[LUTE] Re: Eugene Dombois Wikipedia page
Hi Ed, I’m a longtime wikipedia editor. Let me help :) Perhaps send the content to me directly? Best, Edward > On 19 Nov 2019, at 10:06 AM, Ed Durbrow wrote: > > Almost a year ago I attempted to make a Wikipedia entry for Eugene > Dombois. This is my first attempt to produce content for Wikipedia and > I don’t know what I’m doing. I could not publish the page and I think > the message was that it needed to be reviewed. I never heard back. > Could we make this a group effort? Or barring that, could anyone offer > help or advice on how to bring this page to fruition? It is a travesty > that he doesn’t have a Wiki entry. > > [1]https://en.wikipedia.org/wiki/User:Edurbrow/sandbox > > This page has been deleted. The deletion, protection, and move log for > the page are provided below for reference. > * 12:06, 25 October 2019 [2]Edgar181 [3]talk [4]contribs deleted page > [5]User:Edurbrow/sandbox ([6]G8: Page dependent on a deleted or > nonexistent page) > * 16:16, 1 March 2019 [7]CNMall41 [8]talk [9]contribs moved page > [10]User:Edurbrow/sandbox to [11]Draft:Eugen Müller Dombois > (Preferred location for [12]AfC submissions) > > I have the content in a Pages (OS X) document on my computer. > Ed Durbrow > Saitama, Japan > [13]http://www.youtube.com/user/edurbrow?feature=watch > [14]https://soundcloud.com/ed-durbrow > [15]http://www9.plala.or.jp/edurbrow/ > > -- > > References > > 1. https://en.wikipedia.org/wiki/User:Edurbrow/sandbox > 2. https://en.wikipedia.org/wiki/User:Edgar181 > 3. https://en.wikipedia.org/wiki/User_talk:Edgar181 > 4. https://en.wikipedia.org/wiki/Special:Contributions/Edgar181 > 5. > https://en.wikipedia.org/w/index.php?title=User:Edurbrow/sandbox=edit=1 > 6. https://en.wikipedia.org/wiki/Wikipedia:CSD#G8 > 7. https://en.wikipedia.org/wiki/User:CNMall41 > 8. https://en.wikipedia.org/wiki/User_talk:CNMall41 > 9. https://en.wikipedia.org/wiki/Special:Contributions/CNMall41 > 10. > https://en.wikipedia.org/w/index.php?title=User:Edurbrow/sandbox=no=edit=1 > 11. > https://en.wikipedia.org/w/index.php?title=Draft:Eugen_Müller_Dombois=edit=1 > 12. https://en.wikipedia.org/wiki/Wikipedia:AFC > 13. http://www.youtube.com/user/edurbrow?feature=watch > 14. https://soundcloud.com/ed-durbrow > 15. http://www9.plala.or.jp/edurbrow/ > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Plucking Room
Hi Jim, Thank you! Could I ask how much space there is between your strings and soundboard at the bottom of your rose? Best, Edward C. Yong τούτο ηλεκτρονικόν ταχυδρομείον εκ είΦωνου εμεύ επέμφθη. Hæ litteræ electronicæ ab iPhono missæ sunt. 此電子郵件發送于自吾iPhone。 This e-mail was sent from my iPhone. > On 27 Jun 2019, at 9:02 PM, James Stimson wrote: > > Dear Edward, >My understanding of the matter is that most luthiers do not make the > table of the lute absolutely flat, but "dish" it slightly starting at > the bridge, to provide the necessary plucking space. > Jim > -----Original Message- > From: Edward C. Yong > To: Lute List > Sent: Sat, Jun 22, 2019 9:31 am > Subject: [LUTE] Plucking Room > Hi everyone, > Question re plucking room. I've never had to think about how much space > there was between the string and the soundboard, and I realise this > means I've always had good setups in this area. > I have been playing a friend's vihuela (by Luca Piccioni of Assisi) > that has always seemed to have the strings ridiculously close to the > soundboard, and my fingertips constantly brush the soundboard when I > play. > Out of curiosity, I decided to measure just how much space there was. > At the bridge loop, the strings are 6 mm from the soundboard. At the > lower edge of the rose, the string height is 3-4 mm. > To compare, I measured my Joseph Mayes renaissance guitar - that has > about 8-9 mm at the bridge, and goes to 6 mm at the base of the rose. > My Sir Ian Harwood renaissance lute has 7 mm at the bridge, and 6 mm at > the base of the rose. > The loops at the bridge are at maximum height already. The left-hand > action is perfectly fine, but I can't be constantly brushing the > soundboard with my right hand as I play! > I'm wondering what can be done about this, suggestions welcome! > Best, > Edward > To get on or off this list see list information at > [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > > References > > 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Re: Instrument Buzz
Hi John, Thanks for that! Best, Edward > On 22 Jun 2019, at 4:43 AM, John Mardinly wrote: > > Edward; > > My 1970 Rubio developed a terrible rattle internally due to detached > bracing. Guitars routinely have bracing repaired through the sound > hole, but lutes require removing the top. Major surgery, but it was > done successfully on my lute. Good luck. My repair was done by Mel Wong > in San Francisco. > > A. John Mardinly, Ph.D., P.E. > > On Jun 6, 2019, at 7:05 PM, Edward C. Yong <[1]edward.y...@gmail.com> > wrote: > > Hi Daniel, > The buzz has always been there as long as I've had the instrument. > I've noticed the maker didn't remove the paper stencil(?) after carving > out the rosette and closing the instrument, so the paper is still glued > to the underside of the rosette. I'm wondering if that might be > contributing to the buzz. Is it common for makers to keep that paper > stencil/pattern on the instrument? > Best, > Edward > > On 21 May 2019, at 7:52 AM, Daniel Heiman > <[2]heiman.dan...@juno.com> wrote: > Edward: > When did you start to notice the buzz? > Was it always present as long as you have owned the instrument? > Did it appear suddenly out of nowhere? > Have you changed a string lately, and that is when the buzz started? > Daniel > -Original Message- > From: [3]lute-...@cs.dartmouth.edu > [[4]mailto:lute-...@cs.dartmouth.edu] On Behalf Of Matthew Daillie > Sent: Monday, May 20, 2019 12:22 PM > To: Edward C. Yong <[5]edward.y...@gmail.com> > Cc: Lute List <[6]lute@cs.dartmouth.edu> > Subject: [LUTE] Re: Instrument Buzz > Sounds like it could be a loose bar or maybe an issue with the rose. > Try holding the instrument with your fingers on the underside and > with your thumb go round the edge of the soundboard applying a > LITTLE pressure to see whether there are any noises of the > soundboard moving against a bar (like a little click probably). You > can also tap lightly on different areas of the top with the tip of > your middle finger to see if there are any unwelcome noises. > Obviously do this as gently as possible. > Have you checked on the relative humidity? If you have a concert > coming up and you think there is a loose bar, make sure the relative > humidity is at least 50% (but no more than 65%) and this might > resolve the issue temporarily. > Best, > Matthew > > On May 20, 2019, at 18:01, "Edward C. Yong" > <[7]edward.y...@gmail.com> wrote: > Hi everyone, > A bit of buzz is driving me crazy. I have a renaissance guitar and > there's a buzz that starts with the plucked note and dies down quite > quickly. > I've checked the bridge for any loose bits of string - nothing. > I've checked the pegbox/peghead for loose buzzy strings - nothing. > No possibility of frets being too high and buzzing, as the buzzing > happens at all notes at all positions. > I'm hoping it's not something beneath the soundboard that's loose > and causing the buzz. > It doesn't buzz when the instrument is flat, with the rose facing > up. It buzzes when the instrument is in a playing position - with > the rose facing sideways. It buzzes with the rose facing down. > I'm on the verge of having this sent to the nearest luthier, but > have > a performance coming up. I just hope the audience won't be able to > hear the subtle buzz, as we're not being amplified… > Best, > Edward > To get on or off this list see list information at > [8]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmo > uth.edu_-7Ewbc_lute-2Dadmin_index.html=DwIFaQ=l45AxH-kUV29SRQusp > 9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt > 90E=ygKsLc2OUpQjhhRUgTCOR5Grvb2h2JLCNWSfi5Lok3k=Mzh2XPos7rE0Tjjy > iKx0rRkX03f0IwqU2Mxp8MQDWnA= > > References > > 1. mailto:edward.y...@gmail.com > 2. mailto:heiman.dan...@juno.com > 3. mailto:lute-...@cs.dartmouth.edu > 4. mailto:lute-...@cs.dartmouth.edu > 5. mailto:edward.y...@gmail.com > 6. mailto:lute@cs.dartmouth.edu > 7. mailto:edward.y...@gmail.com > 8. > https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html=DwIFaQ=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=ygKsLc2OUpQjhhRUgTCOR5Grvb2h2JLCNWSfi5Lok3k=Mzh2XPos7rE0TjjyiKx0rRkX03f0IwqU2Mxp8MQDWnA= >
[LUTE] Plucking Room
Hi everyone, Question re plucking room. I’ve never had to think about how much space there was between the string and the soundboard, and I realise this means I’ve always had good setups in this area. I have been playing a friend’s vihuela (by Luca Piccioni of Assisi) that has always seemed to have the strings ridiculously close to the soundboard, and my fingertips constantly brush the soundboard when I play. Out of curiosity, I decided to measure just how much space there was. At the bridge loop, the strings are 6 mm from the soundboard. At the lower edge of the rose, the string height is 3-4 mm. To compare, I measured my Joseph Mayes renaissance guitar - that has about 8-9 mm at the bridge, and goes to 6 mm at the base of the rose. My Sir Ian Harwood renaissance lute has 7 mm at the bridge, and 6 mm at the base of the rose. The loops at the bridge are at maximum height already. The left-hand action is perfectly fine, but I can’t be constantly brushing the soundboard with my right hand as I play! I’m wondering what can be done about this, suggestions welcome! Best, Edward To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Julian Bream on Lute
