flute and lute. Does anyone remember the
 link
 to that website?
 Thanks a lot,
 Fabio
 To get on or off this list see list information at
 [2][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --
 References
   1. mailto:[7]fabio_ri...@alice.it
   2. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:lauten...@lautenist.de
   2. http://lautenist.de/downloads#kammermusik
   3. http://www.lautenist.de/LiutoD.pdf
   4. http://www.lautenist.de/LiutoH.pdf
   5. mailto:fabio_ri...@alice.it
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. mailto:fabio_ri...@alice.it
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Flute and lute

[Bruno Correia]

   I'm interested on this site too!







   2010/8/29 Fabio Rizza <[1]fabio_ri...@alice.it>

  Dear friends,
 one or two years ago someone posted here a link to a website with
 tenths of pieces for flute and lute. Does anyone remember the link
 to that website?
 Thanks a lot,
 Fabio
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. mailto:fabio_ri...@alice.it
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Four c. guitar

[Bruno Correia]

   I think John Williams never read anything about the history of his own
   instrument. Check at 1:38. Couldn't believe he said that, specially
   after watching those great videos by Jocelyn Nelson.



   [1]http://www.youtube.com/watch?v=o_LNU1-s4BE&feature=related





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References

   1. http://www.youtube.com/watch?v=o_LNU1-s4BE&feature=related


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[LUTE] Re: nice Visee

[Bruno Correia]

   Very nice! He seems to be good not only on the theorbo...



   [1]http://www.youtube.com/watch?v=MYser5OKxsY&feature=related











   2010/7/21 David Tayler <[2]vidan...@sbcglobal.net>

 [3]http://www.youtube.com/watch?v=qeUcGD4rRRc
 beautiful tone,  articulation & ornaments
 from Jonas Nordberg
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References

   1. http://www.youtube.com/watch?v=MYser5OKxsY&feature=related
   2. mailto:vidan...@sbcglobal.net
   3. http://www.youtube.com/watch?v=qeUcGD4rRRc
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: www.luteduo.com Antoine Forqueray, La Morangis ou la Plissay on youtube

[Bruno Correia]

   Excellent, what a great combination!



   Thanks.

   2010/7/12 Anton Birula <[1]image...@yahoo.com>

 [2]www.luteduo.com  Antoine Forqueray, La Morangis ou la Plissay
 [3]http://www.youtube.com/watch?v=xIrNJlgh2g0

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References

   1. mailto:image...@yahoo.com
   2. http://www.luteduo.com/
   3. http://www.youtube.com/watch?v=xIrNJlgh2g0
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Painting

[Bruno Correia]

   What a quick answer,



   Thank you John!



   Best wishes.





   2010/7/8 John Griffiths <[1]jag...@me.com>

   Hi Bruno,
   The painting is a detail from a Portrait of a musician with lute
 (c.
   1685) by Anton Domenico Gabbiani (1652-1726). The original is in
   the Galleria della Accademia, Florence, on loan from the
 Educandato
   della Santissima Annunziata al Poggio imperiale.
   You can find an image on Alfonso Marin's iconography website, and
 there
   is another full image
   at [1][2]http://baschenis.interfree.it/ita/quadro5e6.htm
   Good wishes,
   John

 On 09/07/2010, at 6:19, Bruno Correia wrote:
   Does anybody knows this painting:
   [1][3]http://www.harmoniamundi.com/#/albums?view=playlists&id=1258
   I found this on O'Dette's cd playing Kapsperger. Harmonia Mundi
 changed
   the album front cover... I was curious about the instrument and the
   music that the lutenist is pointing to.
   --
 References

 1.
 [2][4]http://www.harmoniamundi.com/#/albums?view=playlists&id=1258

 To get on or off this list see list information at

   [3][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

 
 ___
   
   Professor John Griffiths FAHA
   Early Music Studio, School of Music, The University of Melbourne
 3010,
Victoria, Australia
   tel +61 3 8344 8810
   mob +61 421 644 911
   [4][6]jag...@unimelb.edu.au
   [5][7]www.vihuelagriffiths.com