I have to agree. JB used his stardom to get the lute out there, even if it was a Frankenlute with nothing lute about it apart from the shape. Would anyone have paid attention to his lute playing if it hadn’t ridden on the back of his guitarist reputation? Probably not. I recognise that many here were introduced to the lute via JB's efforts, but my own experience was rather different. My first exposure to lute music was an LP of Julian Bream playing Dowland in my school library, and that put me off the lute - it sounded like a classical guitar to me, so at 12, I didn’t see the point. It wasn’t until a year later that I heard Paul O’Dette and Jakob Lindberg’s cd of Elizabethan lute duets and that changed my mind entirely - I wanted to play an instrument that sounded like theirs. While I have much respect for JB being a musician on the guitar and an 'early adopter', I fear I find his tone on the lute to be thin and hard, or ‘metallic sharp’ as Mr Frenz calls it. It’s difficult for me to look past the tone and appreciate JB’s musicianship on the lutewhen I find the tone unattractive - and this is my failing, not JB’s. Edward > On 19 Jun 2019, at 12:40 PM, Jurgen Frenz > wrote: > > Julian Bream was a vital part (I believe) of the lute revival 50 years ago by > making the music public. On the downside of it he played guitar technique on > it to the point of using singe strings on both the high G and D courses - it > allowed him to play apoyando on the lute which is a big no-no. Hence his lute > playing doesn't really sound like a lute. Also, at that time, it was common > guitar technique to use sound differences to emphasize or mark formal > sections by moving the right hand extremely close to the bridge, which > creates a very metallic sharp sound. This has fallen out of favor on the > guitar as well, I personally would qualify it as obnoxious, even more so on > the lute. > If you like it, you may listen to Konrad Ragossnigs lute recordings, he > sounds very much like Bream did. > > Best > Jurgen > > > -- > “Close your eyes. Fall in love. Stay there.” > > Jalāl ad-Dīn Muhammad Rumi > > ‐‐‐ Original Message ‐‐‐ > On Wednesday, June 19, 2019 6:13 AM, Franz Mechsner > wrote: > >> Dear Dan, >> >> Julian Bream actually pioneered lute playing very early. Watch >> this beautiful movie on him that makes me smile (lute things come >> somewhere in the >> middle): [1]https://www.youtube.com/watch?v=MUdunh_wMCI >> >> Warm regards and best >> Franz >> >> Dr. Franz Mechsner >> Zum Kirschberg 40 >> D-14806 Belzig OT Borne >> +49(0)33841 441362 >> franz.mechs...@gmx.de >> >> Gesendet: Mittwoch, 19. Juni 2019 um 01:07 Uhr >> Von: "Dan Winheld" dwinh...@lmi.net >> An: "Franz Mechsner" franz.mechs...@gmx.de, lute@cs.dartmouth.edu >> Betreff: Re: [LUTE] Julian Bream on Lute >> Nope. Never heard of him. >> On 6/18/2019 3:49 PM, Franz Mechsner wrote: >> >>> Dear collective wisdom, >> >>> >> >>> I just heard some pieces played by admired guitarist Julian Bram on >> >> the >> >>> lute. It seems to me he played kind of classical guitar style on the >> >>> lute. Strange, but It sounds wonderful to me, not only bold for the >> >>> time. Does anyone understand how he played the (maybe special) lute >> >> and >> >>> produced the wonderful sound on a lute admittedly built for him? >> >>> >> >>> Best and curious >> >>> Franz >> >>> >> >>> Dr. Franz Mechsner >> >>> Zum Kirschberg 40 >> >>> D-14806 Belzig OT Borne >> >>> +49(0)33841 441362 >> >>> franz.mechs...@gmx.de >> >>> >> >>> >> >>> To get on or off this list see list information at >> >>> [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> >>> >> >> References >> >> 1. https://www.youtube.com/watch?v=MUdunh_wMCI >> 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > >
[LUTE] Re: Julian Bream on Lute
I don’t think Sevogia cared about anything other than his own stardom, really. This is the man who butchered de Visée’s music and happily signed his own name on a Stradivarius guitar. Edward > On 19 Jun 2019, at 4:32 PM, G. C. wrote: > > +++ Ponce (Mexico) got yelled at for faking early music compositions > > People usually hate to be duped (as shown many years ago among our own > ranks). How those works could be attributed to Weiss can only be > ascribed to a lack of knowledge about Weiss' style at the time. I can't > understand how Segovia could be involved in such a scam. I recall that > Bream's lute records were quite adored at the time, and brought many > guitarists over to the lute. We shouldn't judge him by today's > standards and great advancements in lute construction and hip. I still > enjoy those records very much, but then, I still love the guitar as > much as the lute. :) > > G. > > -- > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Instrument Buzz
Hi Daniel, The buzz has always been there as long as I’ve had the instrument. I’ve noticed the maker didn’t remove the paper stencil(?) after carving out the rosette and closing the instrument, so the paper is still glued to the underside of the rosette. I’m wondering if that might be contributing to the buzz. Is it common for makers to keep that paper stencil/pattern on the instrument? Best, Edward > On 21 May 2019, at 7:52 AM, Daniel Heiman wrote: > > Edward: > > When did you start to notice the buzz? > Was it always present as long as you have owned the instrument? > Did it appear suddenly out of nowhere? > Have you changed a string lately, and that is when the buzz started? > > Daniel > > -Original Message- > From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf > Of Matthew Daillie > Sent: Monday, May 20, 2019 12:22 PM > To: Edward C. Yong > Cc: Lute List > Subject: [LUTE] Re: Instrument Buzz > > Sounds like it could be a loose bar or maybe an issue with the rose. Try > holding the instrument with your fingers on the underside and with your thumb > go round the edge of the soundboard applying a LITTLE pressure to see whether > there are any noises of the soundboard moving against a bar (like a little > click probably). You can also tap lightly on different areas of the top with > the tip of your middle finger to see if there are any unwelcome noises. > Obviously do this as gently as possible. > Have you checked on the relative humidity? If you have a concert coming up > and you think there is a loose bar, make sure the relative humidity is at > least 50% (but no more than 65%) and this might resolve the issue temporarily. > Best, > Matthew > > > >> On May 20, 2019, at 18:01, "Edward C. Yong" wrote: >> >> Hi everyone, >> >> A bit of buzz is driving me crazy. I have a renaissance guitar and there’s a >> buzz that starts with the plucked note and dies down quite quickly. >> >> I’ve checked the bridge for any loose bits of string - nothing. >> >> I’ve checked the pegbox/peghead for loose buzzy strings - nothing. >> >> No possibility of frets being too high and buzzing, as the buzzing happens >> at all notes at all positions. >> >> I’m hoping it’s not something beneath the soundboard that’s loose and >> causing the buzz. >> >> It doesn’t buzz when the instrument is flat, with the rose facing up. It >> buzzes when the instrument is in a playing position - with the rose facing >> sideways. It buzzes with the rose facing down. >> >> I’m on the verge of having this sent to the nearest luthier, but have >> a performance coming up. I just hope the audience won’t be able to >> hear the subtle buzz, as we’re not being amplified… >> >> Best, >> >> Edward >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > >
[LUTE] Re: Instrument Buzz
Hi Matthew, *slight* click when pressing on the soundboard around the 9 o’clock about an inch from the edge of the rose. Our humidity here is usually in the upper 80s or even 90s! Best, Edward > On 21 May 2019, at 1:22 AM, Matthew Daillie wrote: > > Sounds like it could be a loose bar or maybe an issue with the rose. Try > holding the instrument with your fingers on the underside and with your thumb > go round the edge of the soundboard applying a LITTLE pressure to see whether > there are any noises of the soundboard moving against a bar (like a little > click probably). You can also tap lightly on different areas of the top with > the tip of your middle finger to see if there are any unwelcome noises. > Obviously do this as gently as possible. > Have you checked on the relative humidity? If you have a concert coming up > and you think there is a loose bar, make sure the relative humidity is at > least 50% (but no more than 65%) and this might resolve the issue temporarily. > Best, > Matthew > > > >> On May 20, 2019, at 18:01, "Edward C. Yong" wrote: >> >> Hi everyone, >> >> A bit of buzz is driving me crazy. I have a renaissance guitar and there’s a >> buzz that starts with the plucked note and dies down quite quickly. >> >> I’ve checked the bridge for any loose bits of string - nothing. >> >> I’ve checked the pegbox/peghead for loose buzzy strings - nothing. >> >> No possibility of frets being too high and buzzing, as the buzzing happens >> at all notes at all positions. >> >> I’m hoping it’s not something beneath the soundboard that’s loose and >> causing the buzz. >> >> It doesn’t buzz when the instrument is flat, with the rose facing up. It >> buzzes when the instrument is in a playing position - with the rose facing >> sideways. It buzzes with the rose facing down. >> >> I’m on the verge of having this sent to the nearest luthier, but have a >> performance coming up. I just hope the audience won’t be able to hear the >> subtle buzz, as we’re not being amplified… >> >> Best, >> >> Edward >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Instrument Buzz
Hi everyone, A bit of buzz is driving me crazy. I have a renaissance guitar and there’s a buzz that starts with the plucked note and dies down quite quickly. I’ve checked the bridge for any loose bits of string - nothing. I’ve checked the pegbox/peghead for loose buzzy strings - nothing. No possibility of frets being too high and buzzing, as the buzzing happens at all notes at all positions. I’m hoping it’s not something beneath the soundboard that’s loose and causing the buzz. It doesn’t buzz when the instrument is flat, with the rose facing up. It buzzes when the instrument is in a playing position - with the rose facing sideways. It buzzes with the rose facing down. I’m on the verge of having this sent to the nearest luthier, but have a performance coming up. I just hope the audience won’t be able to hear the subtle buzz, as we’re not being amplified… Best, Edward To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Vivaldi Lute Concerto
Hi Michael, Yes please, if you can find it. Thank you! Best, Edward > On 15 Apr 2019, at 10:25 PM, Michael Vollbrecht wrote: > > Hello Edward, > I made a quick tab of that concerto for Ren. Lute; if you still > need it, I can send it to you -once I've found it... > > All the Best > > Michael Vollbrecht > > > On Thu, 2019-04-11 at 16:39 +0800, Edward C. Yong wrote: >> Dear Lute Collective, >> >> Would anyone have the Vivadi Lute Concerto in D major RV 93 in tablature for >> G tuning? >> >> Thank you in advance from Singapore! >> >> Edward C. Yong >> >> >> >> τούτο ηλεκτρονικόν ταχυδρομείον εκ είΦωνου εμεύ επέμφθη. >> Hæ litteræ electronicæ ab iPhono missæ sunt. >> 此電子郵件發送于自吾iPhone。 >> This e-mail was sent from my iPhone. >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >
[LUTE] Vivaldi Lute Concerto
Dear Lute Collective, Would anyone have the Vivadi Lute Concerto in D major RV 93 in tablature for G tuning? Thank you in advance from Singapore! Edward C. Yong τούτο ηλεκτρονικόν ταχυδρομείον εκ είΦωνου εμεύ επέμφθη. Hæ litteræ electronicæ ab iPhono missæ sunt. 此電子郵件發送于自吾iPhone。 This e-mail was sent from my iPhone. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Caravaggio
Thank you! This may well have been it! > On 2 Mar 2019, at 12:02 PM, Lisa Sass @muse wrote: > > Was it David Van > Edwards? [1]http://www.vanedwards.co.uk/month/jun99/month.htm > > ~Lisa Sass > Sent from my TRS-80 > On Mar 1, 2019, at 21:47, Edward C. Yong <[2]edward.y...@gmail.com> > wrote: > > Hi everyone, > over a decade ago, I recall attending one of the talks at the UK Lute > Society's meetings where the speaker talked about paintings of lute > players, and said he felt a certain painting (Caravaggio?) was likely a > fake on account of the positioning of the fingers. It was quite a > compelling argument at the time. > Does anyone recall who the talk was by and if a transcript is > available? > Thanks in advance! > Edward > To get on or off this list see list information at > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > > References > > 1. http://www.vanedwards.co.uk/month/jun99/month.htm > 2. mailto:edward.y...@gmail.com > 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Caravaggio
Hi everyone, over a decade ago, I recall attending one of the talks at the UK Lute Society’s meetings where the speaker talked about paintings of lute players, and said he felt a certain painting (Caravaggio?) was likely a fake on account of the positioning of the fingers. It was quite a compelling argument at the time. Does anyone recall who the talk was by and if a transcript is available? Thanks in advance! Edward To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Gut Diapasons >180cm
hi everyone, where does one find gut strings for diapasons longer than 180 cm? a young friend has diapasons that are 182.5cm, and the Aquila 180cm strings are too short to fit! thanks for the help :) best, Edward To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The illusory truth effect [was: Re: Francesco//Siena 62 - "5th Mode" - Raga Kamod
I, also, find these emails on a supposed connexion between Renaissance lute music and Indian music to be tedious and exceedingly uninteresting. Edward C. Yong τούτο ηλεκτρονικόν ταχυδρομείον εκ είΦωνου εμεύ επέμφθη. Hæ litteræ electronicæ ab iPhono missæ sunt. 此電子郵件發送于自吾iPhone。 This e-mail was sent from my iPhone. > On 11 Aug 2018, at 12:38 AM, Antonio Corona wrote: > > Dear Tristan > You ask us to speak up, so I shall: > In my opinion all you propose is wishfull listening, and nothing else. > Therefore I cannot support your ideas. > Sorry, but you asked, and I'm not afraid to answer. From my end this is > the end of discussion and I shall not make any further comments or > reply (this is geting boresome). > Antonio > __ > > From: Tristan von Neumann > To: lutelist Net > Sent: Friday, 10 August 2018, 9:08 > Subject: [LUTE] Re: The illusory truth effect [was: Re: > Francesco//Siena 62 - "5th Mode" - Raga Kamod > Why are the only people discussing do not use any real arguments, > instead those from the eristics bin? > So, officially I ask the list: > Does anyone of you support anything I say? > There are statistics in soundcloud, so I know not just two people are > playing the tracks. > Don't be afraid to speak up. > It is for those people I post this, everyone else who disagrees please > ignore me or at least bring up some other argument than the logically > flawed "there is no pink unicorn because no one has ever shown one", or > worse: "If it were true, why has no one written about it already?", or > purely formal complaints about a post in a mailing list (!). This is > not > a scientific magazine. > Am 10.08.2018 um 15:24 schrieb Martyn Hodgson: >> Many months ago I decided to flag Tristan von Neumann's emails as >> spam. He appeared impervious to reasoned thought and only wished > to >> put across a cranky assertion based on very little actual hard > evidence >> rather than his coincidental speculation. I even wondered whether > the >> whole thing was so far-fetched as to be a spoof.. >> So I've only now caught up with the latest developments through > the >> thoughtful considered responses to the Lute List of people like > you and >> Jurgen Frenz. I too see no reason to change my final comment to >> Neumann (pasted below) made in April last and the spam filter will >> continue. >> Martyn Hodgson >> > --- >> - >> >> >> >> >> >> 2 Apr at 12:10 PM >> >> >> >> >> >> >> >> To T[1]ristan von Neumann [2]lutelist Net >> Thank you for this. As I understand it your basic thesis is that, >> because there >> appears to be some similarities, various European early musical > forms >> must >> have been directly copied at the time (and appropriated by > Monteverdi >> and >> others) from existing music found on the subcontinent. >> It will certainly be instructive to read your promised full and >> properly developed >> paper on this matter. In which refereed scholarly journal are you >> seeking to have >> it published? - and when will it appear? >> Incidentally, I'm sure you will be aware of a basic rule of formal >> logic employed >> in any recognised objective analysis: - correlation does not > imply >> causation. A >> mistaken belief that correlation signifies causation is, as you > will >> also be aware, >> a questionable cause logical fallacy. No doubt you will, > therefore, >> rigorously >> address this particularly relevant matter in your forthcoming > paper. >> Martyn Hodgson >> > __ >> >> From: Ido Shdaimah <[1]ishdai...@gmail.com> >> To: lutelist Net <[2]lute@cs.dartmouth.edu> >> Sent: Friday, 10 August 2018, 12:46 >> Subject: [LUTE] Re: The illusory truth effect [was: Re: >> Francesco//Siena 62 - "5th Mode" - Raga Kamod >> Dear Tristan, >> The Harmonium isn't traditionally used Indian Classical music: >> In Indian music, only the Swaras (notes) Pa and Sa are set on > exact >> points. The other Sawaras vary within ranges called > Swarakshetras. >> The >> maximal and minimal points are called Shrutis, and the
[LUTE] Re: prostitution
On Fri, 10 Aug 2018 at 17:38, Alain Veylit <[1]al...@musickshandmade.com> wrote: Just imagine if J.S. Bach was credited by a contemporary publisher with a song entitled "Once, twice, thrice, I Julia tried", would that raise an eye brow?? Just curious: did Mozart compose anything we'd consider "bawdy" or tavern material?? Or other composers, besides Lasso?? 'Leck mich im Arsch' comes to mind. [2]http://mentalfloss.com/article/55247/3-dirty-songs-mozart On 08/09/2018 10:06 PM, howard posner wrote: >> On Aug 9, 2018, at 9:15 PM, Alain Veylit <[3]al...@musickshandmade.com> wrote: >> >>Like Henry Purcell, who seems to have found his name attached to a very large number of bawdy songs in 17th century England, if I recall correctly. > Is there any reason to think he didn't write the music for all those catches? I'm not aware that his authorship has ever been questioned. > > He lived in an age of relaxed sexual mores and worked a great deal in the theater. > 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:al...@musickshandmade.com 2. http://mentalfloss.com/article/55247/3-dirty-songs-mozart 3. mailto:al...@musickshandmade.com 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 18th Century dance or musical forms associated with particular regions
IIRC in theory La Folia is Portuguese in origin, even though strongly associated with Spain. On 2 August 2018 at 15:00, Anthony Hart <[1]anthony.hart1...@gmail.com> wrote: I am looking for particular musical forms associated with Sicily, Rome and Portugal (Lisbon). The Sicilian area is easy - Siciliano, but any ideas about the others? Thanks Anthony -- __ Anthony Hart MSc, LLCM,ALCM. Musicologist and Independent Researcher Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA Mob: +356 9944 9552. e-mail: [1][2]resea...@antoninoreggio.com; web: [2][3]www.monsignor-reggio.com NEW Publications: EDIZIONE ANTONINO REGGIO - [3][4]www.edizionear.com for information and special offer -- References 1. mailto:[5]resea...@antoninoreggio.com 2. [6]http://www.monsignor-reggio.com/ 3. [7]http://www.edizionear.com/ 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:anthony.hart1...@gmail.com 2. mailto:resea...@antoninoreggio.com 3. http://www.monsignor-reggio.com/ 4. http://www.edizionear.com/ 5. mailto:resea...@antoninoreggio.com 6. http://www.monsignor-reggio.com/ 7. http://www.edizionear.com/ 8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: intabulations
< I've heard that outside of the piano and possibly violin there is more lute music than for any other instrument.> i'm wondering if 'piano' here includes the harpsichord repertoire. a fascinating topic to be sure... On 29 July 2018 at 22:43, Ed Durbrow <[1]edurb...@gmail.com> wrote: I'm giving a talk on the lute next week and I was searching for a statistic about how much of the Renaissance lute repertoire consist of intabulations. Also, I am looking for statistics (estimates really) of how many tabs there are and could have been and how many songs with in tabulation there are. I've heard that outside of the piano and possibly violin there is more lute music than for any other instrument. I want to back that up. If you could point me to some research or quotes somewhere on the Internet, I would be much obliged. Thanks in advance. Ed Durbrow Saitama, Japan [2]http://www.youtube.com/user/edurbrow?feature=watch [3]https://soundcloud.com/ed-durbrow [4]http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:edurb...@gmail.com 2. http://www.youtube.com/user/edurbrow?feature=watch 3. https://soundcloud.com/ed-durbrow 4. http://www9.plala.or.jp/edurbrow/ 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Finger Fracture
hi everyone, thank you for your messages and input. the professor who saw me is a hobby musician too, so he understood the need to regain flexibility and strength. his recommendation was a moulded finger brace, at a nicely curved angle so that the avulsion fracture heals more easily. he also recommended that while i wear the brace for most of the day and while sleeping, i should take it off to do some flexing and stretching exercises thrice daily to maintain and build flexibility and strength. the doc said no playing for two weeks but i can start some basic warmup type fingerings after two weeks. 80% function should be back in 6 weeks and 100% within 3-4 months. hurrah! i'm just glad surgery is not required, as i'd been googling images of 'fractured finger surgery' and pretty much scaring myself silly. thank you all! :D best, Edward On 4 July 2018 at 12:27, Edward C. Yong <[1]edward.y...@gmail.com> wrote: hi lute people. i had a fall and ended up injuring my left index finger. specifically an avulsion fracture at the base of the intermediate phalanx. have any of you or folk you know had such an injury? my finger's in a splint now, and i'm wondering how long healing will take. i'm seeing the hand surgeon tomorrow and wonder if i should ask for a pin to help it set and heal properly. any advice welcome! Edward Chrysogonus Yong [2]edward.y...@gmail.com -- References 1. mailto:edward.y...@gmail.com 2. mailto:edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Finger Fracture
hi lute people. i had a fall and ended up injuring my left index finger. specifically an avulsion fracture at the base of the intermediate phalanx. have any of you or folk you know had such an injury? my finger's in a splint now, and i'm wondering how long healing will take. i'm seeing the hand surgeon tomorrow and wonder if i should ask for a pin to help it set and heal properly. any advice welcome! Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Selua amorosa
AHA. hence Monteverdi's 'Selva Morale e Spirituale'. i'd always thought 'moral and spiritual forest', and it never occured to me that 'selva' could also mean 'collection'. thanks! Edward On 11 April 2018 at 23:14, Rainer <[1]rads.bera_g...@t-online.de> wrote: I do not speak Italian, however silva = Forest (Latin) I should have noticed :) Rainer On 11.04.2018 17:07, stephen arndt wrote: Ich nehme an, dass es "Selva amarosa" heiÃen soll. (Der Buchstaben âu" für âv" war ganz üblich auf Latein und Frühitalienisch.) In dem Fall wäre die Ãbersetzung âWald der Liebe". -Original Message- From: Rainer Sent: Wednesday, April 11, 2018 9:42 AM To: Lute net Subject: [LUTE] Selua amorosa Dear lute netters, in Nobilita di Dame there is (page 361) a piece called "Selua Amorosa" (a concordance for Allemande Fortune helas...) Does anybody know what the title means? Rainer 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:rads.bera_g...@t-online.de 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Palestrina and Italian Intabulations