 
 ___
   
   This e-mail and any attachments may contain personal information
 or
   information that is otherwise confidential or the subject of
 copyright.
   Any use, disclosure or copying of any part of it is prohibited.
 The
   University does not warrant that this email or any attachments are
 free
   from viruses or defects. Please check any attachments for viruses
 and
   defects before opening them. If this e-mail is received in error
 please
   delete it and notify us by return e-mail.
   --
 References
   1. [8]http://baschenis.interfree.it/ita/quadro5e6.htm
   2. [9]http://www.harmoniamundi.com/#/albums?view=playlists&id=1258
   3. [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   4. mailto:[11]jag...@unimelb.edu.au
   5. [12]http://www.vihuelagriffiths.com/

   --

References

   1. mailto:jag...@me.com
   2. http://baschenis.interfree.it/ita/quadro5e6.htm
   3. http://www.harmoniamundi.com/#/albums?view=playlists&id=1258
   4. http://www.harmoniamundi.com/#/albums?view=playlists&id=1258
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. mailto:jag...@unimelb.edu.au
   7. http://www.vihuelagriffiths.com/
   8. http://baschenis.interfree.it/ita/quadro5e6.htm
   9. http://www.harmoniamundi.com/#/albums?view=playlists&id=1258
  10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  11. mailto:jag...@unimelb.edu.au
  12. http://www.vihuelagriffiths.com/

[LUTE] Painting

[Bruno Correia]

   Does anybody knows this painting:
   [1]http://www.harmoniamundi.com/#/albums?view=playlists&id=1258



   I found this on O'Dette's cd playing Kapsperger. Harmonia Mundi changed
   the album front cover... I was curious about the instrument and the
   music that the lutenist is pointing to.

   --

References

   1. http://www.harmoniamundi.com/#/albums?view=playlists&id=1258


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[LUTE] Kapsperger

[Bruno Correia]

   Does anybody have the SPES edittion from Kapsperger's 1611 book? I have
   a serious question on corrente VII bar 28.



   Regards.

   --


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[LUTE] Re: Capirola

[Bruno Correia]

   Hi Denys, thanks for the info. I'll check Gombosi's text.





   Best wishes.

   2010/5/20 Denys Stephens <[1]denyssteph...@ukonline.co.uk>

 Dear Bruno,
 The best study of the Capirola Ms. is the Otto Gombosi edition
 published
 by SMA in 1955 - it's a work of truly outstanding scholarship and
 essential
 reading for those interested in the early Italian repertoire. The
 Federico
 Marincola translation of the instructions is extremely valuable too,
 but
 it's good to have Gombosi's version on hand when you read it as the
 different
 nuances of interpretation give a better understanding. I'm certainly
 not a
 linguist myself, but I understand that the major difficulty is that
 there
 was no unified Italian language at that time and the scribe Vitali
 wrote in
 the Venetian dialect - something that's a specialist subject in
 itself.
 One of the passages in Gombosi's book reads as follows:
 "Upward strokes of the right hand are carefully marked by a dot
 underneath
 the corresponding numeral. Diagonal lines mark the holding of
 certain frets
 while other parts move on. Special signs indicate the beginning
 (w)and end
 (n)
 of tenuto passages."
 (Note: my use of 'w' and 'n' above is the closest approximation I
 can get
 here to the real signs as they are both semi-circular shapes.
 Hopefully
 you will recognise them in the manuscript. Vitali, the creator of
 the
 manuscript, was very careful to explain the necessity of holding
 the appropriate fretted notes to achieve a sustained sound - it's
 important
 to bear in mind that polyphonic lute playing was still a new idea
 then.)
 The passage continues:
 "A unique feature of this tablature is the use of symbols for
 certain
 ornaments
 and the dividing of the middle course into separately played
 strings. The
 former
 involves two signs: one for 'tremolo,' a trill-like alternation of
 main note
 and
 its upper auxiliary, the other for 'tremolo on one tone' obviously
 meaning
 an
 alternation of the first fret with the open string, and so on, a
 mordant-like
 effect. The first is symbolised by adding after the number of the
 fret of
 the
 main tone that of the auxiliary tone written above it in red dots
 e.g. 3;
 the
 second ornament is marked by putting two red dots above the number.
 For the
 divided mezzana course the corresponding line of the tablature is
 split up
 into two."
 I hope this will be helpful as a start. I suspect that the Capirola
 manuscript
 still has its undiscovered secrets. The absence of a colour
 facsimile is a
 real
 problem. I remember hearing Paul O'Dette say at a masterclass that
 the
 manuscript
 includes markings in colours that don't even show up in the
 monochrome
 facsimile.
 And all of the very early manuscripts have notational peculiarities
 that may
 never be fully understood.
 Best wishes,
 Denys