Hello collective wisdom! While there seems to be plenty of intabulations of sacred polyphony by the Spanish and Flemish composers, there doesn't seem to be many of Palestrina and the Roman school. I am aware of the lovely intabulations for two or more lutes by Thomas Höger, and those by Ron Andrico, but these are modern. Is there a reason why period ones don't seem to exist? I was playing the accompaniments in Andrico's editions and the pieces seem to fall very nicely under the hand, so I'd be surprised if nothing is out there from those days. Does anyone know of anything from back then? Or other modern intabulations even? Edward -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Rewarding Renaissance Lute repertoire
My vote goes to F. da Milano. When I first took up lute, I was crazy about Dowland and the English circle - they had very catchy melodies. Now, 23 years later, I find myself drawn to the polyphony of da Milano and the earlier composers. There's an intricacy that's very satisfying - the quiet delicacy and elegance has me hooked. On 5 December 2017 at 04:18, Tristan von Neumann <[1]tristanvonneum...@gmx.de> wrote: Here's a poll for Renaissance Lutists - what do you consider most rewarding to play in terms of playability combined with beauty? So far, I love Francesco da Milano and most anonymous pieces from the Siena Ms., they never get tiresome and lie gently on the hands. Also Hans Neusiedler and Luis Milan. Not in this category: Albert de Rippe. Amazing music, but honestly, did this guy have six fingers on each hand?? What are your favourites? Is there any obscure repertoire to discover? 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:tristanvonneum...@gmx.de 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Flow My Tears in G Minor
Hullo! Query for the luteverse. While Dowland's song Flow My Tears is in A minor, the solo version is in G minor. Is there any reason why, and would anyone have the accompaniment in a G minor version? Best, Edward from Singapore -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Wolf Hall
Good dramas with proper period music that come to mind: 1) The 1994 film Nostradamus. It had a scene of a country theatre, and the music accompanying was Susato, with an onstage band of instruments (unfortunately including a metal flute). Soundtrack also included Josquin, etc. 2) The TV series The Borgias had plenty of Renaissance music, even if most of it was about 100 years too late, but that's better than most productions anyway. I was asked to do a bit of musical detective work and the findings are here: [1]http://www.3pp.website/2013/02/the-borgias-musical-background.html 3) The 1995 film Restoration. Lots of Purcell, even if much was arranged for modern orchestra. 4) The 1994 film The Madness of King George. Lots of Haendel, mostly arranged for modern orchestra. On 6 September 2017 at 23:41, Rainer <[2]rads.bera_g...@t-online.de> wrote: A bit late (after 2.5 years) :) - I seem to have missed it in 2015. I wonder if the serial really was such a success. I have watched (in German) all 6 episodes on the German/French [sic!] TV channel Arte recently. Apparently at least 50% of the population suffered from depression in those days. How Cromwell survived 6 episodes without committing suicide is an enigma. Rainer PS This reminds me of "Shakespeare in Love" which I recently watched a second time on German TV - with very mixed feelings :) Of course there are many weird ideas. The queen would never enter a public theatre. Question to the English members: Do most (Many?) people understand those "hidden" jokes? I really liked the scene with Webster. On 22.01.2015 00:39, WALSH STUART wrote: (first episode of much-hyped TV series in UK) I was expecting an immediate response... So anyway, here goes: music begins with Ah Robin (not sung - and probably played on a lute?)...melds into Glassy instrumental stuff. A tremolando mandoline churns out all the plucked expressive work, although lutes figure in the mise-en-scene from time to time. Mark Rylance is a very curious being. --- This email has been checked for viruses by Avast antivirus software. [3]http://www.avast.com To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.3pp.website/2013/02/the-borgias-musical-background.html 2. mailto:rads.bera_g...@t-online.de 3. http://www.avast.com/ 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Sermisy=27s_D=27o=C3=B9_vient_cela?=
Thank you everyone! :D
On 26 July 2017 at 14:26, Jurgen Frenz
<[1]eye-and-ear-cont...@protonmail.com> wrote:
The same is true for "d'ou vient cela", it's no. 23
"You are not a drop in the ocean. You are the entire ocean in a drop"
Rumi
Original Message
Subject: [LUTE] Re: Sermisy=27s_D=27o=C3=B9_vient_cela?=
Local Time: July 26, 2017 12:27 PM
UTC Time: July 26, 2017 5:27 AM
From: [2]tk...@orchid.plala.or.jp
To: 'Edward C. Yong' <[3]edward.y...@gmail.com>, 'Lute List'
<[4]lute@cs.dartmouth.edu>
Hello,
Solo voice and lute version of Tant que Vivray is included in
"Tres breve et familiere intrducion, Attaignant, Paris 1529".
Minkoff edition.
Toshiaki Kakinami
-Original Message-
From: [5]lute-...@cs.dartmouth.edu [mailto:[6]lute-arc@cs.dartmouth.
edu] On Behalf
Of Edward C. Yong
Sent: Wednesday, July 26, 2017 11:59 AM
To: Lute List
Subject: [LUTE] Sermisy=27s_D=27o=C3=B9_vient_cela?=
Hello!
Years ago I had the London Pro Musica edition of Sermisy"s D"oãôã±
vient
cela - it came together with Tant que vivray in a nice SATB version
with a solo voice plus lute insert. I can"t now find that insert. Tant
que vivray is everywhere on the internet but not
D"oãô㱠vient cela. Would anyone have it in electronic form anywhere?
Many thanks in advance!
Edward C. Yong
--
To get on or off this list see list information at
[7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. mailto:eye-and-ear-cont...@protonmail.com
2. mailto:tk...@orchid.plala.or.jp
3. mailto:edward.y...@gmail.com
4. mailto:lute@cs.dartmouth.edu
5. mailto:lute-...@cs.dartmouth.edu
6. mailto:lute-...@cs.dartmouth.edu
7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Sermisy=27s_D=27o=C3=B9_vient_cela?=
Hello! Years ago I had the London Pro Musica edition of Sermisy's D'où vient cela - it came together with Tant que vivray in a nice SATB version with a solo voice plus lute insert. I can't now find that insert. Tant que vivray is everywhere on the internet but not D'où vient cela. Would anyone have it in electronic form anywhere? Many thanks in advance! Edward C. Yong -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Michael Jaffee
Hi Lutenetters! Would anyone know I might get in touch with Michael Jaffee, of the Waverly Consort? Google reveals no activity from that group since about 2002. Thanks in advance, Edward C. Yong -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: insinuations
Dear Anton, I haven’t yet had a chance to sample your intabulations and arrangements, for a lack of lute players in my country. I hope to be able to do so soon. Please keep up the excellent work! Sincerely from Singapore, Edward C. Yong edward.y...@gmail.com > On 3 Aug 2016, at 3:24 pm, Anton Höger <diwa-animat...@t-online.de> wrote: > >> >> Hi everyone, >> >> Martin Hogson wrote: >> >> Dear Anton Hoger, >> >> Have you ever considered learning to play from figured bass? This would save >> you much mundane work making these unnecessary transcriptions/arrangements. >> >> MH >> >> Ja natürlich! Aber was haben meine Renaissance Intabulations mit Dimunitions >> mit einem figured bass zu tun? >> Das eine hat doch mit dem anderen nichts zu tun. >> Ich habe bisher nur sehr wenig Frühbarocke Generalbassstücke bearbeitet. >> Ausserdem wären doch genau diese Ausarbeitungen für den Interpreten >> interessant. Als Anregung, Alternativen oder sogar als fertige Ausführun.. >> Meine 10 downloads und Tausend Danksagungen zeigen ein anderes Bild, als >> Dein ...making these unnecessary transcriptions!!! >> Bitte unterlasse doch diese Unverschämtheiten, wenn Du keine Ahnung hast. >> >> Anton >> >> Yes of course! But how do you bring my Renaissance Intabulations with >> Dimunitions in relation with a figured bass? >> These one has nothing to do with the other one! >> On the other side I have so far only very few Earlybaroque figured Bass >> edited pieces. Exactly this Arrangements may be interesting for the >> interprets. As a suggestion or such ways. >> My 10 downloads and thousand credits show a different image than Your: >> ...making these unnecessary transcriptions!……... >> Please stop these insinuations, if you have no idea. >> >> >> Anton > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Red string
I have a fun explanation - her earlier string broke, and she had to use a string taken from a harpist… and the only spare string the harpist had was one of the red-coloured ones. Edward C. Yong edward.y...@gmail.com > On 29 May 2016, at 2:16 am, Valery SAUVAGE <sauvag...@orange.fr> wrote: > > If you look at "l'homme au luth" (Rubens ? Troyes museum St Loup) > > you can see some strings are red too, and not only basses... (but I > have no asnwer about it, copper loading is understandable for bass > strings but treble ?) > > http://lavie-enchampagne.com/pdf/numero75/numero75.pdf > > (perhaps you can find a better photo of the painting ?) > > ValA(c)ry > > > > > > >> Message du 28/05/16 16:46 >> De : "Sean Smith" <lutesm...@gmail.com> >> A : "lute list" <lute@cs.dartmouth.edu> >> Copie A : >> Objet : [LUTE] Red string >> >> >> Good morning all, >> >> I was impressed this painting: >> > http://www.fondationcustodia.fr/ununiversintime/1_meester_van_de_jar > en_veertig_4494.cfm >> >> I appreciate that the artist was very attentive so I started > zooming around with the magnifier. I noticed that while the spacing > is unrealistic the top string was red. I hadn't heard about this > from our modern string revivalists so I'm curious. What do you think > it might be? >> >> Sean >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > > -- >
[LUTE] Re: Lute in Buxtehude
Dear David and Lute Listers, Thank you all for the very informative perspectives :) Edward C. Yong edward.y...@gmail.com > On 26 Jan 2016, at 4:27 pm, David van Ooijen <davidvanooi...@gmail.com> wrote: > > Membra Jesu Nostri is great; all those viols! I prefer to bring my > theorbo for Buxtehude, it's not that complicated continuo as the later > generation, and the sound of the theorbo is more satisfying in such a > group. > David > > *** > David van Ooijen > [1]davidvanooi...@gmail.com > [2]www.davidvanooijen.nl > *** > On 26 January 2016 at 08:58, Edward Chrysogonus Yong > <[3]edward.y...@gmail.com> wrote: > > Hi Lutefolk! > How does the historical evidence for the use of lute continuo in > Buxtehude's choral music look? My group is doing the Membra Jesu > Nostri in April, and I'm thinking of using my archlute in the > continuo section. > I'm thinking that as this work is quite Italianate, lute would be > appropriate. > Any thoughts or resources (even continuo realisations) would be most > welcome! > Waving from Singapore, > Edward Yong > > II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I 1/2 > IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I.. > HA| litterA| electronicA| ab iPhono missA| sunt. > aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea > This e-mail was sent from my iPhone. > 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:davidvanooi...@gmail.com > 2. http://www.davidvanooijen.nl/ > 3. mailto:edward.y...@gmail.com > 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Re: Violin and lute.
offhand, the whole lutesong repertoire seems quite appropriate. then if you can read figured or unfigured bass, most of the material for treble instrument and ground bass is useful. On 13 October 2015 at 10:46, Herbert Ward <[1]wa...@physics.utexas.edu> wrote: I have a chance to play music with a modern violinist. He's probably quite adept since he played with the symphony of a large city. What music would be appropriate for "introducing" him to the Renaissance repertoire? I don't remembering seeing any historical duets for lute and bowed instrument. 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:wa...@physics.utexas.edu 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Playing both Lute and Harp
Hi, Thanks for the replies! I was under the impression that the non-metal string harps were played with nails, if played in a historically-informed way, but if nails aren’t strictly necessary, then that resolves any difficulty. Thanks again! Edward C. Yong edward.y...@gmail.com > On 23 Sep 2015, at 1:12 pm, stephen arndt <stephenwar...@verizon.net> wrote: > > I'm not sure what you mean exactly by "early" harp. I play both Celtic harp > and and various instruments in the lute family, all without nails. You would > need nails for the harp only if it is wire strung, like the clairseach > (spelled various ways). If it is strung in synthetics or gut, there would be > no reason to play with nails. But I confess that I know very little about how > the harp is played in South America. Someone on the list from that part of > the world may be able to advise you better. > > -Original Message- From: Edward Chrysogonus Yong > Sent: Tuesday, September 22, 2015 10:43 PM > To: Lute List > Subject: [LUTE] Playing both Lute and Harp > > Hello collective wisdom! > > Question: does anyone play early harp and lute? Someone's given me a South > American folk harp that I'm thinking of stringing and using as a single-rank > (manual?) generic 'early harp'. > > My concern is that as a lute player, I can't grow nails. If anyone here plays > early harps as well as lute, advice would be much appreciated. I recall > someone with a gothic harp at a UK Lute Society meeting once over a decade > ago. > > Thanks all! > > Edward Yong > > > > τούτο ηλεκτρονικόν ταχυδρομείον εκ είΦωνου εμεύ επέμφθη. > Hæ litteræ electronicæ ab iPhono missæ sunt. > 此電子郵件發送于自吾iPhone。 > This e-mail was sent from my iPhone. > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Addendum
I’ve been on this list since 1995. THANK YOU MR CRIPPS! Edward C. Yong edward.y...@gmail.com On 22 Jul 2015, at 12:39 am, Ron Andrico praelu...@hotmail.com wrote: I feel the need to add a clarifying remark my statement that when a service is free then YOU are the product. This discussion list, hosted by Wayne Cripps and his servers, is in fact a freely available service that does not, to my knowledge, mine personal information from its users. It's been a while since we all thanked Wayne publicly for providing this forum, and for taking steps to protect its users. The lute-list is a much appreciated remnant of old-school egalitarianism. Thanks, Wayne. RA To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Amplification
Hi Lutekin! Second question for the day - has anyone tried the Schertler Basik pickup? Details here: https://secure.schertler.com/en_IT/shop/pickups/basik I’ve joined a little ukulele busking group, and I’d like to use my renaissance guitar for this, but everyone else has pickups on their ukulele and my renaissance guitar obviously has no pickup. I was thinking to use something like the Schertler Basik, which I can then also use on my lute, baroque guitar, and other instruments. Any other ideas for useful pickups are also much appreciated! Edward C. Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Spain vs. Italy
Mantel’s about as historical as The Tudors or The Borgias… Edward C. Yong edward.y...@gmail.com On 6 May 2015, at 7:04 pm, Mathias Rösel mathias.roe...@t-online.de wrote: Read Hillary Mantel on that topic, you'll get another view. Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Polyphonic Intabulations
Hello folks! I’ve been going through intabulations of sacred polyphony for lute, and after an admittedly brief search, I noticed something curious. The Continentals, particularly the Spanish, seem very interested in intabulations of sacred polyphony, but I haven’t found any examples of English/British either doing the intabulations or being intabulated. I’ve been looking at the Fuenllana, Narvaez etc, and I find Josquin, Morales, Gombert, but no Tallis or Byrd. Was English/British music entirely unpopular on the Continent? Curious, Edward C. Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Ren lute as sub for theorbo
I think that depends on what sort of context in which you intended to replace the theorbo with a Renaissance lute. If you’re thinking of providing accompaniment for a singer in a domestic context, the lute can play the notes, just not the low octaves at cadences. Any more than that, the Renaissance lute doesn’t provide enough volume or support. Edward C. Yong edward.y...@gmail.com On 3 Nov 2014, at 10:32 am, Herbert Ward wa...@physics.utexas.edu wrote: I saw a production of Monteverdi's Return of Ulysses last night. In the orchestra was a theorbo. At least I think it was a theorbo. It has a prominent place in the production, serving as the sole accompaniment for approximately six of the songs. Would it be feasible to replace the theorbo with a Renaissance lute in this opera? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] EMS Theorbo for sale
Hi everyone, So I was browsing the EMS Used Instrument Agency, as one does, and I found this: 'EMS Bass Lute - an early example, but in fairly good condition - no case’ And it turns out to be a theorbo for £600. http://www.earlymusicshop.com/UIA/images/instruments/1985S.jpg http://www.earlymusicshop.com/UIA/strings.aspx It doesn’t look like the current instruments, and I’m wondering how this thing would sound. £600 is a real steal if it sounds even half-decent. Anyone have any idea how ‘early’ this example is, and whether it might sound better than their current theorbo? Waving from sunny Singapore, Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Vivaldi Double Cello Concerto RV 531
Hi Howard, Thanks for the reply! On 2 Sep, 2014, at 1:51 AM, howard posner howardpos...@ca.rr.com wrote: On Sep 1, 2014, at 8:44 AM, Edward C. Yong edward.y...@gmail.com wrote: Style and taste question - do you think an archlute or a baroque guitar would be better for this? Impossible to answer that question in a vacuum. It depends on your particular instruments and ability (is your guitar much louder than your archlute? on which instrument are most fluent?), the ensemble you’re playing with (20 modern string players? one-to-a-part baroque instruments? are you the only continuo player, or is there a harpsichord, organ, harp and 14 theorbos?) The archlute's quite loud (Harz model), about the same volume as the guitar, though of course if I'm strumming, the guitar is much louder. I'm much more fluent on the archlute, but figured some strummy Vivaldi might be the way to start getting some experience on the b.g. The ensemble is all modern strings (3 first violins, 2 second, 1 vla, 1 cello, possibly 1 bass), and continuo will be harpsichord and me. shot in the dark possibility: I gather, from your lack of confidence in your ability to figure the part, that your continuo skills are not advanced. If you’re likely to freeze reading figures in the heat of combat, you might consider just marking chord names above the strong beats and important changes and using the guitar. Not advanced, definitely - even on archlute I need to work out a sort of 80% realisation with a top line and learn that before rehearsals. Monteverdi and gang I can read figures on the spot but not for later music. Thank you! Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: luteshop video
Lovely, thank you for that! It's so nice to see workshop processes in HD video. Edward Chrysogonus Yong edward.y...@gmail.com On 2 Sep, 2014, at 5:12 PM, Martin Shepherd mar...@luteshop.co.uk wrote: Hi All, The promised documentary can be seen here: https://www.youtube.com/watch?v=JbWvcYsGa8U I hope you enjoy it! Martin --- This email is free from viruses and malware because avast! Antivirus protection is active. http://www.avast.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Vivaldi Double Cello Concerto RV 531
hi! question for folk - all the editions of Vivaldi's Double Cello Concerto RV 531 have no continuo figures. i've been asked to play continuo for this, but am not confident of making my own figures from looking at the other parts. does anyone know of a figured edition? Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Vivaldi Double Cello Concerto RV 531
Dear Christopher, If you could make a version with figures available, I'd be very very grateful! Style and taste question - do you think an archlute or a baroque guitar would be better for this? Edward Chrysogonus Yong edward.y...@gmail.com On 1 Sep, 2014, at 11:15 PM, Christopher Wilke chriswi...@yahoo.com wrote: Hi Edward, I played this piece with a professional modern orchestra a couple of years ago. I don't remember anything about the presence or absence of figures. Most Italians from Vivaldi's period didn't notate many figures since it was expected that performers were so familiar with stereotypical progressions from partimenti that figures were redundant. I think I still have a PDF of the music. I'll be happy to send you a copy when I get home. (I'll write in figures if you'd like). Thanks, Chris Sent from Yahoo Mail for iPad From: Edward C. Yong edward.y...@gmail.com; To: Lute List List lute@cs.dartmouth.edu; Subject: [LUTE] Vivaldi Double Cello Concerto RV 531 Sent: Mon, Sep 1, 2014 2:01:06 PM hi! question for folk - all the editions of Vivaldi's Double Cello Concerto RV 531 have no continuo figures. i've been asked to play continuo for this, but am not confident of making my own figures from looking at the other parts. does anyone know of a figured edition? Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Seven courses versus eight.