   -Original Message-
   From: [2]lute-...@cs.dartmouth.edu
   [mailto:[3]lute-...@cs.dartmouth.edu] On Behalf
   Of Bruno Correia
   Sent: 19 May 2010 23:33
   To: List LUTELIST
   Subject: [LUTE] Capirola
 Does anyone understand the meaning of all the signs marked in the
 Capirola manuscript? I do have have it, but I don't have enough
   Italian
 to read it. The English version by Marincola is not suficient to
   fully
 understand all the signs...
 --
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References

   1. mailto:denyssteph...@ukonline.co.uk
   2. mailto:lute-...@cs.dartmouth.edu
   3. mailto:lute-...@cs.dartmouth.edu
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Capirola

[Bruno Correia]

   Does anyone understand the meaning of all the signs marked in the
   Capirola manuscript? I do have have it, but I don't have enough Italian
   to read it. The English version by Marincola is not suficient to fully
   understand all the signs...





   --


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[LUTE] Re: Quaerite, et invenietis

[Bruno Correia]

   Thanks for the link!

   2010/4/23 Bernd Haegemann <[1...@symbol4.de>

 a lttle bit OT, becaue it is music in general, but if you want to
 perform an "unknown" opera or so, have a look.
 Enormous amount of stuff here:
 [2]http://www.internetculturale.it/genera.jsp?lingua=en
 abbracci
 B.
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. mailto:b...@symbol4.de
   2. http://www.internetculturale.it/genera.jsp?lingua=en
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: String tension

[Bruno Correia]

Martin,



   Well, 0,46 is really high, I have at the moment 0,44 and the lute
   sounds at its limit. Gut sounded the best with a gauge of 0,42, nylon
   not so much (0,47) and pvf not good at all (0,37).



   Isn't nylon going to stretch as well?







   2010/4/21 Edward Martin <[1...@gamutstrings.com>

 The very problem is that you are using nylgut for your trebles.
 Nylgut is a polymer, and it is in a constant state of stretch, and
 therefore, it becomes smaller diameter in time, as you have
 discovered.
 If you have this 59 cm lute at G at 440, you must use a 0.46.  in
 order to end up with a string that is not too thin.
 The best solution would be to use nylon, or gut.  Those 2 strings
 will not change, and will give more satisfactory results.
 For my taste, I usually go with about 40 N. tension, which feels and
 sounds better, in my opinion.  If you use a gut treble, you can go
 even lighter than 36 N., as gut responds much better at lower
 tensions than does nylgut.
 ed
 At 08:53 PM 4/20/2010, Bruno Correia wrote:

   This question must have been touched several times, but as I am
 rarely
   pleased with the string tension on my lute I'll raise it once
 more: Is
   it better to have the chanterelle at 36 N? the conversion is about
 3.67
   Kg. The problem is that nylgut gets thinner with age and this
 affects
   the final gauge of the string. According to Paul Beier's
 calculator
   that means a string of 0,40 NG (lute in G with 59 cm), a very thin
   string for the first course.
   I had previously a 0,42 which was btw very light to my touch, but
 the
   surprise came when I mesuared it on tension and it was less than
 0,40,
   actually if I remember well it was about 0,38. So, how can we
 possibly
   know the final tension of the string to have the right gauge? At
 the
   moment I have a 0,44 and I'm not pleased at all with the sound...
   Coments welcomed!
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References

   1. mailto:e...@gamutstrings.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   3. mailto:e...@gamutstrings.com
   4. http://www.facebook.com/profile.php?id=1660298871&ref=name
   5. http://www.myspace.com/edslute

[LUTE] String tension

[Bruno Correia]

   This question must have been touched several times, but as I am rarely
   pleased with the string tension on my lute I'll raise it once more: Is
   it better to have the chanterelle at 36 N? the conversion is about 3.67
   Kg. The problem is that nylgut gets thinner with age and this affects
   the final gauge of the string. According to Paul Beier's calculator
   that means a string of 0,40 NG (lute in G with 59 cm), a very thin
   string for the first course.