just for myself, when i'm playing my 7-course at home for no audience, i've been known to tune the two strings of the 7th course to F and D. yes, that's not a unison, i know, and then i'm careful to hit only one string of the course when i need to, making for a sort of cheat 8-course… i wonder if anyone else has done this. cheeky, i know, but i can't imagine i'm the only player in history to have tried this on the sly. Edward Chrysogonus Yong edward.y...@gmail.com On 21 Aug, 2014, at 11:42 AM, Herbert Ward wa...@physics.utexas.edu wrote: What is the extent and nature of the historical liturature which is playable on an 8-course Renassiance lute, but not on a 7-course? In other words, is a 7-course instrument a workable subsitute for an 8-course? This assumes the 7-course lutenist is willing to retune his 7th course between pieces. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Bach's Concerto for Harpsichord Strings in F Minor
I, for one, would love an arrangement for 7-course or archlute! Edward Chrysogonus Yong edward.y...@gmail.com On 19 Aug, 2014, at 11:24 PM, Dan Winheld dwinh...@lmi.net wrote: Roman- beautifully done, very nice. That movement has always been a small favorite of mine. Thank you! Dan On 8/19/2014 6:59 AM, r.turov...@gmail.com wrote: You can also play that movement on a 13course, without any piano: http://polyhymnion.org/swv/images/bach5.pdf RT On 8/19/2014 8:13 AM, Helen Atkinson wrote: Hello - I've had such great help from this forum that I can't resist asking for more. I'm in long-shot mode again, and purists must turn away (!), but I've been asked whether I could play lute to cover the pizzicato strings line of the beautiful Largo movement of this concerto. I may be accompanying a piano rather than harpsichord, so the anachronism could be more extreme still. Is an intabulation of this for a 7-course instrument worth pursuing, I wonder? The score can be found here (pp. 112-113):A [1]http://burrito.whatbox.ca:15263/imglnks/usimg/4/4b/IMSLP02260-Bach_- _BGA_-_BWV_1056.pdf Many thanks Helen -- References 1. http://burrito.whatbox.ca:15263/imglnks/usimg/4/4b/IMSLP02260-Bach_-_BGA_-_BWV_1056.pdf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Appropriateness of play list
So, the restaurant gig happened last night. A big thank-you to everyone who suggested repertoire and how I should approach preparing for the gig. It did turn out that I was there to make a pleasant background noise, and diners mostly treated me with benign neglect, which was perfectly fine. My playing spot turned out to be right under the air-conditioning vent, which meant cold fingers and tuning problems. The restaurant was supposed to open at 6:30, giving us half an hour to set up and prepare from 6-6:30, but some corporate Japanese big spenders arrived at 6 and insisted on being served, and taking the table next to the playing spot, so we couldn't really spend any time doing the setup. The guy arranging the gig spent the entire first set and half of the second set fiddling with his microphone and amp, which hadn't been used in five years and hence weren't in a mood to behave. After various feedback noises and buzzing, during which I tried my best to keep playing, we perhaps got about ten minutes of discreetly-amplified playing. Apart from that it went quite well. Didn't get fed, but did get lots of bread and olive oil and warm water between sets. The guy arranging the gig, himself a classically-trained singer, insisted on programme notes. How does one write programme notes for an assortment of short dances from Caroso and Negri, with bits of da Milano and Vivaldi (*tip of hat to Rockford Mjos*)? So I told him that these were mostly going to be dances, with the names and dates of Caroso and Negri's publications. Somehow in the final programme sheet, this got listed as 'Italian Folk Dances', and 'About the Programme' went like this: Lutes are said to have been played as early as the 7th century, and its various permutations have been played in diverse Eastern and Western cultures from Ancient Greece to Byzantium, Egypt, Persia, India and China. It is the favorite instrument of Queen Elizabeth I and its music has entertained knights and fair maidens in the taverns of medieval times.. Knights. Fair maidens. Taverns of medieval times. It's like being in the SCA. I don't know how aristocratic dances became folk dances. I suspect if the writer hadn't had any musical training at all, the final product would have been even more hilarious. Anyone else with anecdotes of mediaeval clichés to report? Or are these too frequent and numerous to merit mention? :D Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Appropriateness of play list
Thanks everyone for the wonderful answers and anecdotes :D Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Appropriateness of play list
Hi fellow lutenetters! So I've been asked to do an Italian restaurant gig in July, two sets of thirty minutes each. Should I bother selecting Italian music appropriate for a specific time period - e.g. dances from Negri and Caroso? Or should I just play through '58 Very Easy Pieces for Renaissance Lute'? Does anyone else get into these struggles for 'authenticity'? I doubt anyone would even notice if I played an all-English repertoire of Greensleeves, Packington's Pound, and Fortune my Foe on repeat, but I'd like to be a bit better than that. Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Trujillo vihuelas
bravo! :) Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] La Bella strings
Hi lutelisters! So a student of mine picked up a set of La Bella lute strings w octaves and we strung up her Turkish-made 8-course lute (59cm string length) with them. Then I noticed something very odd - the higher octaves were far too loose at the correct pitch as they were flabby and flopped about. Checking the diameters, I realised were basically the appropriate diameters for tuning at TWO octaves above the fundamental. For example, the nylon octave D on the 8th course was the same diameter as the nylon D on the 2nd course. Next, the tension on the bass courses seems far too low - they also flop about and buzz annoyingly. This is quite perplexing - the tensions listed in the pdf on the La Bella website already seem quite low, but when strung up, the strings feel far looser than what is listed. Also, when I use Arto Wikla's string calculator and feed in the density + string length + diameter, the resulting tensions is significantly lower than what La Bella indicates. I haven't used La Bella in nearly two decades. Can anyone advise if I'm imagining things? Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: La Bella strings
On 24 Apr, 2014, at 5:51 PM, David Morales dmorale...@cuerdaspulsadas.com wrote: Hi Edward, I don't really know this set from La Bella, but you can read some info about the oud sets made by Pyramid in our blog: http://cuerdaspulsadas.es/blog/cuerdas-para-oud/ There you can see tuning, gauges and tension for both arabic and turkish setups. Hope that helps Regards. Hi David, The instrument is an 8-course Renaissance lute, not an oud. Regards, Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Hieronymus Bosch's Ass Music
i vaguely recall reading Gregorio Paniagua did some of this stuff in the 70s, but couldn't be sure, not having been born yet... τούτο ηλεκτρονικόν ταχυδρομείον εκ είΠαδοιο εμεύ επέμφθη. Hæ litteræ electronicæ ab iPade missæ sunt. 此電子郵件發送于自吾iPad。 This e-mail was sent from my iPad. On 19 Feb, 2014, at 1:09 PM, Tom Draughon t...@heartistrymusic.com wrote: Whodathunkit?!! Tom Draughon Heartistry Music http://www.heartistry.com Sent from my iPhone 715-682-9362 On Feb 18, 2014, at 10:40 PM, Franz Mechsner franz.mechs...@gmx.de wrote: Maybe of (some) interest...:-) [1]http://www.youtube.com/watch?v=Br3SunLc8zU Hieronymus Bosch's Ass Music from The Garden of Earthly Delights References 1. http://www.youtube.com/watch?v=Br3SunLc8zU To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: A rather old lute cameo
Then there's the film Nostradamus (1994) with an excellent soundtrack, with the New London Consort playing Susato dances in some bits. A scene in there, about midway through, has a country theatre in France in the 16th C with a modern metal Boehm flute right in front of the band. Edward Chrysogonus Yong edward.y...@gmail.com On 5 Feb, 2014, at 5:30 PM, William Samson willsam...@yahoo.co.uk wrote: Here's the full IMDB entry - Unfortunately nothing much about the music or musicians there: [1]http://www.imdb.com/title/tt0611663/fullcredits?ref_=ttfc_ql_1 It's strange how musicians are seldom if ever credited in these things. Music also seems to be the poor cousin when it comes to historical accuracy in some programmes. I have been watching some episodes of the new series The Musketeers - the dialogue is dreadful, but the sets, costumes and weapons seem to be spot-on for around 1630. Huge care has gone into what Richelieu wears and Louis XIII and Anne of Austria bear more than a passing resemblance to the people they represent. THEN in episode 3, Athos is in the boudoir of Milady de Winter and guess what? There's a 'lute' on the table. Except it's a modern mandolin with machine heads for goodness sake! Would they have substituted a flintlock pistol for a wheel lock one? Of course not. But if it's a musical instrument - What the hell, nodbody'll notice. OK I'm a nerd, but . . . Bill From: Thomas Walker twlute...@hotmail.com To: lute@cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Wednesday, 5 February 2014, 0:38 Subject: [LUTE] Re: A rather old lute cameo The Wolvercote Tongue, c. '87 or '88. Thanks all! Subject: Re: [LUTE] A rather old lute cameo From: [2]johnle...@hotmail.com Date: Tue, 4 Feb 2014 15:26:48 -0500 To: [3]twlute...@hotmail.com CC: [4]lute@cs.dartmouth.edu Pretty sure it's Christopher Wilson. Sent from my Ouija board On Feb 4, 2014, at 2:27 PM, Thomas Walker [5]twlute...@hotmail.com wrote: Hello all, I was watching an old Inspector Morse episode, and lo and behold, there was a lute accompanying a countertenor for Sorrow Stay. I think the episode is nearing 30 years old, maybe around 1987...anyone have a clue as to the id of the performers? Just for curiosity's sake, Thomas Walker -- To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- -- References 1. http://www.imdb.com/title/tt0611663/fullcredits?ref_=ttfc_ql_1 2. mailto:johnle...@hotmail.com 3. mailto:twlute...@hotmail.com 4. mailto:lute@cs.dartmouth.edu 5. mailto:twlute...@hotmail.com 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: LUTE for sale
Argh - it looks quite nice, but the page won't accept non-France telephone numbers for contact :( Can anyone help? Edward Chrysogonus Yong edward.y...@gmail.com On 22 Dec, 2013, at 1:50 AM, Valéry Sauvage sauvag...@orange.fr wrote: This lute was made in 1991 by John Rollins. It was bought used by a Parisian school of music for lute courses. As there were no courses any more and the lute was not played they sold it to make money (for a very low price indeed). The add, still visible is no longer valid anyway, the instrument being sold. Val -Message d'origine- De : lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] De la part de Alain Veylit Envoyé : samedi 21 décembre 2013 17:40 À : Lute net Objet : [LUTE] Re: LUTE for sale I am just relaying a message from the French list (who got it from the British list...): a lute is for sale at a suspiciously low price there: http://www.leboncoin.fr/instruments_de_musique/564241838.htm?ca=21_s. They are wondering if it may have been stolen or lost. In any case (pun intended), it is a beautiful instrument and hopefully this is a legit sale. Alain PS: It is very hard to tell, but there may be some Japanese or Korean on the Fragile sticker on the lute case To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Inspirations...
Hi all, My first hearing of the lute was on a Harmonia Mundi sampler cd back in 1990. I was thirteen, and the track was 'Go Merely Wheele' by John Johnson, played by Paul O'Dette Lyle Nordstrom. I then acquired 'English Lute Duets' (Jakob Lindberg Paul O'Dette) and 'Virtuoso Lute Music From Italy and England' (Jakob Lindberg). At sixteen I acquired my first lute, an Ian Harwood instrument that I still play, and a copy of Poulton's tutor. I found a set of the OUP Lute series in Singapore's National Library and started making my way through the facsimile booklets. A guitar teacher friend loaned me a copy of Noad's 'The Renaissance Guitar' and I tried to 'reïntabulate' some bits and found it a pain. It must have been some years after my first hearing of the lute that I first heard Bream's playing, and my first impression was being greatly turned off by the tone of his playing. It was hard and glassy, and not sensual in the least. Just my two farthings. Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thigh support for theorbo
Point of information - the original playing position of the pipa is horizontal, as these paintings will show. Tang dynasty: http://www.liufangmusic.net/images/pictures/tang_pipa.jpg Tang dynasty, with plectrum: http://upload.wikimedia.org/wikipedia/commons/5/52/Pipa_player_dunhuang1.jpg Song dynasty: http://www.houshow.com/school/education/_images/pipa.jpg While it is true that the majority of pipa players now play their instruments nearly at a vertical angle, those who play pipa according to the older schools do not. Nanguan (Fujian Tang music) pipa: http://english.moc.gov.tw/article/index.php?sn=842 Nanguan pipa: http://farm9.staticflickr.com/8172/8027971895_31b14d2df3_o.jpg similarly, the Japanese biwa (though I am aware some styles hold it near vertical): http://ottomen.com/justin/wp-content/uploads/2012/01/biwa_g_main.jpg the Vietnamese tỳ bà appears to be held at a 45 degree angle... Edward Chrysogonus Yong edward.y...@gmail.com On 4 Oct, 2013, at 12:12 AM, Dan Winheld dwinh...@lmi.net wrote: For the upright, almost vertical position check out the Pipa player's technique. I have NEVER seen them held horizontally- and those are not excessively large lutes. Having played the viola da gamba quite seriously years ago, I can attest to the great ease of long stretches on a vertically held instrument. It's not uncommon for a typical (usually Renaissance) lute player to get a tenor size viol- only to discover that it's uncomfortably small for the vertical position for long, serious practice/playing. Except for the larger/longer archlutes, holding comfort security has never been an issue for me (unlike Classical Guitar; scoliosis tendonitis- thanks a lot, Segovia!). A large suede guitar strap handles my small arciliuto quite handily, and I now hold my guitars the way I hold my lutes- on the right thigh, legs crossed either way, low seat, or sometimes RIGHT foot on a low footstool or guitar case end, the cat, or whatever may be underfoot in stomping distance. One of my new students spent weeks finding no comfortable lute position- until the day I had her try a simple lute song (she was a singer) -she inhaled, straightened up somewhat on her chair- channeling her singing awareness position- and the lute fell right into place on her lap, comfortable and easy to hold play. In that vein one might treat the problem of holding lutes as an almost Yogic sort of challenge. Also perhaps contact Jacob Herringman- he is a licensed Alexander Technique practitioner as well as a hell of a fine lute player, but I don't know if he has any experience with the larger instruments. But suction cups on lutes? SUCTION CUPS??? Lord have mercy! (Excuse me, Herr Kapsperger, is that a toilet plunger in your hand or are you just glad to play continuo for me?) Dan On 10/3/2013 12:57 AM, Martyn Hodgson wrote: Dear Bill, Most early representations show theorboes being held quite high up and resting on the right thigh rather than between the legs as a modern 'classical' guitarist. Further, many early extant instruments have fixing points for a cord/strap/ribbon: a button (or similar) at the end of the body and one on the back of the first pegbox roughly where the pegs are. Incidentally I can't see evidence of a practice of sitting on the strap end. By resting the instrument on the right thigh (similar to a flamenco player's posture rather than a modern 'classical' guitarist- ie inbetween the legs) and using such a strap I find all one needs is something like a rough thick chamois leather placed on the thigh to avoid any possibility of the instrument's lower side sliding forward. No doubt, as has been suggested before (Bob Spencer I think), the heavy coats of earlier players served much the same purpose. It is also helpful to hold a theorbo more upright than a lute so that the centre of gravity is closer in - it also helps a bit in playing large left hand stretches. I've seen quite a few newcomers to the theorbo struggle mightily with trying to play a theorbo in an almost horizontal position as they play the lute and who soon find it much easier when it is held more upright. regards, Martyn From: William Samson willsam...@yahoo.co.uk To: Lute List lute@cs.dartmouth.edu; Daniel Shoskes kidneykut...@gmail.com Sent: Wednesday, 2 October 2013, 22:42 Subject: [LUTE] Re: Thigh support for theorbo Interesting question. Do we know how it was done back in the day? Bill Sent from Yahoo! Mail on Android __ From: Daniel Shoskes [1]kidneykut...@gmail.com; To: Lute List [2]lute@cs.dartmouth.edu; Subject: [LUTE] Thigh support for theorbo Sent: Wed, Oct 2, 2013 9:35:50 PM Dear Theorbistas: has anyone ever tried one of the classical guitar
[LUTE] Re: chord fingering
On 9 Sep, 2013, at 8:18 PM, Geoff Gaherty ge...@gaherty.ca wrote: On 09/09/13 8:00 AM, Mathias Rösel wrote: Hans Newsidler has no barre in his tablatures. In the 1st part of his 1536 print, he offers fingerings that would imply forefinger b2, middle b3, ring c4, little d5 for this chord. He must have had small fingers to manage that. Like the others, I've always used a partial barre with my index finger on the first fret. Gosh, I can *just* about manage that, but it's a little squeezy. The idea of a partial-barré seems to work better but also awkward. I must work on this. Considering b2 doubles the d5, is the b2 really necessary? Then again I'm the sort of lazy guy who turns e2 f3 e4 c5 into e2 a3 c5... Edward Chrysogonus Yong edward.y...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Un-Extended Lutes in the 1600s
Dear Ron, Thank you so much for this! This is quite fascinating, as it rather confirms my suspicions that the instruments would have remained in use somewhere and somehow :D Edward Chrysogonus Yong edward.y...@gmail.com On 5 Sep, 2013, at 6:36 PM, Ron Andrico praelu...@hotmail.com wrote: Edward: That would be yes. Extended lutes were not necessarily as popular then as they are now and, according to Victor Coelho, the bulk of 17th century Italian manuscript sources features music for 7-course lute. See the article. “Authority, Autonomy, and Interpretation in Seventeenth-Century Italian Lute Music,” in Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation, ed. Victor Coelho, Cambridge Studies in Performance Practice. Cambridge: Cambridge University Press, 1997: 108-41 It looks like you can download a pdf of the article on the page that lists Victor's publications: http://people.bu.edu/blues/acad_pub.html RA Date: Thu, 5 Sep 2013 12:27:05 +0800 To: lute@cs.dartmouth.edu From: edward.y...@gmail.com Subject: [LUTE] Un-Extended Lutes in the 1600s Hi all! I was musing on the development of the lute in Italy in the transitional period between the Renaissance and Baroque, and wondering how long un-extended lutes continued to be played and in use. Would it be correct to say that the theorboed lute or liuto attiorbato with double courses all the way down the diapasons was the normal solo lute in the later period? Is it likely that anyone still had an old 6-10 course instrument, and would have used it in this period, perhaps even to make up massed numbers on such occasions as the 1589 Medici wedding or suchlike? Is there any evidence of un-giraffed lutes continuing in use in this period? Would it be plausible that in a chamber setting, someone might use an old 7-8 course to accompany some Caccini? I'm accompanying some singers later this month and the repertoire stretches from Sermisy and Arcadelt to Monteverdi and Caccini. Ideally I'd use my little 7-course for the madrigals and my archlute for the later stuff, and obviously transport-wise it'd be easier to use my 7-course for everything, but don't want to fall foul of the early music police... Edward τούτο ηλεκτρονικόν ταχυδρομείον εκ είΦωνου εμεύ επέμφθη. Hæ litteræ electronicæ ab iPhono missæ sunt. 此電子郵件發送于自吾iPhone。 This e-mail was sent from my iPhone. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: miking a lute/theorbo
THAT is the way to go! i am reminded of how a Russian composer (i forget which) who'd moved to the USA after the Soviet Revolution, couldn't afford gramophone needles and made do with whatever needly-pinny-thingies he could find. when asked how he could abide such terrible sound, he said something along the lines of how the music was already in his head and he was listening not for sound quality but for emotion. or something like that. sorry, i'm a terrible storyteller - i vaguely recall reading this anecdote from Classic CD back in the early 90s, and if anyone can supply the name of the composer or the exact anecdote, please do! Edward C. Yong ky...@pacific.net.sg On 5 Apr 2012, at 2:46 AM, William Samson wrote: Alternatively, sit in front of your $5 webcam with built-in mic, do your stuff, publish it, and ignore the snooty comments :) Bill To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Contact for Juan Carlos de Mulder
Hi Chaps! Can anyone put me in touch with Juan Carlos de Mulder? His group El Ayre Español is coming thru Singapore next weekend and I'd like to get a lesson with him. I've emailed El Ayre Español at the email listed on their website but had no response, possibly because I emailed in English (I have no Spanish). Would anyone have his email address? Thanks muchly! Edward C. Yong ky...@pacific.net.sg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: long strings?
Curiously, the small seems to be set up for 1x1, 5x2 on the fingerboard: http://quality1trader.co.uk/musical-instrument/strings/lute/theorbo-bass-lute/ Their instrument descriptions appear to be cut and pasted from the Barber Harris website. their string lengths for the small and medium correspond respectively to BH's tiorbino and theorboed guitars Awfully curious - I was already amazed enough that they were making baroque guitars, but tiorbini and chittare attiorbate as well? I was under the impression that these were extremely niche instruments. Is there enough of a market for these? Edward C. Yong ky...@pacific.net.sg On 29 Aug 2011, at 4:14 PM, David van Ooijen wrote: On 29 August 2011 07:44, Garry Warber garrywar...@hughes.net wrote: eBay, Ouality1traders, theorbo bass lute, small. I know I'm going to be vilified, but their medium, which goes out of stock fast, is the one of my I suppose you're talking about this: http://quality1trader.co.uk/musical-instrument/strings/lute/theorbo-bass-lute-medium/ It's not a theorbo but a theorboed guitar. An interesting instrument but it has a very limited repertoire. It has been the point of a recent discussion on this list. With the current setup of 1x1, 4x2 on the fingerboard and 9x1 diapassons you'll have trouble setting it up as a theorbo (you'll need to adapt both bridge and nut, and bridge might not be wide enough for the extra holes). Diapasson length of 104cm would just be enough for plain gut, but nylon won't work. Metal wounds will do, but you'll have to adopt your technique to stop them from buzzing on forever. Caveat emptor. David *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Besard duets once more
On 16 Aug 2011, at 11:42 PM, Monica Hall wrote: Have you ever looked at Pesori?. And then there is Dalza. Have you read Martin shepherd's article Was Dalza really weird? I'd love to read that article, it sounds like fun! Edward C. Yong ky...@pacific.net.sg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Codex Calixtinus (was) Re: Spanish Ren Music (Free downloads)
I just hope it's gone to some private collector who will take care of it, rather than thieves trying to hawk it on the market. Edward C. Yong ky...@pacific.net.sg On 8 Jul 2011, at 11:40 PM, Monica Hall wrote: Thank-you for the reference to the illustration. What is worrying is that the thieves may not have realized that it would rather difficult to dispose of. When they do they may just dump it. Recently in London a well-known violinist had her Strad violin stolen whilst sitting in a coffee shop on Euston station. The thieves tried to sell it for £100. They were caught but the instrument has never been recovered. Probably trashed. Sad to think such an important part of our heritage may have been lost forever. Monica To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cantiones
Gorgeous! I might be the only one asking this, but would it be possible at some point to have the lyrics included the initial statement of the melody? I'd love to pretend I'm a Ukrainian bard singing to his bandura, and I can pronounce Ukrainian and Russian ok... Edward C. Yong ky...@pacific.net.sg On 3 Jul 2011, at 10:25 PM, Roman Turovsky wrote: One of my all-tme favorites, a song about a cossack who comes home from a war to find a child that doesn't resemble him, but has a distinct Gypsy look. He interrogates his wife, she is being evasive, but finally confesses. He takes out his saber and takes her head off. Cantio Sarmatoruthenica XXX (in d) - http://www.torban.org/sarmatoruthenicae/audio/333.mp3 http://www.torban.org/sarmatoruthenicae/images/333.pdf Cantio Sarmatoruthenica XXIX (in c) - http://www.torban.org/sarmatoruthenicae/audio/332.mp3 http://www.torban.org/sarmatoruthenicae/images/332.pdf The version in c has already been filmed by the indomitable Eugene Kurenko! http://www.youtube.com/watch?v=DnxiUysbSKE Cantio Sarmatoruthenica XXVIII - http://www.torban.org/sarmatoruthenicae/audio/331.mp3 http://www.torban.org/sarmatoruthenicae/images/331.pdf Enjoy. Amitiés, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: lute songs for bass voice?