   I had previously a 0,42 which was btw very light to my touch, but the
   surprise came when I mesuared it on tension and it was less than 0,40,
   actually if I remember well it was about 0,38. So, how can we possibly
   know the final tension of the string to have the right gauge? At the
   moment I have a 0,44 and I'm not pleased at all with the sound...



   Coments welcomed!

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: should i learn thumb-under technique?

[Bruno Correia]

   Graham,



   I've been formerly an experienced classical guitarist as well. Let me
   try to answer some of your questions:





   2010/3/18 Graham Freeman <[1]freeman.gra...@gmail.com>

   All,
   I'm finding this discussion very informative and helpful. I'm also
 an
   experienced guitarist and come to theorbo and lute from a
 classical
   guitar background. I still play quite a lot of steel-string
 guitar, as
   there is just too much great music (Pierre Bensusan, Martin
 Simpson)
   for that instrument to ignore. Steel-string technique in
 incredibly
   varied among the many different players, and I've learned a lot
 from
   watching the right-hand of someone like Bensusan, who has a very
   relaxed and flexible right-hand technique that allows him to adapt
 to
   different musical situations.


   That's interesting, unfortunately I am not aware of these players.

 I think that we might learn a lot from
   watching the technique of someone who doesn't feel the need to be
   pedantic about it and lets his hands adapt to different
 situations.
   Perhaps steel-string guitarists have even more to teach us about
 the
   right-hand than do classical guitarists.


   Honestly, classical or steel string players won't give us what we want,
   which is to understand how lute music was played back then. The
   information is partly on the lute tutors, iconography and of course in
   our sensibility. The thumb under or out constantly being described on
   this list, refers not only to the crossing of the thumb inside our
   outside the hand, there is much more to it, believe me...

   That being said, I find the different lute techniques fascinating.
 Paul
   O'Dette seems to be able to use his thumb-under technique for
   everything, including Bach and the theorbo, whereas Nigel North
 seems
   to use a variation of thumb-over technique for everything he does,
   including Dowland.


   It's fine, both techniques work as you noticed. The principle of sound
   production is still there.

 Perhaps my ignorance is showing here, but Nigel
   North's technique seems to be closer to right-hand classical
 guitar
   technique than many others I have seen.

   Just in it's general appearance.

 My questions, I suppose, would be: are we lutenists too pedantic
 about
   technique? Should we perhaps adopt and flexible right-hand that
 can
   adapt to the many different situations in which we find ourselves?


   Which situations? Perhaps playing Berio on the lute? Ginastera, Villa
   Lobos or maybe transcribing Chopin or Debussy?
   Kapsperger did not even use his (a) finger and his music is full of
   scales, arpeggios, slurs and all kinds of ornaments.

 I
   understand the necessity of studying treatises and iconography to
 learn
   more about the way in which the music was played, but surely the
   surviving evidence doesn't encapsulate the ways in which the
 thousands
   of lute players all over Europe played such a popular instrument
 over
   the course so many years.


   Of course not, we would be crazy if we tried to recover the way every
   single lutenist played during more than 400 years. That's an impossible
   task.

 Historical evidence is one thing, but the
   historians among us will certainly recognize that Hayden White and
 Paul
   Ricoeur long ago raised the awareness of the fact that historical
   record can never provide a complete picture of the past, and that
 we
   need to adopt, perhaps, a more phenomenological approach based on
 our
   own experiences in an ongoing historical situation. Perhaps that
 means
   that a 21st century lute player who plays a greater amount of
   repertoire than any historical lutenist ever did, and perhaps also
   plays instruments of which lutenists had never heard (such as
   steel-string guitar) need to adopt the kind of techniques that
 suit
   there situations.

   Well, what I see today is that people are specializing in one
   direction, rather than trying to play 4 centuries of music. However,
   there are players like Hopkinson who does a nice job from renaissance
   to baroque, I think.

   I really do favour a plurality of approaches to technique, an
 approach
   that might earn me the wrath of this board. Nevertheless, it
 occurs to
   me that if, in 400 years, all that is left of the evidence
 concerning
   the ways in which the electric guitar was played by millions of
 people
   in the 20th and 21st centuries is a video of the fairly orthodox
   technique of a few, our descendants might never know of the
 miraculous
   musical results produced by guitarists with extremely unorthodox
   techniques such as Jeff Beck (no right-hand plectrum)