I do that all the time - it's great fun! Edward C. Yong ky...@pacific.net.sg On 24 Jan 2011, at 10:07 PM, Christopher Wilke wrote: Franz, Since you're doing this for your own enjoyment, you could always find tunes in an alto register and sing falsetto. I'm not being cheeky; this was probably done. Just how comfortable you'll feel exploring your stratosphere is another matter. Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Feeding and Care
On 25 Feb 2010, at 6:49 PM, David van Ooijen wrote: High humidity is not so friendly on the strings, but worse on the instrument. But as long as the lute/strings is/are in a more or less stable environemnt, you should be able to manage gut. I use gut when playing in Japan (similar high temperatures and humidity in summer), and found it not worse than in Europe. Many of the lute playing members of the LGS in Japan use gut strings. My 7-course Ren and 14-course Archlute aren't doing too badly, the instruments haven't warped in the 15 or so years they've been out in the tropics. Though the tone is *slightly* less resonant than when they were in London, where I originally picked them up. How long will gut strings last, any idea? Edward C. Yong ky...@pacific.net.sg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Feeding and Care
On 25 Feb 2010, at 7:56 PM, alexander rakov wrote: Use silk! Make your own: http://www.silkqin.com/03qobj/strings/raykovstrings.htm Sounds interesting, but too complicated, heh. I'd love to try them on my Sanxian one day though. Edward C. Yong ky...@pacific.net.sg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Feeding and Care
On 25 Feb 2010, at 11:39 PM, dem...@suffolk.lib.ny.us wrote: Are you in contact with the maker? Hmm, I'm not - I should! Does anyone have Ian Harwood's contact? Thanks for the rest of the advice tho! Edward C. Yong ky...@pacific.net.sg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Feeding and Care
Hullo chaps! Am changing strings and noticed the fingerboard on my lute is a bit dry looking and the finish(?) looking a bit worn in those spots between courses. I note that guitarists seem to swear by lemon oil as a fingerboard maintenence and care method. Do you chaps recommend it? Also, I'm wondering if using gut strings in the 30-34°C heat and 85% humidity of tropical Singapore would be silly. Anyone in the tropical bits of the USA to comment? Yours, Edward C. Yong ky...@pacific.net.sg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Strange lute in French painting
One detail that jumps out at me is the fruit bowl. It's a Chinese bowl, with calligraphy on the side. Of course, Chinoiserie was in fashion, and much faux-Chinese porcelain was produced in Europe, but I don't think much (if any) was produced with calligraphy on them. That would have been one very costly fruit bowl. Can anyone figure out what is in that thin flat wood box below the pipes/sausage-stuffer? With the cover open and the paper liner, I'm tempted to guess some sort of cheese, but the contents look a bit.. bubbly. Edward C. Yong ky...@pacific.net.sg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Have You Seen The Bright Lily Grow
Hello chaps! I was wondering if anyone might be able to recommend an edition of Morlaye's tablatures for Renaissance Guitar? I just picked up a ukulele and am having some fun on it... I have half a mind to badger some friends of mine who play treble intruments to join me in jamming some Playford and suchlike. Completely un-HIP, but fun nonetheless! Edward C. Yong ky...@pacific.net.sg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] whoops. wrong title!
oops sorry chaps, sent that with the wrong title... Edward C. Yong ky...@pacific.net.sg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Stickers and Decals
Hello from Sunny Singapore! I was feeling whimsical and wondering what stickers other lute players put on their lutes. The FRAGILE and THIS WAY UP ones I presume are reasonably common (and commonsense), but since so many of us are quirky folk, I'd imagine we have some pretty eyebrow-raising ones on our cases. I was thinking of putting a 'Giraffe Preservation Society' sticker on my archlute case even though I realise it's rather an obscure bit of humour. 'Biohazard' anyone? Anyone out there with funny ones? Edward C. Yong ky...@pacific.net.sg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 'notable composers (lute, vihuela and guitar)'
On 19 Jan 2009, at 6:33 AM, howard posner wrote: On Jan 18, 2009, at 1:11 PM, Mayes, Joseph wrote: I don't know why the world of classical guitar is of such interest to this list Perhaps because 90% of us are or have been classical guitarists? I'd be really interested to know how many on the lute list are also guitarists or have been at some time. Not disputing Mr Posner's statistic, but merely curious. I started off on lute, without ever having touched guitar before, and even now if I ever have to twiddle on a guitar, I have to mentally play the 'ok, everything is a minor third lower) game. Anyone else *not* a guitar player? Edward in Singapore To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: A question about Theorbos
I've usually heard it as Thee-urh-bow or THAY-urh-bow in England, with accent and soft 'th' (as in 'three') on first syllable, schwa on the second syllable, and 'bow' as in 'bowtie'. Edward C. Yong [EMAIL PROTECTED] On 05 Sep 2008, at 3:52 AM, Joshua Edward Horn wrote: Guys, I have a question about Theorbos. First off, how it's it pronounced (there-o-bo)??? and 2nd are the extended strings off the body just plucked and that's all they are used for?? (no fingerings I mean). Thanks, Josh Joshua Edward Horn To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: More Sting!
Can't imagine why anyone would want to save Sting's singing/playing of Dowland, but try www.keepvid.com and feed them the url of the youtube video. It gives you a .flv file which isn't terribly useful, but there are various programs available to convert that to more easily viewed formats. On 2/24/07 8:09 PM, G.R. Crona [EMAIL PROTECTED] wrote: [1]http://www.youtube.com/watch?v=dRHutMf7_bU Anyone knows how one could save the youtube clips? G. References 1. http://www.youtube.com/watch?v=dRHutMf7_bU To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Buxtehude Lutes
Dear Chaps, Greetings from sunny and humid Singapore! I've been asked to play for Buxtehude's Membra Jesu Nostri next March, accompanying a chamber choir and a quartet of string players. I haven't a Theorbo, but would an Archlute be inappropriate? It's a large Harz-model, so it's pretty loud... I haven't seen the music yet, but would it be safe to assume that since it's earlier, it should be harmonically less daunting than Bach? I stay away from Bach if I'm the only continuo player... and it seems that the continuo for this concert will be lute + organ. Any comments and suggestions will be gratefully accepted! Many thanks in advance, Edward To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Galant continuo
My own personal favourite remains the time I was carrying my archlute in its case, and some kid commented 'wow that's a really big spoon'. :) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Mozart song book for lute
Dear David, What lovely news! Two wee questions pop into mind though: 1. Is there a list of contents available? 2. 10-course lute... is this in the G tuning, or the D minor tuning? Many thanks in advance - this sounds delightful. Yours, Edward On 25/8/06 20:01, LGS-Europe [EMAIL PROTECTED] wrote: The LGS has published a Mozart song book: The First Booke of Songs or Ayres with Tableture for the Lute. Composed by Wolfgang Amadeus Mozart. Arranged for high voice and 10-course lute by Toyohiko Satoh. Also an invention for two to play upon one lute. 21 Songs by Wolfgang Amadeus Mozart arranged for high voice and 10-course lute by Toyohiko Satoh. Introduction by Arthur Ness and David van Ooijen in Japanese and English. Price Euro 25 including pp. Metal ring, plastic covers. Not all songs are easy to play, but all work well on a lute. http://home.planet.nl/~d.v.ooijen/lgs/publications_f.html Enjoy. David David van Ooijen [EMAIL PROTECTED] www.davidvanooijen.nl To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Strings for chittarone
On 7/8/06 19:55, Mathias Rösel [EMAIL PROTECTED] wrote: I have a comparable experience with my 6 year old son. One day somebody wanted him to play some lute pieces by Waissel. But he handed him an edition in French tablature!! At once my son threw himself to the floor, weeping and swearing, because he plays it only from German tablature. Only after translating some death penalties from Old Assyrian he could find his calmness again! Old Assyrian, eh? It sounds like your six-year-old and my nine-year-old would hit it off very well, as she wrote her PhD thesis on the influences of Old Assyrian epic poetry traditions on Attic-Ionic Greek via Old Persian. Mates finally! Where will we meet? My eight-year-old loves to fluently chat in Babylonian. I'm so jealous. I had to wait till University before I had a chance to start learning Akkadian =D 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
Good gentles, This thread brings to mind a concert in April where I was asked to provide archlute continuo for Albinoni's D minor Oboe Concerto and Vivaldi's A minor Cello Concerto. I agreed, then found out to my horror a week before the concert that the modern string orchestra numbered about 40, not including three Double-Basses. In the reduced sections of both, and slow movement of the the Vivaldi (which only calls for Continuo and Solo Cello), the archlute (67/145 Harz) could be JUST heard. Needless to say, in the fast movements and tutti sections, the archlute was little more than an exotic visual decorative element, though I'm told by those seated at the back and circle that at that distance, after the sounds had blended and bounced a bit, occasional pluckings could be heard. Now comes a question to those of us who have to play, on occasion, with modern instrument ensembles that do baroque music once in a while - does anyone think a louder continuo archlute might be useful? Just my two cents. Edward To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Now Is The Month Of Remote-Controlled Salad Bars
Dear all, It may amuse you to know that one of the early music groups I play with in Singapore, was featured on a local radio show last Sunday. Briefly, a radio show that does spoofs of various genres of music, such as serious cover versions of songs but with nonsense lyrics, was asked by a listener (from Sheffield in good ole England, no less) to do something Renaissance. Ergo, my group was called in, and we settled on Thomas Morley's Now Is The Month Of Maying, but with re-written lyrics about a remote-controlled salad bar. The half-hour show has brief nonsense interviews with all of us (5 recorder players, soprano and lute). Link to the podcasted show may be found here: http://www.donanddrew.com/ - the actual song comes right at the end. Mr Ian Harwood will be pleased to know I was playing number 47. Those who wish not to listen to the entire show, may listen to the mix here: http://www.podcast.sg/987FM/donanddrew/audio/extra/SALADBARFINAL1.wav and here: http://www.podcast.sg/987FM/donanddrew/audio/extra/SALADBARFINAL2.wav I flubbed a number of notes, but doing my own intabulation was a good learning experience - I'd left off playing lute and continuo for nearly 3 years, and only come back to it intensively this summer, with this radio broadcast and being blackmailed into playing archlute continuo for a concert that included Vivaldi's A minor Cello Concerto (RV422) and Albinoni's D minor Oboe Concerto. It feels good to be back playing, and to be on the list again. Alright, enough blubbering =) Yours, Edward To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cufflinks
Hiho Chaps, Greetings from Singapore! I've been off the list for some years, but am back now - ready to learn much from the erudite members of the list =) I have a wee question: I'm playing continuo for a concert this Friday afternoon, and am trying to decide what to wear. Are there any practical reasons for avoiding or favouring particular shirt and coat sleeve styles? Also, may one wear cufflinks? Many thanks, Edward To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Archlute damage
Hi chaps, I'm in a continent where there are no lute makers or repairers, so please forgive me for asking this of the whole list. The upper pegbox of my archlute has come off - it was made in the 1970s by a maker who said I must confess that I made a mistake when I first built the archlute in gluing on a separate block for the upper pegbox. It is something that I have never done again. So apart from re-gluing the pegbox back on I think that it needs some wooden dowels putting through the joint for for extra strength. Otherwise a 4 mm. or so wooden plate could be recessed into the bottom side of the neck. I certainly feel that some reinforcing of the joint is necessary as there is so much force on it. What do you guys recommend? I've got a violin repairer here who says he'll be quite willing to help if someone can tell him exactly what needs to be done. I've got pictures to show (via email) if anyone will be so kind as to help. The closest lutemakers I know of are in Australia, and I'm in Singapore. Many thanks to all in advance, Edward Edward Chrysogonus Yong + When I get a little money,IC|XC I buy books; +--+--+ If I have any left over, NI|KA I buy food and clothes. - Erasmus +
Dolling up an extended lute
Hi Chaps, a completely superficial question follows. I'm doing a series of Christmas concerts in Singapore next week, and was hoping for some ideas to doll up my archlute a little. The concerts are all light baroque stuff, so I thought it might be nice to add a bit of decoration to the instrument. Short of pasting a gold sunburst around the triple rose, like what they did in the Andrew Parrott video of the 1589 Florentine Intermedii, what can I do? Does anyone have any ideas? I was thinking a ribbon and bow around the upper pegbox... Ideas welcome, as are good reasons against it =) Yours, Edward Edward Chrysogonus Yong + When I get a little money,IC|XC I buy books; +--+--+ If I have any left over, NI|KA I buy food and clothes. - Erasmus +
